#that it is bad to try and flesh out the story and characters and it needs to be more simplistic to get to the ending quicker

[thenotoriousscuttlecliff]

Can't believe this writer is trying to argue the problem with the show is that it isn't treating the main villain like a one-note, simplistic character and this is somehow too confusing because viewers won't know he's the villain despite all the villainous things he does like murder, manipulation, gaslighting, and orchestrating the complete destruction of an entire Elven realm. How media illiterate do you have to be to think exploring a villain's motivation in some way constitutes trying to trick the audience into think he isn't really a villain?

[dykedvonte]

One of my mutuals opinions is the "bro code" thing, that Curly is one of those guys who wouldn't care about the victim because the perpetrator is his friend and I'm really banging my head on the wall like that other anon. I've only played through the game once but Curly's behaviour/reactions etc read completely different from the "bro code" thing and I have to wonder if my mutual and I even played the same game.. like the constant digs at him from Jimmy, his body language in his face reveal and so on like you mentioned in your post. While this game is a little different obviously, it kind of reminded of a point in Alice Madness Returns that makes it very clear that Alice's pain blinded her to the abuse of the other children and her failure to act earlier because of it. Curly is guilty of a similar inaction but it doesn't change the fact he was a victim of Jimmy too. I don't think I can look at it any other way because both of these games have really stuck with me.

I genuinely think it really is the idea that people want a simple easy to blame problem and the idea that the only relatable victims of abuse are those that "surpass" it or do a lot to help others. When it comes to victims, especially those that don't fit the typical demographics, who either accidently perpetuate it, enable it or aren't ideal in some way shape or form, people jump to ignore what they went through as it's easier than dealing with those conflicting sentiments.

The bro-code conversation in Mouthwashing stems from a concept I generally dislike that there had to be something about Curly that made him meet or keep being friends with someone like Jimmy. I think people genuinely underestimate how many like decent and good people just know an asshole or are friends with someone who is really bad outside of their view/established dynamics. The game makes it clear none of the inaction against Jimmy is because of a lack of care, it is a lack of understanding from the privaleged postions they have as men to not have to worry about what Anya does/went through and the type of extremes men like Jimmy will go through to cover it up. They are all too preoccupied in their own strifes.

Another thing I see being oversaturated the idea that you have to be a freak, misanthrope or have a disorder to do the thing Jimmy does. The game is an escalation, it's a spiral that I don't see people comment on that Jimmy was not likely having the mood swings and episodes of rage/frustration we were seeing in the game. This is after they all start experiencing the worst moments in their lives that he got THAT openly bad. Of course, this is just my interpretation but much like in real life, people that go to extremes like that usually live mundane lives. It's a pressure cooker affect to where the stress made them pop. It's self inflicted but still the case.

I really think people need to be more willing to acknowledge that not everything needs to be an extreme or in black and white or easy to understand. It doesn't need to be happy or have an answer or solution, especially in the cases where the abused sadly helps perpetuate what they experience. It's not he should've known better from experience or shouldn't he have known what could've happened because victims tend to not like to think in matters of the worst. Not to mention, especially in cases of abuse where it feels so personally directed that you don't expect to happen to someone else.

[tiffanybluesclues]

Every week someone makes a post about how annoying it is that Dick Grayson fans don't acknowledge his flaws, and every week someone replies with an explanation that the flaws OP listed are entirely fanon and inconsistent with canon as it actually happened and at this point I have to assume that none of those explanations are ever going to stick because clearly some people just want the fanon to be true.

Anyway, I'm just putting this here for me to edit and add relevant-to-the-topic links later so I'll have them nicely at hand to read and sooth my frustrations when it gets real bad out there. (Echo chambers are good when we use them to drown out character mischaracterizing fanon.)

[jacketpotatoo]

Hey @thehomelybadger , thank you for breaking my heart

[hundredowls]

silly oc doodle..... ballroom yuri

[forestgreenlesbian]

hmmmmb private rites. what did everyone think

[literaryvein-reblogs]

How to Write a Character

For creative writing to have as deep an impact as possible, you need to give the reader strong characters they can relate to on a personal level.

By borrowing from tried-and-true character archetypes and giving them your personal spin, you can create heroes, villains, and sidekicks that will affect your readers as if they were real people they knew.

Come up with a backstory

Crafting a backstory can help you flesh out an interesting character profile.

“When I’m dealing with characters,” says legal thriller author David Baldacci, “and I’m trying to explain somebody's situation and motivations, you have to look into their past, because [the] past always drives motivations.”

Ask what experiences your character had in elementary school or high school that shaped who they are today. Your character’s backstory can greatly inform your plot.

Develop a character arc

A character must evolve throughout a story.

“The character has to change,” insists crime fiction writer Walter Mosley. “The character doesn’t have to become better. The character doesn’t have to become good. It could be the opposite. He could start good and become bad. He could start off hopeful and end up a pessimist. But he has to be impacted by this world that we’re reading about.”

Plan out your storyline based on your character's goals and how achieving or not achieving them will change them as people. This sort of template can help anchor your narrative.

Do research

If you plan to set your story in a specific locale or period, do enough research to make your characters seem true to life and believable.

“What does it mean, for instance, in the Tudor era to be a male person?” asks Margaret Atwood, author of The Handmaid’s Tale. “What does it mean to be a female person? What do those things mean when they’re at different social levels?”

Empathize with your characters

No matter what the type of character you’re developing, try to find some reason you and your reader can relate to their internal conflict.

“You’re living with these people every single day for months at a time—in some cases, years at a time,” says acclaimed children’s author Judy Blume. “You had better feel for them. So, for me, yes, I have great empathy for them.”

When people can empathize with characters, they’re more likely to find them compelling.

Experiment with different approaches

If you usually write characters from a particular point of view (or POV), change things up to challenge yourself.

“Write about someone entirely through the eyes of their friends and family,” suggests journalist Malcolm Gladwell. “So do a profile of someone where you deliberately never talk to the person that you’re profiling.”

There are plenty of ways to craft compelling character descriptions—free yourself up to try new alternatives.

Give your characters flaws

To craft believable characters, you need to give them flaws.

“One, it makes the characters human, just by default, because everybody recognizes that we all have flaws and mistakes,” David says. “But two, it gives you plot elements and plot opportunities because somebody makes a mistake. Why? Because they’re flawed.”

Learn from real people

Pay attention to real people’s mannerisms, personality traits, body language, and physical appearances.

Do research, and be respectful, when you want to write characters with backgrounds that you are not familiar with. Become familiar with different people's cultures, sexual orientations etc.

Talking to people about their experiences will help form your character’s personality.

Let your characters surprise you

Character development can proceed down a host of different avenues.

“Spend a lot of time with your characters and getting to know them,” Judy suggests. “And the way that you get to know them can be different from the way I get to know them. But my way is: They don’t come alive until I write about them, until I put them down on paper.”

As you write, your character’s motivation or perspective might change from what you originally planned.

Play characters off each other

Ask yourself how a secondary character’s personality might thwart the main character’s motivation.

“One of the best ways, as I said, to develop a character is to put that character in relationship to another person,” Walter says. “So as they talk, as they fight, as they work together, we find out more about who they are and what they are.”

The character’s close friends, adversaries, and acquaintances might all have different effects on their behavior.

Take an organic approach

Over the course of the story, be ready for your characters to surprise you as much as the people you know in real life might, too.

Your characters may take on a life of their own.

Avoid static characters by letting yours have their own lives and personalities. Let their stories take you where they lead.

Writing Notes & References

[waughymommy]

WM: Breastfeeding Kink & Diaper play

Disclaimer: all characters depicted in this story are consenting adults over the age of 18. If you are NOT 18 or older, Don't Read if UNDER 18

I startle awake from a throbbing pain in my breasts. Quietly groaning as I turn over onto my back not wanting to wake my sleeping little prince. My hand moves up to my big tits and oh god are they swollen. I’m not sure what’s been going on but for the past few days my breasts have been so tight and swollen and it’s just getting worse. I slowly begin to massage them in an attempt to ease the pain. “Oh fuck this isn’t helping at all” i whisper to myself. 

I pull my loose tank top away from my breasts and look at the swollen mounds. The only time I’ve ever seen breasts look like this were when my best friend breastfed her little in front of me… wait. It can’t be can it? There’s no way I haven’t even been taking the special pills she had to take to induce lactation! 

I open my phone to Google and type in “what can cause you to lactate?” I click the first site that pops up. “There are many things that can induce lactation such as Yada yada yada medications such a birth control… FUCK.” I whisper yell. I did not just accidentally induce lactation with the new birth control I’m on. Oh god we haven’t even had this discussion yet I’m not sure it’s even something he’d be into. But my breasts hurt so bad I need some relief. 

I get up from bed as quietly as I can and walk into the adjoining bathroom. I flicker the lights on and keep the door open just the slightest bit incase my little prince needs me. I look in the mirror and slowly pull my tank top down. My tits spring out all heavy and full. “Fuck” I hiss quietly as I press down in the swollen flesh.

I slide my finger down to my nipple and begin to stimulate it. A milky liquid starts to drip out and I almost can’t believe it. I moan as my finger squeezes some more out. Oh fuck that feels good. 

A quiet voice interrupts my ministrations “Mommy?” I look over to my left side and my little prince is at the bathroom door just in his princess t shirt and full diaper staring at my dripping nipples in wide eyed wonder. Fuck he looks so beautiful with his bed head and sleepy eyes. He rubs at his eyes and hold the door frame. 

“Mommy what’s that?” He points to the liquid still dripping from my hard nipple. 

“It’s nothing you need to worry about baby boy just turn your little tush around and go back to bed. I’ll be right there.” I say as I walk toward him and turn him around with my hands on his shoulders walking him back to the bed. He throws his head back and whines lowly, “but mommy I’m thirsty das why I woke up!” He says as I set him down back in bed. 

He looks up at me and his eyes move back to my nipples and his lips part and drool seeps out. “Okay baby you just wait right here and mommy will get you a drink of water.” I move toward the door but he grabs my wrist and with those doe eyes of his staring up at me and says “But I wan mommy’s milkies!” He whines again. His tonight peaks out and he licks his lips. “I’m not sure honey we havent really spoken about this.” I say as I softly caress the side of his face. He leans his head into my hand and pouts. 

“Please mommy please I just wanna try and see what it’s like. If you don’t like it or If I don’t like it we always have our safe word!” He trues to reason with me. And he’s not wrong so what could be the harm? I’ve secretly wanted this so badly for the longest time. I sigh and smile at him and nod. 

“Okay sweetheart you won, let mommy get comfy in bed first.” He claps his hands in excitement and slaps a sloppy wet kiss on my lips. I laugh as I crawl into bed and settle against my pillows. I pat my lap for him, “come here sweetie and lay side ways in mommy’s lap. Put you head right there in mommy’s elbow.” I maneuver him a little till he’s sitting just right, I cover him in the blankets and turn the low lamp on. A soft glow covers the room as he looks up at me with his lips slightly parted. I can tell he’s just as excited as I am. My sweet little boy. 

“Alright baby boy open those pretty lips for mommy.” I hold my boob up and my nipple leaks as I pull it and drop it in his waiting mouth. His lips close around my nipple immediately and he begins to softly suck. It takes him a few moments to really get the hang on how to latch on but soon his tongue is working in overdrive and hes suckling away like his life depends on it. I a gasp at the strength of his suckling and softly run my hands through his brown hair. “Sweetheart mommy isn’t going anywhere you can drink slowly, I promise I’m not going anywhere.” He closes his eyes and the suckling gets softer as soon as he realizes I’m not gonna snatch my nipple away from him. I moan quietly as I watch him drink. 

He’s such a sweet little boy suckling on his mommy’s nipples. I slide my hand down to his diaper and rub at his diapee covered cock. It’s so hard. I won’t lie my panties have absolutely socked through at this point. The feeling of his tongue lapping at the milk from my tits is just so erotic. He moans as my hand continues it’s rubbing. 

His hand reaches for my other leaking breast and he begins to fondle the nipple. Pulling and clutching at it, the milk dribbles done his fingers soaking them. I can’t help but moan out at the feeling. “Oh sweet boy that feels so good. You’re such a good boy just keep playing with mommy’s nipples like that.” I say a little breathless. 

I slip my hand into his diaper and just as my hand reaches the tip of his little cock he begins to piss right into my palm. I laugh a little and look at him a she pauses his suckling. His cheeks flame red, “I’m sorry mommy I couldn’t hold it.” He’s so fucking cute. 

“It’s okay baby you can go pee when you need to you know that. It’s why you have a diaper on to be able to lose control over your bowels and bladder whenever you need.” His stream continues as it hits my hand and I press down on the slit it’s pouring out of feeling the force of it. His piss is so warm on my hand as it fills his already soaked diaper. 

He smiles and nuzzles my breast and begins to suckle again as he pisses in my hand. He’s so fucking sexy sometimes I can’t believe he’s all mine. 

My sweet little boy.🍼😍💦🥰

[theorist-fox]

The concept of Bad Man Simon Riley who's aware he's a Bad Man™️ is one I hold very dear to me.

Masterlist 🦊

Simon Riley is, fully and completely, what people envision as a bad man. He's a convoluted character who carries a lot of baggage, and that same weight has crushed him into the beast he is today.

His reflection is his constant reminder of the bad things he's done and endured. And when you have such a blatant, ever-present memento of how dark you really are, it's hard to forget.

He doesn't bother putting up a facade. Won't help the lady cross the street, nor will he take a bullet for someone else. No one has ever done that for him, so it's only natural to give the world a taste of its own medicine. He doesn't even try; it just happens.

It takes him nothing to leave Soap behind in Las Almas and find shelter in an abandoned church. Sure, he'll cover for him—if the lad is fast enough, that is. Saving Alejandro afterwards is a mere ploy to make this blasted mission end sooner—true, no one fights alone, but he'd like to get out of there as soon as possible, thank you very much.

Barely brushes the concept of Price's injury when he faints due to the inhalation of some Sarin gas of sorts. Can only think that if he'd died, he would have to take the captain's place in leading the operation. A fucking bummer alright—but cap's fine, thankfully, right? One less thing to worry about now.

Won't try to start relationships, because what good can he bring when he can't even drop a kind word for himself? He's awful, inside and out, and he's aware.

What happens, then, when he's suddenly loved?

What happens, then, when you're sliding under his skin, pretending you don't see the rot and the grime?

The question of "why" is pinned to the front of his brain like an annoying leech that plagues him day and night.

On the couch, you're absolutely unbothered by his dark presence next to you. You're just munching on popcorn and watching some film he doesn't even remember the name of.

"Y'should go," he says out of the blue.

You barely spare him a glance. "Film's not over yet."

No, that isn't what he meant, but he has an inkling that you've gathered that already.

"Ain't good for ya," he insists. "Ain't good for anyone, but that's a whole 'nother story."

You side-eye him from your end of the couch. "Self-deprecating at dinner time? Could you move it up the schedule a little, like—breakfast or somethin'."

He doesn't understand. Won't get through his skull. Share a home with him, and for what? What's he giving you that you're coveting so hard, enough to find it easy to snark back at a beast like him—poking the bear while wearing flimsy cotton shorts and a band t-shirt?

"Y'don't understand," he grits out. "I ain't a good man, love."

"Oh, I know." You say, popping a handful of popcorns in your mouth. "And?"

It irks him. Wants to bite off your head, but, surprisingly, he still has morals, and he wouldn't even dare touch you with ill intent.

"Don't act stupid, now." He warns.

"Ain't acting stupid." You reply as if there is some obvious thing he isn't getting. "You've done bad things, and bad things were done to you. That it?"

He hums as a frown paints his face.

"Should I love you less?" You go on, "Or not love you at all?"

"The latter."

"Wrong." You add as soon as he responds. "Wrong, because that's what you believe, not the truth."

He cocks a brow at your apparent arrogance. A nod in your direction, "What's the truth, then?"

You place the bucket of popcorn on the coffee table. "Truth is that you're human, Simon."

Now that's a word he wouldn't associate with himself.

Monster. Beast. Bear. Wraith, or demon. Ghost.

"As a person, good and bad can coexist—there is no such thing as night and day." You go on, seemingly unaware of the turmoil you've unleashed on his poor heart.

Keep saying the word person around him this often, and he'll start believing he is one.

So, you have seen the rotten flesh and the mud coating his insides. You have buried your hands in his viscera and coated your skin with his blood and the one he's spilled.

You know, and yet you're here. You're here because you've also seen something else, something he's not aware is there.

Same thing that made his heart lurch when Price wasn't waking up. Same thing that made him hide, prone in the bell tower of a Mexican church, making sure Soap would get back in one piece.

Same thing that has him gaze at you now, with eyes that sting with clear, fresh water. No rotting liquid, no oozing pus, or sickening blood.

You shrug, "Maybe your sun is a little eclipsed, but there's that. I can still see it, y'know?"

You outstretch your leg. Press the tips of your toes against his thigh. The world is suddenly in technicolor, and his chest warms like a rekindled flame.

You wink. "And it's bright as hell, too."

[take-it-on-the-run]

And I Love Her

Sam Winchester x Reader

The reader and Dean are being tortured by Gordon Walker because of her relationship with Sam, and all they can do is hope he'll get there in time.

Word Count: 1.5k

Tags: Torture, graphic depictions of being cut into, descriptions of gore and severe bodily harm, Sam Winchester is out of character depending on who you ask

Characters: Sam Winchester, Reader, Dean Winchester, Gordon Walker

@ghostlyaccurate requested: "Hii! Can I request a Dean and/or Sam Winchester (sepperate) x fem! Reader set in season two, with an established relationship, where it's like when Gordon kidnaps Dean, but instead of just Dean he also kidnaps reader. (I can imagine if it's a Dean x reader Gordon uses reader to get Dean to not try anything, and if it's a Sam x reader Sam just going even more ballistic than he originally does in the show). Thank you!!"

Read it on AO3!

A/N: Beatles title. My first Sam fic! Honestly, it was really hard writing this one for some reason, and after five revisions I'm still not completely in love with it. Regardless, I hope you enjoy, and heed the warnings! Do not read if this will make you uncomfortable!

Sam Winchester Masterlist | Supernatural Masterlist | Main Page Masterlist

Gordon stared blankly at the wall in front of him while you tugged at the ropes on your wrists. A bandana was tied tightly around your mouth that tasted like dirt and your own blood. Dean was tied up to the left of you in a similar state, and both of you were staring down Gordon like it would kill him.

Traps lined every entrance from the doors to every small crack in the wall. Sam was powerful, but you doubted he could break through solid brick. Grenades, tripwire, even a shotgun trap that looked like something straight out of a movie; Gordon wanted Sam dead at all costs.

You knew your boyfriend would come to you and Dean’s rescue, but damn was this cutting it close. Gordon had already tried his best with Dean, but when it was your turn, he took his sweet-ass time.

He punched you, kicked you, even spit on you. Now, you tried your best to not scream as he dragged a knife against the soft flesh between your neck and shoulder.

You failed.

Biting down on the bandana, a muffled scream ripped through your lungs. You tried focusing on Dean, but he wouldn’t meet your eyes which were spilling over with more tears than you thought were in your body.

You could feel your blood dripping down your back and your chest, slithering its way to the floor as Gordon wiped his blade with the rag in his back pocket. He wrenched your head to the side, forcing the fresh wound close and for more tears to streak down your face.

He repeated his process on you a few times.

Your arms.

Your hands.

Your legs.

Every time somehow hurt more than the last, the hunter pulling open your skin and snapping it back together like a rubber band. Your vision was spotty, but you held steadfast to the thought that your boyfriend would be here any minute to save the day like he always did.

Gordon took a step back, wiping sweat and blood from his face and arms. He looked down at you with a glare that you’ve held plenty of times for the less-than-human creatures in the world. You guessed that, in his eyes, you, Sam, and Dean, were held in a similar regard.

Snaps.

Taunts.

Cracks.

Screams.

All because you fell in love with someone born under a bad sign.

You didn’t regret meeting Sam. Kissing him, falling for him, even the idea of just having him in your life was enough for your mind to justify the situation you were in. It wasn’t his fault you were having your life drained out of you minute by minute, and you hoped he would be smart enough to know that.

“Sam’s going to be here any minute, you know. Gotta convince himself he’s the hero of this story, and I’m the big,” Gordon turned to you, knife in hand, “bad, evil dragon. But I’m not the one with demon blood, am I, Y/N?” He placed the edge of the blade against the bottom of your chin. You could feel the cold steel heavy against your skin, and any sudden move would surely spill even more of your blood.

Dean glared at Gordon, his face shades of purple and blue, which mirrored the pain you felt along your entire body. Gordon dug the knife into the bottom of your chin, piercing your skin ever so slightly, but not enough to fatally wound you. Your mind was trying hard to hold onto the cracks of reality that remained in your vision; the smell of the dingy house you were in, the feeling of the carpet making contact with your boots, anything that wouldn’t send your consciousness reeling over was enough of an anchor for you to hang onto.

Gordon walked away from the two of you, returning to his position of peering out one of the boarded-up windows in wait for Sam. You glanced at Dean, which granted you a glance back from him. His eyes were dry, but they held enough behind them to let you know what he was thinking. Sam was going to burst into this booby-trapped hellhole, and Dean could do nothing but blame himself.

It’s all your fault, really, a thought that smashed through what you knew was the truth said.

This isn’t any of our faults, you told it back, wanting to tell Dean the same. Sam wasn’t to blame for the two of you being taken, and neither of you was at fault for being used as bait; it all landed in the hands of the rogue hunter who deemed himself holier-than-thou.

Though you couldn’t see yourself, you knew you were starting to resemble a bloody pulp more than a human being. Dean could barely look your way for longer than a second, and deep cuts that surged whether you moved or not continued to scrape away at your consciousness.

Gordon disappeared, and as you tried to turn your head to follow him, you felt a burning pain across your chest. Highlighted by a spurt of blood splattering over your thighs, you wanted to vomit. The top of your head started to feel like it was being lifted off from the rest of your skull, and the black spots in your vision connected at the edges of your eyes.

You grunted, head going slack and opening wounds on the back of your neck. Either spit, blood, or bile dripped out of your mouth, but at that moment you didn’t care- the black at the corners of your eyes bled together, and all you could do was limply hope Sam would find you.

You blinked, slowly, noticing light creeping in from the boarded-up windows. The second thing you noticed was the searing pain in your body, coupled with grunting and what you could guess was a well-landed punch.

“Y/N!” Someone called out to you, but you could barely lift your head to meet their voice. The bandana in your mouth was pulled away and hands cupped your face, warming your skin that was ice cold after losing so much blood.

The hands left your face and moved to the ropes at your wrists, cutting them off quickly and placing your arms in your lap. You forced your eyes up high enough to see it was your hero, Sam, standing before you with tears starting to fill his eyes. If your face would’ve let your smile, you would’ve, but every movement flashed the memory of Gordon cutting into you.

Gordon.

“Where’s-” You managed to sputter out through a sore jaw and a severely dry mouth.

“Dead,” Sam answered coldly. For the first time, you noticed his knuckles were a hue of bright purple, complimented with blood splattering up his arm. Sam moved your arms around his neck and picked you up as gently as he could.

“Dean’s already in the car patching himself up. I’m going to try and lay you down in the back seat so we can get to the closest hospital. I left Gordon in the room by the first door, so keep your head to my chest if you don’t want to see him, okay?” He asked softly. The tears that were in his eyes had faded slightly, but you could see the emotions he’d no doubt try to hide later on. Regret, blame, guilt - the more he looked at you, the more you could sense that your battered state was tearing away at his consciousness. You wanted to reach out, hold his face, and tell him you’d be okay, you’d survived worse, that it wasn’t his fault, but your thoughts were halted by Sam stepping past Gordon’s body.

If you could call it a body, that is.

His nose was sunken into his face enough that his eyes were slightly popping out of their sockets. His mouth had more gums than teeth, which were scattered around the room. He was lying against a dresser, and his limbs were spread out in the wrong directions. You thought you saw a bone, but before you could look closer, Sam turned and shut the door behind you.

Sam laid you across the back seats of the Impala, trying his best to be gentle with the abhorrent number of cuts across your body. You couldn’t guess how the hospital wasn’t going to ask questions, but you hoped the brothers would figure that out. Your head laid in Sam’s lap, and he looked out the window as Dean buried Gordon.

“Sam,” you slowly moved one of your arms to his face, bringing his attention to you, “thank you. You saved us both. You had to do what you had to do.”

Sam smiled but still didn’t say a word as he dipped down and planted a gentle kiss on your forehead.

You wanted to be able to tell him everything your racing mind was coming up with but were beaten by the overwhelming need to not move. Dean climbed into the front seat, beating the gas pedal to the floor and hitting the highway as Sam ran his fingers comfortingly through your hair.

[thesilverlady]

rhaenyra does have flaws in the book. Nobody denies it. But her "taxing starved people" was due to Aegon/the green party having robbed all the gold. So her choice was to raise taxes in hopes of somehow stabilizing the economy.

it wasn't a great plan 'cause war was still happening so the backlash is expected. But in desperate times you take desperate measures.

also lmao let's not be hypocritical here; Aegon at the start of the war threw feasts, and even built statues. Do you think those came cheap?

He fucked the economy and Rhaenyra had to deal with it.

Also you addition really adds nothing neither to the question from the anon nor to the reply from me.

Do you think rhaenyra was whitewashed in the show?

100%

whitewashed, butchered, whatever you wanna call it she's definitely not canon rhaneyra.

show Rhaenyra has two personalities; young vs older her. Because the two never had a nice transition that interconnected the two versions.

young Rhaenyra is basically show Arya coded. She's a tomboy, rebellious, and short tempered. She wants to make change but she doesn't know how. She's insecure about whether she'd ever be accepted but at the same time does nothing to learn and to stand up for herself other than whine to her father and uncle. She's terrified of childbirth, has no interest to get married but gives in to... kick otto out. yep

Older Rhaenyra is incredible passive, somehow more naive, is ready to give up her throne to avoid violence (because sure that's how it works). Is protective over her children but still doesn't stand up about herself.

Neither versions are anywhere near to how book Rhaenyra is written, and it breaks my heart because she was one of my favorite characters from the dance but unfortunately she's as much of a victim as the rest of the characters are

[guardianofnightmares]

Forbidden

At that moment Bumblebee finally realized that he couldn’t keep the paranoid thoughts locked inside his processor anymore.

He desperately needed to speak to his friends, consequences be damned. He had to make sure that he’s not glitched in a processor. That what he got himself into was a right course of action for any good-natured Bot.

... or, rather, for any sensible Prime.

Hence why, after making a deep inhale, a minibot finally forced the dreaded words out of his intake:

"... is it wrong that I feel... bad for the prisoners? That I... periodically... h-help them?"

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Hello everyone, long time no see). Can hardly believe it's been a whole year since the last @blitzbee-week event and man, was I glad to participate in it once more. All of works were submitted on time to an event chat, but, unfortunately, I am uploading them here only now (full-time job drains me up).

Anyways, here is my first drawing from BlitzBeeWeek event Promts List. I think it will be fair to mention that this and next couple of my works will be dedicated to my fanfic called "TFA: Icarus". I will leave a link [here] for anyone interested to give it (and an existing teaser) a try. And yes, I am, in fact, going to finally upload first chapters pretty soon, it's happening, guys))). Thanks a ton for everyone who left their kudos there throughout a year, you have given me courage to put this behemoth of a story on paper and actually work it through.

As for the current entry for an event, I will provide part of a draft to one of chapters which is related to a depicted scene. It'll be "hidden" under a cut line for anyone wishing to get a more... fleshed out picture of what's going on here. Hope you'll enjoy reading it)

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“Bumblebee… are you listening to me?”

It was beyond confusing for Ratchet to see a younger Bot acting so out of touch with reality. He’s hunched over a console, helm resting in one servo while a wielding tool was twirled slowly in digits of another. Bumblebee looked so tired, clearly not caring about a task at servo, nor about an advice coming from his elder friend.

White and red Autobot knew how cheerful Bumblebee got each time they met via video calls, clearly waiting for a chance to talk to old teammates, even if these calls didn’t last long. That’s why him being so silent and lost in own thoughts was that much more worrying to witness. 

Upon being prompted again, the young bot finally raised his optics, the weight of his gaze almost making Ratchet flinch in surprise - to think that a recently promoted Prime was capable of behaving so out of character was indeed an alarming sign of change. 

The truth was, the minibot couldn’t help but to act all secretive, as if he’s done something wrong. 

Because, all things considered, he has. 

Minibot was well aware of what his actions could lead up to. All those rendezvous and revelations were such a dangerous subject to talk about, something that surely could lead him to being court marshaled if he’s caught by anybot. And what’s even worse - Bumblebee wasn’t certain whether telling friends what’s been troubling him was a good idea. 

Surely they’d not rat him out… but would they continue interacting with a yellow Autobot if he shared said secret with them? Wouldn't it be more mature of him to leave mechs oblivious (in order to protect them) and let his fears to silently fester in his processor?

... yet, to his shame, a minibot felt his resolve to keep his intake shut breaking upon seeing a haunted expression on Ratchet’s faceplates. Bumblebee wished he hadn’t looked up into the wise optics of his, those that seemed to read him as an unlocked datapad. How could he play it cool when a medic was looking at him in such a manner?

“…kid?” Now Ratchet was truly worried for his companion. He wasn’t even certain he’s ready to hear an explanation, but knew in his spark that he had to get to the bottom of a problem for minibot's sake.

At that moment Bumblebee finally realized that he couldn’t keep the paranoid thoughts locked inside his processor anymore.

He desperately needed to speak to his friends, consequences be damned. He had to make sure that he’s not glitched in a processor. That what he got himself into was a right course of action for any good-natured Bot. 

… or, rather, for any sensible Prime. 

Hence why, after making a deep inhale, a minibot finally forced the dreaded words out of his intake:

“… is it wrong that I feel… bad for the prisoners? That I… periodically… h-help them?” 

… a fleeting moment or relief at voicing his concerns instantly evaporated, changed to regret once he saw Racthet’s optics widening beyond usual capacity and heard Optimus sputtering and coughing on his energon ration off the camera. 

Such reaction made Bumblebee hide his helm between shoulder pauldrons in a clear sign of dread - so much for the support coming from teammates it seemed. 

“What?” Optimus asked after standing up from a table he’s sitting next to, the stool screeching audibly after a mech span in it. “Help them? What do you mean by that, Bumblebee? Are you alright? Do they… force you to do something for them or..?”

Minibot didn’t answer any of those questions. Wasn’t able to do it under the searching gaze of an elder mech’s optics which seemed to pin him to his own stool. Bumblebee felt like energon was going to freeze in his lines and tubes from a rising horror. Time seemed to stop for him, not unlike inner mechanisms in a frame of his. He couldn't utter a single sound, words swimming in a jumbled mess that was his processor.

What could he possibly say in his defense, now that his teammates knew of his secret? That there was a proper reason for him to feel pity for the inmates? That he was the only one to keep those mechs alive because nobody else did? That perhaps, Primus help him, all this time they were held in prison, somebot tried to take them out of game by starving them to their deaths?

A yellow Bot clearly hasn’t thought the conversation through, just as he always did, hasn't prepared himself for such a reaction even, and now that mistake was biting his aft. 

But then… then minibot heard something that immediately tore him from a panicking state he got stuck in. 

“I’ll take care of it, Prime.” Ratchet announced in a calm tone, breaking the tense silence which settled over the video call. Bumblebee was so stunned that he didn’t register those words right away, looking dumbly at warm optics of a mech on the other side of a call line. 

“But-“ 

“Optimus.” Medic cut off his commanding officer in a stern but good-natured manner, showing that he knew what he’s doing. Trusting the judgement of an older Bot, red and blue mech nodded to him and stepped away from a console, giving both of his friends some room to talk to each other. 

Young Prime could hardly believe what he’s been witnessing in front of him. Afraid to hope that his situation might’ve not been so dire after all. Baiting his breath, he watched red and white Bot turning to him again and leaning closer to a screen.

“Bumblebee, tell me, what’s happening back on Cybertron.” Ratchet asked his young friend, trying to look as non-threatening as possible, ready to tentatively listen to everything minibot’s about to say. 

And that’s when Bumblebee understood, felt it in his spark which gleefully thrummed in his chest that his old teammates were not mad at him - only worried for his well-being. Said realization made the built up over orbital cycles tension leave his frame and gave him courage to answer as honestly as he could.  

“You don’t know even half of what's going on, guys,” He stated after a breath moment of silence, then scooted on his chair closer to a screen as well and continued speaking in a hushed tone as to not to be heard by anyone else on his side of a video call. 

While retelling the recent events, which took place in Tripticon Prison, young Prime couldn’t help but periodically glance at a screen to his right side, a list of main convicts taking up most of its surface. 

Their stern gazes seemed to burn a viewer with hostility. Evil, cold, sparkless optics on unsightly faceplates. That’s what fellow guards always tended to whisper to each other either in fear or in bold mockery while walking down the hallways.

But to Bumblebee the very same pairs of optics, those he'd looked into more times then any of the local mechs, more then his friends even, told another story. Each time he saw Decepticons, bound and stripped of their weapons, there was no rage in their expressions, nor malice or contempt - only an eternal tiredness, hopelessness... and resignation with Fate.

Warframes. Mighty mechs being brought to their knees and stripped of their pride. Truly a sight which made minibot feel more miserable then three inmates he tried to take care of.

“Bossbot… Ratchet… please, come back here as soon as you can," Recently promoted Prime finally said as a conclusion to his speech. "I… I am afraid I won’t be able to handle this situation on my own anymore.”

[fixyourwritinghabits]

No Such Thing As Filler

Okay, so yes, this is another post based on something I saw that irritated me, but it seems like this idea keeps coming up, so I need y'all to internalize this. There is no such thing as filler in good writing. None. Do not approach your work thinking you have to fill space in a story, I will beat you with this wiffle bat. Don't ask me where I got the wiffle bat. Don't even worry about it.

The idea of filler comes from a very particular place - when an anime or TV show has to fit in a certain number of episodes, but doesn't have enough content (hasn't caught up with the manga, the source material isn't long enough, etc) to cover those episodes. An episode has to be written, but the characters can't really progress, and so are given something else to do. Many a trope has come from these episodes, and they're sometimes necessary. Filler in this context is something that makes sense.

The dark side of filler is the idea that you need some space between Big Event 1 and Big Event 2 in your story, therefore you need throw anything in there to take up space and make your word count. This is a mistake I've made and I've seen plenty of other writers do it too, but it's a huge waste of your time. You do need something between those big action scenes, but you should always be writing to accomplish something.

Instead of thinking of that writing as filler, try to approach it with three things in mind:

Move Forward With Character Development and Backstory - Your characters barely survived a huge gunfight, and they won't encounter the big bad again for another few chapters. How do your characters decompress from that gunfight, and what does that say about them? Did a cocky character go in guns blazing, only to be deeply shaken by how a real fight works? Did that fight spark a moment of deep trauma for the main character that they have to reflect on afterwards?

Filling this space with meaningless scenes is a huge waste of opportunity. Think about how to dive deeper into your characters.

Move Forward With Plot and Subplot Development - The bad guy beat the heroes to the stolen gem, but they left behind a clue to why they want it. However that clue could reveal some painful truths about the protagonist's beloved great aunt... Carmen Sandiego???

A major goal following a big action scene is having the characters figure out what to do with what they've learned and what to do next. It's where romance subplots or secret relative subplots make progress, when truths are revealed and next steps are taken. You can absolutely do this in any setting - a flirty conversation while at the battling cages, a tense moment of feelings while hunting down a wayward chicken - but your main goal is making progress for both the characters and plot.

Move Forward With Worldbuilding - Worldbuilding has it challenges, believe me. You don't want to write a chapter on how an airship works only to have to cut it later. But you should still try to flesh out your world, and you should do so with the perspective of how to use that worldbuilding to your benefit. Maybe a critical scene hinges on the main characters knowing how that airship works, or that lake your main character often stares at is the setting of the big Act 3 Boat Battle. The weather can play into both perspective and emotions. Knowing what the main character's house and car looks like can reflect a lot on their personal character or backstory.

When you're struggling with a scene or a chapter, rather than writing filler, take a few steps back and think. What can you establish with your worldbuilding? What can you reveal about your characters through their dialogue and actions? What subplot could you explore or add in these between moments?

Filler from a fandom perspective - Now let me make this clear - if you're writing a fanfic just to have a cute moment between the characters you like, or you really want to force everyone to do that weird Twilight baseball scene, that's fine. You don't need a grand goal to achieve for every story, there's no need to justify your fanwork in any way other than you wanted to do it.

But I'd also argue fanwork doesn't fall under the filler label either - something you create, be it a character snapshot or a 'what if the gang meets Slenderman' parody, isn't taking up meaningless space. It's something fun you did that you and others enjoy, and there's nothing wasteful or pointless about that.

[tesscourtes]

saw you had asks open, not a drawing request but wanted to know if there was any more story to your human bill’s punishment-for-weirdmageddon-is-to-turn-weak-human au, I really like it (sorry if you explained this a while back, I only just watched gravity falls😭I’m a late-comer to the fandom)

it’s just superepiccool to me, how are dipper and mabel about him being human now? Soos n Wendy, Stan and Ford? What was it like for them (especially Ford) when he just turned human? What was it like for Bill?

oh hey don't worry, I haven't really talked much about the details of the AU like ... ever. I just started reviving it because I got my partner into the show (they are also a new fan! yay, new fans! Funny enough I had no idea TBOB was coming out so the timing was mad exquisite.) and they have just been an amazing help shaping my messy thoughts and coming up with new, fun plots! It's also nice to know there's someone out there interested in it, so thank's for asking! Now that I read TBOB I want to change the premise a bit, but the core is still the same.

Let me tell you this AU is silly. I'm aware Billford is toxic and there are many corners to dive into to picture their messy relationship. But I kinda wanna keep the spirit of the show here and make it equally as fun as it is disturbing. Given that Bill canonically is trapped in endless Therapy gives me even more food to work with, he just out there being toxic and people repeatedly telling him to cut it out.

I'm not gonna go into too much detail because I'm actually working on the first comic chapter for this AU, but regarding the characters: Each of the Pines, as well as Wendy and Soos, are not happy seeing him, but individually grow more accustomed to him and with him. I guess going from "most accepting" to "least accepting", Mabel took it the best. I wouldn't say she was quick to forgive, but quick enough to give the guy a chance. And I honestly have to say that, although this is 100% a Billford AU, there's so many plot ideas for just Mabel and Bill and their amazing, chaotic shenanigans. Put these two together and the stories basically write themselves. Wendy is pretty similar, and the most chill in actually helping Bill figure out human stuff.

Naturally, Ford took it the hardest. I'm aiming for slowburn here, haha. They got to figure out some stuff that I'm so ready to put onto pages... Ford is a lot of emotions. Confused, angered, curious... Meanwhile Stan is Bills biggest hater. (There is a lot of bullying in this AU) He just keeps up with it because his Family makes him. He's very protective and tries to kick Bill out several times. Soos sticks with Stan, but he's also Soos and has a big heart, so in Bills eye, he's very gullible and a target he can mess with easily.

Dipper is not a fan either, he has a hard time adjusting to the triangle just getting to ... be there. He's suspicious for the most part and Bill has to try hard to get on his good side. But honestly he might be more upset with Mabel (and later on Wendy) for making friends with Bill so easily, even though he knows that's just their nature. I just recently started thinking about Gideon and how I'd like to include him, but nothing worth mentioning so far yet.

With Bill himself, one my favorite parts trying to portray so far is how he's dealing with his new mortality. He adjusts to the body fine, he knows how to navigate flesh, but he has a hard time accepting that it's his body. His new prison, essentially. If it's gone, he's gone. If he treat's it like shit, he feels like shit. Then we add the psychological aspect of things. And more importantly, we add Ford to the equation. When I tell you, that demon is experiencing psychological damage here, and it's fully his fault. TBOB really pointed out to me that I need to dive into his obsession with Ford. How do you even get a man you fumbled so bad, to even acknowledge you again?

I love yapping about this AU, thanks again for giving me the grounds to do so anon! I'm an insecure writer so it'll probably take another hot minute to choose which script feels best to draw out, haha. But I'm glad you seem to be up for the ride!!

[burntoutdaydreamer]

3 Steps to Improve Your Characters and Make Them Three-Dimensional

So I don’t have a process for creating/developing characters (to me the process is intuitive to the point where I wouldn’t even know how to explain it), but I do have a process for revising characters that just… fall flat, for whatever reason. 

I like to get to know my characters by throwing them into a bunch of different situations and seeing how they react, but sometimes that’s not enough. In these cases I need to go back to the drawing board and figure out how to make them not feel like a cardboard caricature of the role I need them to fill. Here’s the process I use, and it involves three key questions to understand what makes your character tick.

1) What is this character’s fundamental belief- either about the world or themself?

2) Where does this belief come from?

3) How does this belief hinder them, and are they capable of growing past it?

Alright, here’s what the process looks like in action. 

Let’s say I have a character I need to flesh out for my story.

Character A is a middle aged coffee shop owner and the protagonist of her story. The central conflict of the story revolves around trying to save the family run coffee shop she inherited from her father when he passed away, which has recently fallen on hard times.

What is this character's fundamental belief?

Character A believes that the world is an inherently good and fair place. She believes that good is always rewarded and bad is always punished, even if the timing isn't always perfect. As such, she strives to live a virtuous life, putting as much good into the world as she possibly can. While she understands that even good people can face hard times, she believes that in the long term, if things don't work out, it'll be because she didn't put in the work needed to turn things around.

Where does this belief come from?

Character A grew up in a solidly middle class household with good parents that treated her well- rewarding her for good work, and fairly punishing her for misdeeds. Her parents gave her everything she needed, but also expected her to work hard for the things she wanted. She also had the experience of watching her father build a successful business through hard work and by building strong connections with the people in town. If we want to push this further, we could also say that this belief was reaffirmed by watching her brother ruin his own life, squandering all his money and goodwill with those around him on failed get-rich-quick-schemes and outright scams that landed him in jail.

How does this belief hinder them, and are they capable of growing past it?

Let's say that Character A recently hired a barista who seems perfect for the job. Strapped for help, she gets him started right away before getting the results of his background check. When the results come in, she finds out that he is on probation and was recently released from jail for a violent crime. Shocked, she fires him. Believing that people who end up in jail always deserve it, she can't see past her initial prejudices. As a result, her coffee shop suffers from the loss of her new star barista.

Some time goes on, and Character A encounters the barista again, and learns more about the circumstances that landed him in jail (maybe he was falsely convicted, maybe he was battling psychosis, maybe the violent act was done to prevent a loved one- anything that makes her question her initial assumptions). He then confesses that he is struggling to provide for himself and his family because no one will hire him because of his criminal record. Character A comes to realize that her belief isn't completely true, and that the world isn't entirely fair. Though it takes a lot of inner work to do so, including coming to terms with her privilege, she eventually accepts this, and revises her beliefs. She decides that even though the world isn't fair, people have the responsibility to make it fair.

She decides to re-hire the barista she fired. After doing everything she can to make things right with him, she proposes an idea she wants his help with. Together, they transform her family business into a joint coffee shop and community rehabilitation center. In addition to selling coffee, they also launch a program to provide resources to recently incarcerated individuals looking to reenter society. They'll host weekly events on job interview coaching, alcoholics anonymous, motivational speeches, group therapy, opportunities to connect with open-minded employers, and more. Their promotion of this new program enables them to secure funding from local patrons and public grants, and customers are willing to pay for more expensive coffee with the knowledge that that money will be put to good use.

Additionally, if we want to go with the brother in jail backstory, we could have this ending be an opportunity for her to reconnect with him and maybe even repair their relationship as she gets to see him in a new light.

Main Takeaways

And there you have it!

You can use this process on any character- protagonist, antagonist, side character, etc. By grounding your character's motivations and development in their beliefs, you can easily introduce depth and internal conflict while keeping everything connected to the themes and plot driving your story.

Depending on your character's role or your story's plot, the belief can be wide reaching and complex (such as a philosophy or ideology), or specific and personal (such as having to do with their self-esteem). Either way, it should always be tied to their personal experiences or observations. This doesn't necessarily mean a tragic backstory. It could be, but I encourage you not to make this your default way of creating character depth. A mundane but grounded and sincere motivation will always be more compelling than cheap, dark shock factor.

Generally, protagonists with happy endings and villains with successful redemption arcs are capable of moving past their beliefs, while tragic heroes and antagonists aren't, and this failure is usually the source of their downfall. Keep in mind that even if characters do move past their old beliefs, it will always be a difficult thing to do. It will require them to confront their own mistakes, biases, and emotional wounds, and require both internal and external work in order to fix whatever their old beliefs have damaged.

Hopefully this guide will help you approach your characters from a different perspective. Feel free to share any insights.

Happy writing y'all!

[beggars-opera]

Ok, so I live in one of the more liberal areas of the country. Our governor is a lesbian and I literally did not even know until after she got elected, because it was that much of a nonissue.

Lately, I'm seeing more and more local institutions doing things for Pride. Institutions that don't necessarily have to, or do so awkwardly, but they're trying to be good allies. And, even here, I see people foaming at the mouth. This thing is ruined. Unprofessional. Political. Sexual. Boycotting, disgusted, bye.

And a part of me is like, "Why would a random store, a museum, a restaurant, do this?" Part of my mind has been so corrupted by the idea of rainbow capitalism that the thought of someone just...trying to be an imperfect ally is a cash grab.

It's not. Every bit counts, and especially as we see pushback, and see some of those corporations beginning to rethink their rainbow capitalism, the places that continue to speak up are so, so important.

I'm reminded of a rant by Illustrious Old White Man Historian Gordon Wood a few years back where he lamented how fragmented modern history is. Why do we need ANOTHER book about women, about enslaved people, about the poor? Why are we focusing on these people instead of George Mount Rushmore Washington?

And it was an interesting framing, because he insinuated that these micro histories were bad not because they existed, but because they didn't give the whole story, which in Gordon's mind was a story in which they were the side characters instead of the mains. To that end a biography of G Wash that features the bare shadow of Billy Lee in the far distance is a complete history, all that needs to be said, because one of those figures is a God Amongst Men and the other does not deserve to be fully fleshed out as a full, autonomous human being with a family and a profession and a beating heart. And a biography of William Lee, war aid, professional valet, and person closest to the first president of the United States, with the shadow of George in the background, would consequently be Bad History, because no one is saying that this man didn't exist, but his story isn't the whole story. It's backwards; he should be a footnote, and if he's not, that's bias.

But for me, as a historian, I know that the reason these microhistories exist, and are so important, is that they didn't exist before. Before someone can be truly, purposefully, tactfully inserted into the historical narrative, you need to know who they are. Not just as a name, not just as an archetype. You have to get to the point where there are so many books flooding the market about women and children and immigrants that it's no longer controversial to be talking about them, where learning about them instead of someone else is normal.

THEN you can feel good about rewriting the more general narrative. THEN you can actually have the information you need in order to put things into their proper context, to rethink the most important figure in each story, to assess what the full milieu of the time is.

And that's where we're at with Pride. We are still very much living in a time where queer people are shadow characters in the background. They are people that many will admit exist, but for god's sake, don't make them important, don't make them real, don't make them normal. And until we can shove rainbows down everyone's throats to the point where being queer is no longer seen as a thing that is Other, until we convince people that we're not going away, we will never be able to fully assimilate queerness into society.

We can't just be normal about Pride, because normal isn't loud enough to not get drowned out.