#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

[gracheeee]

I love FNaF, ever since practically the first year it came out, I love it, seriously. I remember I was the weird kid in 2014 and after because I loved FNaF so much.

When it came out I was like 7–8 years old, and now I'm 18, and it feels so good to have this wonderful game as something that impacted my life so much, it made me meet new people, that I don't talk to any more, but remembering all the class time we spent making theories and trying to analyse the games are just gold (pun intended).

Being able to see the game go from 0 to 100 was amazing, and I shall present you my interpretation of William and Michael Afton.

William is someone who doesn't look intimidating at all, always has a wide smile, I actually saw a Reddit post comparing three types of Williams (u/r0pp0p) the Babadook, the Tumblr sexy man and some kinda European toymaker, mine would be a mix of those three types, in the exterior he looks and acts like a wanky guy kinda silly, has some fascination with his furry suit (cof cof Springbonnie springlock suit cof cof), actually is a good father, so the turn out of his real personality is kinda more terrifying, he breaks when Dave (CC for me its Dave, well actually David, sorry guys) gets killed in the bite of 83' and that's when chaos unleashes, and well, you all know the story, right? Then Michael, our main character, is someone who actually I haven't actually thought why was he so mean to CC in the events of the fourth game, anyway, he used to be some wannabe rebellious teen, and he actually was, until he killed CC, and he entered a state of grief, he does everything, literally everything, worked in Freddy's (for the free pizza) two times, got fired two times for tampering with the animatronics and having bad odour (but if you believe he got scooped after being a security guard in the second, and first games, and presumably in the third game), got tricked into going into Circus Baby's Pizza World (CBPW) to find his sister, he got scooped, and his body was then used as a shell for a robot within his flesh, then supposedly was the guard of Fazbear frights, and later burned that restaurant down, did I mention the animatronic that tries to kill him in that game is his own dad? Then works in Freddy Fazbear's Pizza Place and then finally dies burnt after he and his dad ex business partner and old friend, decided to free the souls, what hasn't he done?

[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?

[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

[asteria-argo]

i can feel myself getting preemptively annoyed with some of the comments I might get on the next chapter of to all the better places and let me tell you it's making it really hard to write this chapter in peace

[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.���😍💦🥰

[be-good-to-bugs]

:)

[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

[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."

[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.