#the dialogue��the visceral descriptions…..

[anna-scribbles]

what a shame, i can see it all now that we’re through

- firearm by lizzy mcalpine

(chapter 5 of call it even is making me feel bonkers insane. thank u @sha-nwa)

[literaryvein-reblogs]

Writing Notes: Fight Scene

How to Write a Convincing Fight Scene

In practice, writing a realistic fight scene for your novel is one of the hardest things you’ll ever do.

That’s because fight scenes can be boring to read.

A movie allows the audience to take a passive stance and have the action wash over them.

In contrast, reading a fight scene requires the audience to activate their imagination.

The audience must participate in constructing the fight scene from your clues and seeing it play out in their mind’s eye.

That’s a lot more difficult than getting it fed to you visually.

Below are strategies for writing fight scenes.

Fight Scenes Should Move the Story Forward

The very first rule for fight writing (and writing any scene in general) is to ensure that it moves the story forward.

Say “no” to gratuitous fight scenes that only show off fancy moves or writing skills.

Here’s the easiest way to find out if your fight scene moves the story:

Delete it.

Now, read the scene before and the scene after.

Can you still make sense of what happened?

If the fight caused some type of transition in your story, keep it in.

And remember: Not all transitions are physical. Some are mental.

You don’t always have to discuss the physical aftermath.

You can also explore the mental fallout after a fight.

This can be how the fight moves the story forward.

Fight Scenes Should Improve Characterization

Because reading a fight scene can get boring quickly, it’s important that you focus on more than the bare-knuckle action.

Use fights as a way to explore your character(s) and provide more insight on the following:

Why does the character make the choices that they make in the fight?

How does each choice reinforce their characterization?

How does each choice impact their internal and/ or external goals?

Is this conflict getting the character closer or further away from their goals? How?

What are the stakes for each character? What do they stand to win/lose?

What type of fighter is the character? What are their physical or mental abilities? (Remember that not every protagonist will be a trained assassin, so they’re prone to make sloppy mistakes during a fight.)

Use the fight scene to reveal necessary information about the characters.

Be sure to give the reader a glimpse into the character’s soul and not just into their fighting skills.

Fight Scenes Shouldn't Slow the Pace

In movies and especially in real life, fights go by quickly.

But in literature, fight scenes can slow the pace.

That’s because you have to write all of the details and the reader has to reconstruct the scene in their minds.

However, if you employ certain literary devices into your narrative, you can actually create a taut fight scene.

Here are some tips:

Write in shorter sentences. Shorter sentences are easier to digest. It also speeds up the pace of a story.

Mix action with dialogue. Don’t just write long descriptions of what’s happening. Also, share the verbal exchange between your characters.

Don’t focus too much on what’s going on inside the character’s mind. Introspection happens before and after a fight, not during.

Keep the fight short. Fights should never go on for pages (unless you’re discussing an epic battle between armies, and not individuals).

Hit ’Em With All the Senses

One of the best ways to get visceral when describing a fight is to activate every sense possible.

This includes sight, hearing, taste, touch, and smell.

Think of how you can use these five descriptors in your writing to immediately transport the reader to the scene.

Sight 

Perhaps the most obvious.

You’ll describe exactly what the characters are seeing and what the reader should pay attention to in the scene.

Hearing 

Is a little more delicate.

A fight scene is a perfect time to introduce onomatopoeia into your narrative.

Onomatopoeia - a word that sounds like what it is describing.

Try using more subtle examples, such as:

Boom, Clang, Clap, Clatter, Click, Crack, Creak, Crunk, Fizzle, Gargle, Groan, Grunt, Gurgle, Hiss, Howl, Hum, Knock, Plod, Rattle, Roar, Rustle, Sizzle, Smack, Splash, Splatter, Squeal, Tap, Thud, Thumb, Whine, Whisper

Taste 

Be careful with going abstract here.

Instead of using phrases like, “he could taste fear in the air,”

go for something more concrete like, “blood mixed with strawberry lip gloss was a strange taste.”

Touch 

Perhaps one of the easiest senses to convey.

Describe how the characters feel and interact with each other physically.

Smell 

You often see or hear a fight, but can you smell it?

In person, what would the fight smell like? Probably sweat.

Consider other scents, such as the ambient aroma in the scene.

Example: If the fight takes place in a car garage, there may be the lingering scent of motor oil and tire rubber.

Don’t be afraid to add that into the scene to introduce a different dimension.

When Writing a Fight Scene, Edit, Edit, Edit

A good story is an edited one.

The same rule applies to fight scenes.

A sloppy fight scene can slow the pace of your story and/or confuse the reader.

When editing your fight scene, keep the following in mind:

Don’t include a blow by blow of what happens in the fight. After your initial draft, remove non-essential details that can slow down reading.

Delete flowery language. Extra words drag the pace. Remove every single word that you can.

Consolidate characters to reduce reader confusion and frustration.

Source ⚜ Fight Scenes (Part 2) ⚜ Words for your Fight Scenes Word Lists: Fight ⚜ Poking/Hitting ⚜ Panting ⚜ Running ⚜ Pain

[hayatheauthor]

Caught in the Throat: A Writer’s Handbook on Choking (Non-Violent)

The act of choking is so over-sexualised I genuinely could not find any more 'normal' pictures to use so ignore the banner lol

Choking is one of those scenarios that can instantly elevate tension and drama in your writing. It’s a visceral experience, both for the character facing the threat and for the reader witnessing the struggle. In this guide, we'll explore the mechanics of choking, the physiological responses involved, how to write believable choking scenes, and common misconceptions to avoid. 

1. Understanding Choking: The Basics

Choking occurs when an object obstructs the airway, preventing air from reaching the lungs. This can happen with food, small objects, or even vomit. Here are the two main types of choking:

Partial Obstruction: The airway is not completely blocked, and the person can still breathe, albeit with difficulty. They might cough, wheeze, or make high-pitched sounds.

Complete Obstruction: The airway is entirely blocked, leading to the inability to breathe, speak, or cough. This situation is life-threatening and requires immediate intervention.

2. The Physiology of Choking

To write a compelling choking scene, understanding the physiological response is crucial. Here’s what happens in the body during choking:

Immediate Reactions

Panic Response: When choking occurs, the body's immediate response is panic. The character may instinctively grasp at their throat, eyes wide with fear, or try to cough to clear the obstruction.

Increased Heart Rate: The heart races as adrenaline floods the system. This physiological reaction prepares the body for a fight-or-flight response.

Physical Symptoms

Coughing: A natural reaction to a partial obstruction, this can be loud and desperate. The character may attempt to clear their throat while making frantic gestures.

Color Changes: A person choking may turn red in the face as they struggle for air and may eventually turn blue (cyanosis) due to lack of oxygen.

Loss of Consciousness: In cases of complete obstruction, unconsciousness can occur within minutes due to lack of oxygen to the brain.

3. Writing Choking Scenes: Key Elements

When writing about choking, consider these elements to create a vivid and believable scene:

Setting the Scene

Build Up Tension: Introduce elements that lead to choking, such as a hurried meal or a character talking while eating. This sets the stage for the choking incident.

Sensory Details: Engage your reader’s senses. Describe the sound of a sudden gasp, the character's frantic movements, and the panic in their eyes.

Character Reactions

Realistic Responses: Show the character's physical and emotional turmoil. Are they flailing for help? Are they frozen in fear? Their reaction will depend on their personality and previous experiences.

Dialogue: If the choking occurs in a dialogue-heavy scene, consider how communication breaks down. Words become garbled, and panic sets in, leading to frantic pleas for help or confused shouts from bystanders.

4. The Rescue: Interventions and Techniques

In many stories, the choking scene will lead to a rescue. It's important to depict this accurately.

Heimlich Maneuver

Description: The Heimlich maneuver involves standing behind the choking person, placing your arms around their waist, and performing thrusts inward and upward to expel the obstruction.

Effectiveness: Explain that this is often a last-ditch effort. The character must be calm and composed to perform this correctly. A panicked rescuer can make the situation worse.

Call for Help

Emergency Response: If the choking person loses consciousness, it becomes crucial to call for emergency services. Highlight the urgency of the situation, as every second counts.

Character Dynamics: Explore the relationships between characters during this crisis. A close friend or family member may react differently than a stranger would.

5. Aftermath: Consequences of Choking

After a choking incident, there will likely be physical and emotional consequences:

Physical Recovery

Injury to the Airway: Choking can cause bruising or damage to the throat and airways, which may result in difficulty swallowing or talking in the days following the incident.

Potential for PTSD: Depending on the severity of the experience, a character may develop anxiety around eating or a fear of choking again.

Character Development

Bonding Experience: Surviving a choking incident can bring characters closer together, creating a moment of shared trauma that deepens their relationships.

Change in Perspective: A near-death experience may lead a character to reevaluate their priorities or behavior, adding depth to their arc.

6. Common Misconceptions About Choking

When writing about choking, it's essential to avoid common misconceptions that can undermine realism:

Myth 1: Choking Always Looks Dramatic

In fiction, choking scenes can often be exaggerated for effect. In reality, choking can be subtle, especially if the obstruction is partial. Characters may appear slightly distressed before panic fully sets in.

Myth 2: People Can Talk or Scream While Choking

While they might make gasping sounds or attempt to communicate, a person experiencing a complete airway obstruction cannot speak or yell.

Myth 3: The Heimlich is Always Effective

While the Heimlich maneuver can be life-saving, it's not always effective, especially in certain medical conditions. It’s crucial to depict choking with a realistic understanding of its complexities.

Looking For More Writing Tips And Tricks? 

Looking for writing tips and tricks to better your manuscript? Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors! Instagram Tiktok

[imastoryteller]

Write Like a Director: Crafting a Cinematic Novel

Write your novel like a movie, propelling the reader through scenes with relentless momentum. Slash through fluff—each word should drive the plot forward. Let dialogue and action reveal character and backstory; trust your readers to connect the dots. Cut the fat from your prose; immerse readers in vivid, immediate experiences without drowning them in verbose descriptions. Every chapter should feel like a high-octane scene, leaving no room for boredom. Your narrative should be a visual, visceral rush, keeping readers on the edge of their seats, hungry for the next twist, the next revelation. Keep it tight, keep it thrilling.

---

+ If you find my content valuable, consider Support This Blog on Patreon!

[deception-united]

(Requested by @reallyradballoon. Hope this helps!)

When writing a scene where your main character is about to kill someone for the first time, it's crucial to convey the emotional and psychological turmoil she's experiencing. Here are some tips for wording the scene effectively:

Focus on her emotions: Describe her feelings leading up to the moment of the act. Is she feeling fear, guilt, anger, or a combination of emotions? Use sensory details to immerse the reader in her experience, such as the pounding of her heart, the sweat on her palms, or the tightness in her chest.

Internal conflict: Show her inner conflict and turmoil. Is she grappling with her morals, struggling to reconcile her actions with her sense of right and wrong? Is there a voice of reason in her mind urging her to stop, or is she driven solely by the heat of the moment?

Physical reactions: Depict her physical reactions to the situation. Does she hesitate, her hand shaking as she holds the weapon? Does she feel nauseous or lightheaded? Show how her body responds to the stress and adrenaline of the moment.

Descriptive language: Use vivid and evocative language to paint a picture of the scene. Describe the setting, the lighting, and any other details that contribute to the atmosphere of tension and unease.

Thought process: Offer insight into her thought process as she grapples with the decision to take another person's life. Is she rationalizing her actions, convincing herself that it's necessary? Is she thinking about the consequences of her actions, both immediate and long-term?

Action and aftermath: Describe the actual act of killing in a way that conveys its impact without glorifying violence. Focus on the aftermath as well—how does she feel immediately after the deed is done? Is there a sense of relief, or does she feel overwhelmed by guilt and remorse?

Dialogue (if applicable): If there is any dialogue in the scene, make it realistic and impactful. Keep it terse and tense, reflecting the heightened emotions of the moment.

Consider how the act of killing will affect your character in the days, weeks, and months that follow. Will she be haunted by guilt and nightmares, unable to shake the memory of what she's done? Perhaps she'll develop a visceral aversion to violence and death, unable to stomach even the sight or mention of it. She may shrink away from situations where she's forced to confront the reality of death, or refuse to handle or even be near the weapon she used to take a life (an example of this can be seen in Insurgent by Veronica Roth, where Tris, the main character, refused to use a gun even when her own life was in danger, since she used one to kill her friend). These reactions can add depth to her character and provide opportunities for growth and redemption as the story progresses.

Happy writing!

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[steddieunderdogfics]

This week’s writer spotlight feature is:  @wynnyfryd! Wynnyfryd has 34 fics in the Stranger Things fandom and all of them are in the Steddie tag!

i don’t know, you figure it out

Plot Holes

biting you biting you biting you- oh! kissing you!

Satanic Ritual: DO NOT WATCH!!

She's got some of the FUNNIEST writing in this fandom, and it's very snappy too like. She's an editing demon for sure, she can take a concept that I'd think would take paragraphs to explain and find the right words to make it hit just as hard with like, two sentences. I also really really love how descriptive her metaphors are, really visceral sometimes, and she's really good at writing realistic life events but still making them fun to read about even when it's about like, devastating shit. The sex she writes is also intense as hell! -- @griefabyss69

Below the cut, @wynnyfryd answered some questions about their writing process and some of their recommended work!

Why do you write Steddie?

I am but a humble bisexual — I see two beautiful brown-eyed men makin’ beautiful brown eyes at each other, I go a little insane for two years. It is what it is.

What’s your favorite trope to READ?

late-night moments of quiet hopeful hesitant intimacy over a shared joint or cigarette. Thin wisp of smoke between them, stars dancing in their eyes. Yeah. YEAHHHHHHH 

What’s your favorite trope to WRITE?

This isn’t really a trope so much as a dynamic, but I love a good dipshit 4 dingus dialogue-heavy scene. Don’t get me wrong, I think Eddie and Steve can both be very smart and knowledgeable in their areas of interest/expertise, but these are two young dudes with no access to the internet. I love letting them be confidently incorrect dumbasses. Just ‘yes and’-ing each other’s stupidity while an exasperated third character begs for mercy.

What’s your favorite Steddie fic?

Well, this question is impossible and furthermore rude. This question came into my home and didn’t take its muddy boots off. This question never mailed me a thank you letter for my lovely wedding gift. That blender was expensive; the absolute nerve. No but seriously, I think The Lathe by palmviolet is going to stay with me forever.

Is there a trope you’re excited to explore in a future work but haven’t yet?

I’m a big fan of doing canon divergence from different jumping off points — the beauty of having characters live in the same small town their whole lives is that you get so many great opportunities for these “what if our paths crossed sooner” moments.  I have some very loose notes for a S3 fic where Eddie is the movie theater employee who finds Steve and Robin in the bathroom after they escape the Russians, and I also have an old WIP set between S1 and S2 where lifeguard Steve rescues Eddie and then spends the summer teaching him how to swim. Would love to revisit those after I finish the trailer park AU (which I will be referring to as TPAU because my fingers are tired and because ‘toilet paper au’ makes me laugh.)

What is your writing process like?

Uhhhhh. 😂 I mean, for TPAU, basically just insert the scene from Dune 2 of Paul’s first sandworm ride: I’m shaking I’m sweating there is sand in my nostrils and I am surely about to die— oh wait, maybe I’ve actually got this? Am I actually doing it? Oh shit, look at me go!   For one-shots I like to use a more structured outline and bracket method. I start by dividing my doc into numbered scenes, with each scene getting a notes section and a prose section, like this:

This format gives me a lot of freedom to switch up the order of scenes and to move between scenes so I avoid writer’s block. I can also jump ahead to scenes I really want to write without making a mess of my outline. Once I have something written in the prose section of each scene, I go back and work on replacing each bracket with prose until there are no brackets left. Lastly, I create a new blank doc and copy the prose over in order so I can read the full fic and work on edits from there.  

Do you have any writing quirks?

I have been known to abuse a semicolon. And an em dash. And a conjunction at the start of a sentence. Yes, I do have ADHD.   I’m also a lyricist, so I feel like my prose tends to stray into poetry territory pretty often.

Do you prefer posting when you’ve finished writing or on a schedule?

When I’m finished! Which is probably why I tend to stick to one-shots; I get impatient and want to post stuff the second it’s ready.

Which fic are you most proud of?

‘i don’t know, you figure it out’ for SURE. I’ve never written a fic this long or stuck to a writing project this consistently in my life. Like ever. The last time I even came close was my first NaNoWriMo when I was 16, which was, uh… years ago, plural, and I’ll leave it at that. 😂

How did you get the idea for i don’t know, you figure it out?

“There’s a dead rat on his doorstep.” That’s it. That first sentence/scene popped into my head while I was bored at work, and then I started thinking, “hey, you know what? I don’t know that anyone’s ever done a fic where Max and Steve trade places for S4; that might be fun.”  And then NaNoWriMo was coming up, so I thought it would be cool to try live posting a fully improvised fic every day for a month to see how many words I could write. And then this tragic wet cat version of Steve Harrington grabbed me by the throat and took over my whole life.

When writing Satanic Ritual: DO NOT WATCH!!, what was something you didn’t expect?

How SAPPY these two got!! My god, boys, I’m trying to write smut over here, stop having a beautiful existential crisis! (I blame Briston Maroney for that though lol, I think I listened to ‘Body’ like 1400 times that month.)

What inspired Satanic Ritual: DO NOT WATCH!!?

@inklessletter posted this totally gorgeous art of Steve and Eddie recording themselves kissing, and I promptly lost my mind.  

What was your favorite part to write from biting you biting you biting you- oh! kissing you!?

This exchange: Steve: “What? I’m just asking!” Robin: “You’re being embarrassing!” Steve: “No, you’re just embarrassed. There’s a difference.” Like it’s just so them lmao

How do/did you feel writing i don’t know, you figure it out?

You know when you set out on a long hike in the summer and three hours later your calves are screaming and you’re covered in sweat and your sunburn’s starting to itch and this one horse fly won’t fuck off and your cell phone doesn’t even get service out here so literally WHY DID YOU DO THIS TO YOURSELF, and then you climb that last hill and look out on the most beautiful landscape you’ve ever seen in your silly little life? Basically that.

What was the most difficult part of writing Plot Holes?

Ooh, that one was fun! The only real difficulty was trying to keep it to a microfic because the concept could definitely be fleshed out to a full story — @griefabyss69 and I were joking around about “what if someone did ‘plot hole’ for the @steddiemicrofic prompt fill?” and then that fic just fell out of my head in about 15 minutes. 

Do you have a favorite scene and/or line from any of your fics?

For sure! I’m currently super proud of the graveyard scene in the most recent update of TPAU — I don’t write true horror often, but I love horror so it was really fun to give it a try! Favorite line from any fic is probably this reference to ‘You’re Divine’ in my fic Monsoon Season because I love uncomfortably-aroused prude Eddie, and his internal monologue cracks me up every time I think about it: Freddie Monsoon’s debut novel is called The Fourth Chime, and it is, as far as Eddie can tell, the first installment in a series of unapologetically filthy fuck fests about a man whose lover gets flung into an alternate dimension during an apocalyptic event and miraculously returns as some sort of… sexy bat-boy with a fucking horse dong and a bite kink. Critics are calling it “the most romantic novel of the last decade.” It’s me; I’m Critics.

Do you have any upcoming projects or fics you’d like to share/promote?

My main project right now is finishing TPAU if it kills me, but beyond that, I have a few one-shots for @subeddieweek in the works, including a collab with @griefabyss69 that I’m so so SO excited to share. It’s hot, it’s funny, I can’t wait for y’all to read it. 

Outside of these questions, Is there anything YOU would like to add?

First of all, as @wormdebut would say: I think you’re pretty. Thank you so much for all your hard work! I love this blog, and I love answering questions <3 Secondly: - Preheat your oven to 400 degrees. - Toss cubed sweet potatoes and parsnips, sliced sweet onion, and fresh garlic in a mix of olive oil, salt, pepper, and rosemary, and then spread in a single layer on a foil-lined baking sheet.  - Bake for ~40-45 minutes. (Potatoes and parsnips should be soft without being mushy when you poke them with a fork.) - Prep your sauce: I made a dijon drizzle situation by mixing olive oil mayo, a dash of dijon mustard, lemon juice, salt, pepper, garlic powder, and a splash of water, but you could also add a little dab of hot sauce, bbq sauce, or different mustards. Basically just grab like four condiments out of your fridge and play around with the flavors you like until you make a mix that’s thin enough to pour. - Drizzle roasted veggies with sauce. - Enjoy a very tasty side dish (or do what I did and eat the whole sheet as a meal like some sort of parsnip goblin because you were too lazy to make the main dish after chopping all those veggies) okay thank you love you byeeeee

Thank you to our author, @wynnyfryd, and our nominator, @griefabyss69! See more of Wynnyfryd's works featured on our page throughout the day!

Writer’s Spotlight is every Wednesday! Want to nominate an author? You can nominate them here!

[katyspersonal]

who do you think fucked up worse…gehrman or maria?

This is an interesting question, and I kind of didn't think of it before! Time to take a closer look at their crimes I guess. Some of these will be held on the possibilities and 'safe assumptions' though and addressed for the full picture!

1) Both were involved in Fishing Hamlet massacre!

With Maria, we can conclude as much because she discarded her weapons in the well at the place specifically. Her version in the Nightmare realm, a Hunter again, is supposed to be what punishes her, and she is focused on keeping Kos/OoK away from rummaging through. Considering the nature of the Nightmare, as well as the Doll who has spiritual connection with her, it should come from her guilt and regrets rather than.. I dunno, discarding the hunt over natural 'character development' and just picking a cool place to forsaken her past!

Gehrman sleeps better according to the dialogue Doll has after you kill OoK and free it's soul, so if it tortured him so, I think it is safe to say he had to be personally involved too rather than stay back while his students did the job:

They both were involved with Byrgenwerth, following their quest for obtaining the eyes of the dwellers from their skulls, and I suppose cord of OoK?

The thing about this point is that the description is written as though it was Gehrman's curiosity which ruined Maria's "idealisation" of him, or WOULD ruin it had she learned of it! This makes me wonder whether she was really involved in Byrgenwerth all that much, or whether she was aware of the real purpose of Fishing Hamlet massacre beforehand? Her goal, within the Nightmare, is stated to mercy-kill us so we don't allow that curiousity corrupt us to the point of "rummaging through corpse" and similar things, further supported by her visceral attack being an embrace if it is lethal!

I am just saying that here the balance might slightly shift towards making Gehrman 'worse' than her. Maybe she was not aware that it all was not just killing "monsters" but also a pregnant mother with her divine baby, but "well you didn't ask :/". Maybe Gehrman deceived her to use her aid. Maybe he didn't think it would be a big deal for her seeing that Maria was also interested in evolution through talking with Great Ones, and assumed she'd be just as callous about which means to accomplish the goals with?

2) Both were grave-robbing, or at least okay with that!

This one is a little less obvious, but Tomb Prospectors were not the first to go to the Chalice Dungeons! ...It were actually Willem, Dores and Gatekeeper lol:

BUT ALSO it were Old Hunters! We can see the remnants of it by Old Hunter Vitus being one the summons in Chalice Dungeons, hear Gehrman encourage us to go into the Chalice Dungeons to become stronger as via "tradition" of the Old Hunters,

and the fact that one of the things that torture Maria (again, remember that Nightmare Realm is Hell that punishes) is a Chalice:

(A video ( x ) for a better look at the Chalice from a figure)

I'd say that it is not very nice to disturb the undead Pthumerians just struggling in remains of their civilisation! Interesting thing: we can conclude they are even staying there to protect the Great Ones or their remains!

There has been some sort of civil war between ancient great-ones-respecting Pthumerians and who late became Cainhurst nobles! Maria, ironically, fell onto the side of "entitled guys" descendants! But yes, I could see why bullying zombie guys to get more history and archeology relics from them might not seem like much for her at start. Experience in the Fishing Hamlet likely retroactively ruined this period of her life for her: delving into Chalice Dungeons was likewise 'not leaving the corpse alone'. The remaining Pthumerians were right having some honour and dignity. So, that came to haunt her in the form of Pthumeru Chalice. Gehrman is.. well he's here too I guess dfshfdhs

3) Both knew a little too much about Laurence's shady business and did nothing?

Old Hunters used to be friends with Healing Church's Hunters and even had their workshops located close to one another! Gehrman was friends with Laurence and Ludwig, who are both quite strongly involved with Moon Presence (Ludwig's sword and guidance, Laurence's affiliation being known since Byrgenwerth times), as well as the key figure in creation of Hunter's Dream:

This was most likely a bait-and-switch, seeing how the cord itself is still in the real Workshop, and not in the grasp of Moon Presence (unlike, say, Wet Nurse taking Mergo's cord)! I think the purpose of creation of the Hunter's Dream was to "buy time" for the research conceived by the scientists! Remember: Gehrman was known to have "madness of curiosity" that Maria resented, or at least would resent had she known! He might have been fully aware of what Laurence wanted to do and support it! My point here, that with such proximity, he must have known of all Laurence's crimes and agreed with them!

Maria was at least overseer of the Clocktower's Research Hall, which, again, was just beta!Choir.

This last line IS a bit confusing, because it makes it sound as though the nerds looking for the Eyes Inside and the Blood Ministers got split. Laurence and Ludwig make it weird, as Moon Presence is also an Eldrich creature and Ludwig is for sure full of eyes! What also makes it strange is that Choir, and then School of Mensis, are both upper echelons of the Healing Church, but Laurence is supposed to be above both of them.

I think this can be worked with! Let's say what if Choir formed after Laurence's death, which also happened after Maria's death, and Vicars after him were somewhat "powerless" and walked over by Choir and Mensis, only leaders in the name! But that still leaves the bit that the mentioned "division" happened after Choir was formed! Maria and Adeline, however, are locked to the existence of the Research Hall, so, the timeframe when doctors and blood ministers were 100% working together! We find the Eye Pendant that opens the access to the Research Hall in Laurence's hand, and human Skull of Laurence on the platform that hides the secret elevator to that Research Hall. Again, by the Nightmare Logic, they must be connected with Laurence's sins: he started this research, or sponsored it, or was overseeing it, and so on.

This point is not an absolute thing though, because one or both of them might be freed from guilt here. Maybe Gehrman was not as informed and agreeable as we could assume and Laurence did lead him around? Maybe Maria wanted but could not do anything being caught in the web of complicated connections, blackmail and risks for the people she cared about?

4) Both are willingly involved in questionable practices (Maria with research, Gehrman with the cycle of Dream and Hunt)

This point I feel like transcends the morality a little bit, as it touches the matter of 'it is bad if you do it, but it is also bad if you DON'T do it'. I really love Soulsborne universes for having guts to say "you can't win, just pick your poison", but I think it is still worth addressing!

It is up to interpretation in which quantity Maria is involved with the Research Hall! Nothing states whether she founded it, joined in the research later, stepped in and turned the tides (ba dum tss) of the research, or simply was a caretaker/nurse/etc of the broken mess while Research Hall was getting ready for a bit of rebranding. She can be very guilty, or she can be barely guilty but in either case if that was her "redemption arc" that was a pretty bad way to go about it. ...or was it?

Fauxsefka turns people into Celestial Emissaries so they physically can't become beasts instead, and is even stated to be a hero / heroic researcher by Miyazaki:

First, I don't do Death of the Author (in terms of interpreting media I mean, not in terms of a style of writing)! Like, nope. Never. It is just not for me. Creator's word is the final for me; Fauxsefka is the good guy in the story, apparently, and it makes sense considering the fundamentally broken place characters are in! Maria has similarities with Fauxsefka: not only both of them have Cainhurst roots, but also both of them seem to favour 'Stars' line of evolution for humans!

Whereas other patients are afraid of the horrors of the Deep Sea, a concept Miyazaki could not get over well into DS3, Adeline desires them! Other patients seems to have gotten it right, and you can see one of them also clings to Maria mentally to "not drown"; Adeline "didn't understand"! The balcony that Maria wants Adeline to go to so she can forsaken the Deep Sea and seek something "happier" holds unique kind of patients who can shoot cosmic arcane spells:

Herself, Maria is associated with these lumenflowers: their petals are all over her boss arena, and the way to her lays through a much bigger batch of flowers, where Living Failures, other 'Stars' Kin are, whose song lyrics also feature lines 'ave stellar' and 'ave Maria'!

So, how this is different from what Fauxsefka is doing, who is stated to be as much of a good person as possible within this context and with the burden of her knowledge? Fauxsefka was doing more or less rinse-and-repeat practice, with maybe a few patients not surviving the procedure but we don't know what happened: maybe that person was already at the brink of death and she tried to make them live like this.

^ This guy I mean. Maria, on the other hand, is in the time period where the doctors and scientists were only testing the waters (BA DUM TSSS) (ok I will stop) and it was not SO certain what was at the stake, what were the alternatives, what was awaiting the humanity. It is even possible that the beasts problem was not yet bad to the point of "you'll either become a beast, be eaten by a beast or become a Kin, humanity is DONE for!" ! This was an unethical research at the cost of real people! The weight of Maria's sin here really depends on the interpretation, though

As for the cycle of Dream and Hunt, this is complicated and lingers on one's interpretation of what the purpose of the Dream even IS! Its existence provides two things: 1) a hunter who is immortal for the night, thus can sustain the beasts with efficiency like no other, but also effect the continuity of the night ( x ) and 2) supposed sustenance to the Great One Flora of the Moon, who holds the hunt as a concept!

I used to be a bit more set on the idea that if beasts are not sustained and hunted, they will simply overpower those who are yet humans and eat them! It is a self-feeding cycle of people needing to self-defend from beasts, thus having to consume the blood as urgent means of healing and power-up since beasts are too strong, thus risking to become beasts themselves because the blood they consumed during that hunt corrupts them. So, the Hunter's Dream would be a good thing, as it'd help to 'buy time' during nights of the hunt in which not only beasts are more active but Great Ones too! While the Dreaming Hunter holds everything together, the greatest minds of the Healing Church can efficiently study the ways to end beasthood, or ANY problem of humanity, once and for all! It is just better to throw the hunting resources on the Dream, so the scientists don't worry about the beasts and can focus on research. However, I almost forgot that:

This implies that had there not been Mensis Ritual ongoing, people WOULD have the chance to simply 'wait away' the beasthood problem. That, since Rom is not stopping Mensis Ritual but just conceals it, what really makes the inner beast within everyone who consumed the blood inevitably come out is Mergo's cry that draws the Bloodmoon close!

So yeah, the point about Hunter's Dream being helpful for the research of evolution still stands, especially under assumption that the deal with Moon Presence helped to bring more Eldrich Arcane close for "feeding" her. The point about how if the beasts are not hunted they'll simply eat everyone, though, is vague. It is safer to assume that the Hunter's Dream and Research Hall both are both example of hubris of man even if approached differently. Attempts to draw in something dangerous and horrifying, but it is "justified risk" because if you manage to 'tame' arcane/blood, sure, humanity will prosper!

Like... yeah, sure, there IS dangerous and undesireable nature of man that ruins everything and might or might not still linger in humanoids' genes after Loran. But did humanity ASK any of you guys to keep trying to fix it with so many victims and sacrifices? Like, was it WORTH it?

This point is closely tied to 'knowing Laurence's bad antics and doing nothing', yeah. Maria didn't seem to like blood ministration very much, as she disapproved of Adeline becoming a Blood Saint, but she also didn't even approve of blood antics of her own clan! I am not sure what would be her opinion on the Hunter's Dream had she lived to the point when it was created, just that she herself is not willing to ever hunt, so I am leaving this point aside. Is this just blood ministration that she opposes but proximity with a Great One Moon Presence would be something she can see the potential of? Or would she and Gehrman have a pointless cat fight about whose methods are better when they are both hubris of man? In both versions they are 'guilty'! Besides:

In the end none of THIS matters either and everyone was fooled ( x ). The blood offering is a blood offering in any way; whether it is through spilling blood violently during the hunt, or offering the blood's 'red' with how celestial Kin all bleed red. Moon doesn't care what paints it red, in the end.

___________________________________

My conclusion is: both of these characters fucked up almost equally! I think the balance shifts just a little bit and Maria is slightly better than Gehrman since she had some limitations set on how far she was willing to go. Her motivation was not in "curiosity" but strictly in helping humanity, even if in unfair ways, which is apparently not the case for Gehrman?

I'll say this though, NOW I am hooked on the idea of Maria and Gehrman being petty "rivals" ideologically (for as long as they could before Maria's own demons caught up with her). Especially since neither approach is better than the other and they are both cringe loosers! Again, lost comedy gold over Fromsoft making Gehrman's tender and warm feelings for her before and after her death plain. What is not lost, however, is the fact that the two should just kick Laurence and go home :pensive:

[shadowgast-recs-weekly]

This week, we have eleven fics that feature Caleb, Essek, and at least one other person involved! Look behind the cut for some Shadowidomauk, some Blumenshadow, some Fjord/Essek/Caleb and more!

amongst the things left unforgiven by nonwal (63958, Mature) Reccer's Content Notes: No Content Notes

“In which a pair of scourgers shows up at Essek’s doorstep and saves him from himself.“ Slow-burn blumenshadow featuring heavy mistrust, mind games that aren’t mind games, and Caleb mostly in the background thinking he doesn’t deserve to be loved.

Reccer says: One of my all time faves. Nonwal’s gorgeous prose and characterization of these 4 is always top notch, but the dialogue?! The spy vs. spy mind games? The poetic descriptions of longing and grief? The visceral feeling of constant low-level panic punctuated by a full panic attack and maybe developing a crush on your current crush’s evil exes? The DIALOGUE (again)?!?! Absolutely stunning. Side note: chapter 4 features the best Jester dialogue I have ever read. The tag “openly declaring your mutual distrust can be a love language if you do it right” says so much and I love it.

Happily Ever Laughter by Settiai (1288, Teen) Reccer's Content Notes: Veth’s alcoholism is brought up a few times but isn’t the focus.

Adorable Essek/Caleb/Veth/Yeza slice of life fic. Polyamory is not nearly as difficult as trying to teach a hyperactive 6 year old magic can be.

Reccer says: Incredibly sweet little domestic fic. The rapport between them is so soft and gentle and well-worn like the most comfortable pair of old house slippers. The moments where Yeza and Caleb glance at each other and manage to communicate in absolute silence (in that pseudo-telepathic way that some real parenting couples often do) are just so perfect, and Veth still finding Essek somewhat aggravating even while she loves him is :chefskiss: delightful.

Three’s Company by flammablehat (2074, Explicit) Reccer's Content Notes: No Content Notes

Caleb, Essek, and Fjord have a threesome, and Essek is maybe more than a little jealous about it.

Reccer says: Possessek is always a favorite! Fjord is fjeisty, and Caleb is having the time of his life. It’s both hot and tense.

altogether, infinite possibilities by ivelostmyspectacles (199305, Explicit) Reccer's Content Notes: No Content Notes

Essek has barely begun to cement his place in Caleb’s life when they bring Mollymauk Tealeaf back from the dead. Slowly, the three of them adapt together.

Reccer says: First part of a series! This was my entry point into Shadowgast!

in the pieces of what's left or what we've found by SeaWitchDreams (14620, Teen) Reccer's Content Notes: No Content Notes

Astrid takes some time to figure out how she wants to rebuild her life (and who she wants to rebuild it with.)

Reccer says: a wonderfully subtle and contemplative character study, featuring four wizards carefully dancing around each other

the sea, the stars, the dreamers by nonwal (111996, Explicit) Reccer's Content Notes: suicidal ideation

Essek sacrifices his budding relationship with Caleb to marry Archmage Astrid Beck - for the good of the entire galaxy. But whatever Astrid's reason for marrying him is, is not nearly as noble.

Reccer says: This fic takes an unusual premise (Blumenshadow arranged marriage spaceship murder mystery with sea shanties?) and *commits* to it. Still incomplete, but if you've liked this author's other works, you won't regret taking a chance on this one.

(Oh,) How a Human Burns by witches_chant (18318, Explicit) Reccer's Content Notes: No Content Notes

This is a story about Essek trying to prepare for eventual loss, depending on if Caleb wants to use the Clone spell or not. But it’s also a story about a lazy, sexy vacation on Rumblecusp where the couple stumble upon a service top and learn things about their relationship (with a happy ending!).

Reccer says: It’s both hot as hell AND feelsy! It’s a really interesting take on Caleb & Essek’s relationship. Honestly I recommend the entire series.

Victim of Convenience by se1ze (54243, Explicit) Reccer's Content Notes: No Content Notes

Essek and Caleb are together, Essek and Kingsley get together, and Kingsley is losing his mind because Caleb can’t get his shit together. An exploration of the very complicated feelings that crop up when a) no one seems to understand who you are, and b) someone you love thinks they need to stay gone for your own good.

Reccer says: The dialogue is fantastic, the sex is wonderful, and the hurt/comfort is amazing. It establishes the foundation upon which Essek/Kingsley can be a thing in a way that is both endearing and completely believable. Caleb is oblivious to how much Kingsley loves him, and once again hurts those around him by throwing himself on his sword.

(nothing in my bones can say) just where you’ve been by SaltCore (8216, Explicit) Reccer's Content Notes: No Content Notes

It takes more time than Caleb realized to get home from the Hellcatch Valley, and in his absence, Essek’s tentative alliance with Astrid and Eadwulf has grown to something more.

Reccer says: Soft and complicated and briefly heartbreaking. The way it manages to feel like an outsider POV reinforces the sense of missing time, of having missed a massive change, and the softness and warmth of everyone’s love for each other is palpable throughout even in the most tense and anxious of moments.

i'll meet judgement by the hounds by necromanticomedy (yelenavasilyevna) (6553, Explicit) Reccer's Content Notes: Dubcon/Consensual Non Consent, knifeplay

Astrid and Eadwulf come to a dinner party to meet Essek Thelyss. Things either go very poorly or very well, depending on your definitions.

Reccer says: the author called it a "insane psychosexual foursome" but neglected to mention that it's the best insane psychosexual foursome you'll ever read

To The Bone by thetickingclock (2919, Teen) Reccer's Content Notes: No Content Notes

Snapshots of Astrid and Eadwulf's opinion of Essek changing over time (and proximity to Caleb Widogast.)

Reccer says: Hits all my favorite notes when it comes to Blumenshadow, and there's an astounding amount of characterization and relationship development packed into less than 3k words.

Aeor is for Lovers is an 18+ Shadowgast Discord server. The above fanfic recommendations were pulled from our community for this weekly event. All fics, unless otherwise specified, will primarily feature Shadowgast. Have any questions about what this is? Check out the FAQ! Next week, we’ll be back with Lifespan Angst!

[joyflameball]

Listening to Pastra's Jeff The Killer rewrite is just a continuous stream of. Jesus fucking christ that was foreshadowing. Jesus fucking christ Jeff is such an effective villain here. Jesus fucking christ that acting was so good. Jesus fucking christ the music is so perfect. Jesus fucking christ David Baron sells Troy's dialogue so goddamn well. Jesus fucking christ Jeff's monologue. Jesus fucking christ the descriptions are so visceral. Jesus fucking christ every actor here is putting their goddamn soul into it. Jesus fucking christ Jeff is such a good villain. Jesus fucking christ Pastra is such a good writer

[elwenyere]

Crafting Comments on Fics

So with Comment Fest approaching - and with the possibility of bot-generated comments undermining the value of reader-writer engagement - I thought it might be helpful to provide a short explanation of some different approaches I use in crafting comments, in order to identify a few places to get started for anyone who has wanted to leave more (or more detailed) comments but who feels unsure how to get going. 

This is far from an exhaustive list, and the categories are designed to allow for a mix-and-match construction with varying levels of development (from basic to more elaborate). At the heart of it, I think of commenting as a practice of paying attention to what I notice in a story and then crafting language to share those observations with the writer. So each of these categories starts from something we might notice when we read.

1. Affect: how the fic affected you/made you feel

This is a great place to start if commenting feels intimidating, because you’re drawing from your own emotional responses. A basic template might be something like “_____ made me ________.” You can pick a particular moment (the scene with the tooka infestation, the kiss in the Denny’s parking lot, the moment we realize character x was dead the whole time, etc.) or focus on the fic as a whole; and you can describe the effect in simple terms (made me cry, smile, laugh, feel soft, etc.) or extravagant ones (made me want to roll myself into the sea, made me feel like I had ascended to a new astral plane, shook me so deeply it registered a 10.3 on the Richter scale). The idea is to take one or more responses you had to the fic and let the writer know what they were/what about the story produced them. 

2. Memory: what from the fic has stuck with you

If a story has an especially strong effect on you, you might also let the author know what particular moments, lines, or images are going to linger in your mind after you finish reading. After identifying the detail(s) you want to flag (if you were going to bookmark this fic with a note to remind Future You which one it is, what image or scene or plot premise or line of dialogue would go in the “the one with the ___________” slot?), you can describe the way it’s sticking with you in general terms (I’m still thinking about it, chewing on it, rotating it like a Hot Pocket in a microwave), or you can point to some of the reasons why it’s sticking with you (it captures character x’s whole deal so well, it reminds me of y moment in the film/tv show/comic, it crystallizes a larger theme in the story so effectively). 

3. Appreciation: what in the fic seems beautiful, artful, striking

In this approach you’re giving a writer a sense of what stood out to you aesthetically about the story: the moments that made you feel like “put a frame around that fucker because I want to keep staring at it.” This category can feel tricky because there might be terminology specific to the form that we’re not familiar with, so it can feel hard to describe what exactly makes a moment strike us as well-crafted. But we might think about the appreciation approach as having a basic template: “_____ is so ________.” The first slot can be either general (the whole story, a larger scene, the way the author writes dialogue or description or a major character) or very specific (copying and pasting a particular line or passage, identifying a pattern of imagery, pointing out the way the author narrates a specific kind of experience). And the second slot can be just one adjective (beautiful, visceral, unsettling, powerful, stunning, lyrical) or a more elaborate evaluation (so effective at conveying emotions, so hard-hitting after the slow build-up, so vivid I feel like I’m actually there). 

4. Discovery: what the fic showed you/made you think about

Sometimes you read a fic that makes you think about the media/the ship/the characters in a new way, and that’s a really powerful thing to share with the writer. As with the other approaches, you can frame this in terms of the fic as a whole or pull out particular lines or plot points, and you can either describe the effect on your thinking in general terms (this changed my brain chemistry, this blew my mind, this is canon for me now) or in specific ones (I’d never thought about x moment in the film that way before, but now I’m going to think about it that way every time; the line where character x says y was like a lightbulb moment for me - it clarified so much about x’s motivations; I would never have thought about this show as being about z theme, but after reading this fic, I’m seeing z everywhere). 

------

So there you have it: a non-exhaustive list of things we notice about stories and some ways to talk about that. I hope it’s helpful. And of course, when in doubt or when pressed for energy, a string of emojis, a keyboard smash, or an all-caps “I LOVED THIS!!!” are also wonderful ways to share a little love with fic writers.

[outofangband]

But Húrin Thalion suffered no longer silent wordless

Through clenched teeth in clinging pain

O accursed king, cried unwavering

Thy hopes build not so high Bauglir

No tool am I for thy treasons vile

Who tryst nor troth

Ever true holdest

Seek traitors elsewhere

(From The Lay of the Children of Húrin, perhaps the most visceral of Tolkien’s depictions of Húrin in Angband. While I prefer the dialogue in the canon Narn, the descriptions of Húrin’s imprisonment and anguish in LoCoH are fantastic)

Im going to do a follow up with the paragraph from the Lay of Leithian where Maedhros’s rescue is described.

[stayatsam]

more SOTE spoilers about final boss story

it's not even me being a huge Godwyn fan that has me disappointed at having to fight Radahn and not Godwyn because like...all we have to go on connecting Miquella to Radahn is the inaudible whisper Malenia says in a cinematic trailer.

No item descriptions, no dialogue, nothing that alludes to Radahn even acknowledging Miquella's existence. In the DLC, Miquella refers to Radahn as "Lord Brother," a title he exclusively used for Godwyn in the base game. Godwyn, who Miquella has extensive ties with all over the base game from item descriptions, ghost dialogue, and the idea that Miquella even has a statue of Godwyn in his backyard.

Promised Consort Radahn's arena even looks like it's be more suited to a character with a gold/blue/green palette (Godwyn), and not bright red and gold. Radahn looks so ugly on this background I'm sorry like, it's ugly. he doesn't look good. i said it before but this looks like Super Smash (dont get me wrong I love those games but this is Elden Ring)

he's shoehorned in both lore-wise and by his character model.

If they wanted to make Miquella's motives truthfully disturbing, the idea of bringing his brother's soul back from the dead to stuff him in another brother's body is much more visceral with Godwyn - another golden child of Marika.

incest can be used as a plot point for genuine horror, and the most similar idea in these games I can think back on is DS3's Lorian and Lothric. They're not explicitly stated as incestuous but the dialogue and imagery of two brothers from a decrepit bloodline tying their souls and lives together could have more disturbing incestuous undertones than Miquella and Radahn; who have 0 ties anywhere else in Elden Ring.

Rather than be disturbed by such a troubling plot point, like other areas of the DLC (the gaols, Shaman Village, etc, the butchery in Bonny Village) I was really just scratching my head.

idk, im rambling but it's lame... we could've had it all.

[lifblogs]

20 Questions for Fic Writers

Tagged by: @just-here-with-my-thoughts (I feel so honored, thank you! And I really am dying to read Welcome to the Outpost.)

These answers will probably involve a range of fandoms.

1. How many works do you have on AO3?

647.

2. What’s your total AO3 word count?

1,850,510

3. What fandoms do you write for?

Primarily The Bad Batch now, maybe Clone Wars here and there. My fandom writing migrates. Used to be Doctor Who, then Supernatural, then The Clone Wars, and Rebels.

4. What are your top 5 fics by kudos?

Apparently my top 5 are fics I don’t even care about anymore. *sigh* Not providing links because of how meh I am about these.

1. Morningstar (Chilling Adventures of Sabrina),

2. Take Me Home (I actually didn’t realize this was in my top 5), it’s a Supernatural fic),

3. Take Me to Church (Supernatural),

4. Deal (I believe this is an Avatar: The Last Airbender crack fic based off of incorrect quotes), and

5. Ineffable (Good Omens).

5. Do you respond to comments?

Most definitely!

6. What is the fic you wrote with the angstiest ending?

Definitely either Bleeding Reality, or In the Dark.

7. What’s the fic you wrote with the happiest ending?

Definitely May I Have This Dance? Oh, how I adore that fic. I wrote it based on art I love so much, and the artist even let me put their art in the fic!!

8. Do you get hate on fics?

Used to years ago, so now I still feel dread in the pit of my stomach when I get an AO3 comment email. The dread thankfully doesn’t show up all the time now.

9. Do you write smut? If so, what kind?

Oh, hell yeah, I do! Not sure about what kind. It’s just, I don’t know, smut.

10. Do you write crossovers? What’s the craziest one you’ve written?

I do not.

11. Which fic are you proud of but wish had gotten a bigger response from your readers?

Maybe The World Goes Cold? But I am maybe releasing chapters too slowly, so I guess it makes sense the response isn’t as big.

12. Have you ever had a fic translated?

I think I’ve had a couple translated into Russian.

13. Have you ever co-written a fic before?

I tried to do so with my brother a couple of times, but we never finished them. I don’t think either of us really understand how the co-writing process works.

14. What’s your all-time favorite ship?

Tbh, I always feel the most when I think about or see anything involving Whoufflé/Whouffaldi from Doctor Who. They were my OTP from 2013 to 2016. Might still be the case!

15. What’s a WIP you want to finish but doubt you ever will?

You know, I had ones I did want to finish, but now, I’m not even sure I want to.

Still, I guess Blackout, and Three Birds, One Stone held a lot of my attention for a few years. But with the fic content now being triggering for me, and with a brain injury, I feel as if I may have moved on.

16. What are your writing strengths?

I have been told my descriptions are incredibly visceral, and I might agree. I’ve been on the edge of my seat or emotional more than a few times during my editing process. I also like to consider the fact that I’m writing at all a strength given I have a brain injury that gives me memory problems and aphasia.

17. What are your writing weaknesses?

Well, I’d say say the memory problems and aphasia cause some weaknesses. I have caught a couple weirdly-worded errors and it’s slightly embarrassing. Does Omega shredding my outline multiple times count as a weakness? lol I suppose another weakess is spelling and forgetting words and struggling to find the right words. I often have to look things up. But as far as things like description, dialogue… I’m not sure I struggle there.

18. Thoughts on writing dialogue in another language?

I’d take a crack at French! I used to be able to read and write in French very easily.

19. First fandom you wrote for?

The Lord of the Rings. I was 8.

20. Favorite fic you’ve written?

Probably Brother, Hold Me Up, and it’s still going!

Tagging: @evilwriter37, @envydean, @cascigarette, and @clownery-and-fuckery

[wife-of-all-dilfs]

also question about writing bc right now a bitch (it’s me, hi !!!) is struggling. how do u decide on plots & how do u structure them? bc i have two separate fic ideas & i do plan on writing both of them but not only am i struggling to decide which i wanna do first bc i really like them both but i also don’t know how to structure either of them.

i’m also procrastinating like a motherfucker so yk that’s super fun <333

i didn't see this in my inbox. i'm so sorry, forgive me, por favor 🙏

HI!! honestly, i really struggle with creating plots, it often takes me a long time to piece something together which factors into my excruciatingly long writing process.

i typically get inspiration from movies, tv shows, and books, and i give them my own original twist. i self-indulge a lot with my writing, meaning i write what i would enjoy in a relationship or i channel my emotions into what I'm writing (sadness, happiness, hornyness, what).

my advice (and i do realise i'm a little late to be giving advice) would be to write the fic that you resonate more with, the one you have a clearer picture in your head of, the one you are more emotionally connected with and know you will enjoy writing all the way through to the end.

structure-wise, i just dot-point vague descriptions of how I want the story to pace—different characters actions, internal dialogue, verbal dialogue, setting description, etc. it is very basic and messy, but it's just a guideline to keep your writing juices flowing.

e.g.:

character a walks over to character b

character b looks character a up and down, causing them to blush

[write description of character a's feelings for character b]

character b flirts with character a

"dialogue, flirting"

they get interupted

it's a shitty example but it explains what I'm trying to get across.

also, make sure your pacing isn't too fast or slow; writing a story is like sailing down a river—at some points, the water is going to flow more slowly, giving you time to savour your surroundings and create a visceral image in your mind's eye.

at other points, the water will turn to rapids, and only the most basic descriptions are necessary to the plot. deciding on which pace to use is mostly done on instinct and practice.

if you still can't decide which fic to write first, you can always try writing both at the same time. you aren't bound by any rules. write in a way you enjoy, even if it seems unorthodox to others! <333

idk if this made any sense, but I do hope it was at least a little bit helpful lmaoo

[rayclubs]

Don't get me wrong, fanfic is something people write purely for pleasure and nobody has any business telling them how to do it, but the way some of y'all talk about it makes it sound like you just viscerally hate your entire hobby.

"Writing fanfic is just having one scene you WANT to write and a million scenes you NEED to write to get there!" - why? You decide what scenes you write.

"Don't you just HATE worldbuilding?" - I dunno mate, I personally love it but you literally never have to do it if you don't want to. It won't come out well if you aren't passionate about it.

"I don't even like descriptions! I wish I could only write dialogue!" - nobody is stopping you from doing that.

Fucking puritans.

[livingfictionsystem]

BOOK REVIEW: 4/5

Alright, we're back with one of the most aggressively queer writers I've been keeping an eye on. I had a lot of thoughts about this book, so we'll get down to it.

First of all, a very visceral novel about queer solidarity in the face of oppression. I ADORED Daphne and I learned to love Mary. If you're a fan of queer RAGE, this is a very satisfying read. LGBTQIA+ representation is what this author excels in. Lesbians, pansexuals, trans people, autism. The thing with AJW, I occasionally find myself annoyed with how often their first-person protagonist stops and explains dysphoria, transness, and autism to the audience. But I also realize that they're probably trying to explain this to cis and neurotypical people who are likely not familiar, so while it annoys me, I've learned not to fault it.

That being said, welcome to Trauma Fest 2023! If you have a trigger, it's likely to be hit. White tends to include a list of trigger warnings, which is lovely, and also warns you that they're a fan of gore. And I mean, G-O-R-E.

I don't consider myself having a weak stomach in regards to books, but White's descriptions can even leave me gagging. That's not a complaint, by the way, I'm just impressed. I love the way emotions are described---seeing the world through a stressed-out, autistic lens was, uh, familiar.

That being said, this didn't come without its problems. First of all, this is set in Victorian England. Well, sort of. Though there is some exposition about how the main character's autism clashes with the notoriously 3D social chess of Victorian culture, this is really only used as an aesthetic backdrop. The characters' dialogue is no different than if they were plucked straight from American Zillennials. I almost dissociated the only time a 'bloody' was dropped by people who had been cursing the entire time. White admits in the note in the back that they were only trying for meager accuracy, but it really seemed like they wanted to have an aesthetic but also an air of oppression. And for Victorian society, as absolutely hedonistic they tended to be behins closed doors, I'm a little bored of the Victorian=OPPRESSION trope. Queerness was illegal, but it was prevalent enough that it's sort of at odds with the utterly dystopian plot devices the book utilizes. Kind of took me out of it sometimes and really felt more like the Handmaid's Tale than London. (Though for Daphne to have a Greek obsession was definitely a nod to the culture back then. Not sure if White meant to do that.) Also, they didn't consider mentioning over-bust corsets? That would've been ideal.

Also, the trauma was Too much. Anything and everything deplorable that has ever happened to an AFAB person happens here in canonic and sometimes graphic detail. While it succeeded in horrifying me and creating suspense, it really bordered on torture porn.

Ghosts are also a main mechanic of this world, but it's not really described *how.* There's a shifty society, mediums are societally recognized and even used in the economy, all very cloak-and-dagger. But every description leaves more questions than answers.

Also, I think the author has only four characters at any given time they can build up. It was sort of funny how the sanitorium was full of other children, but the plot itself more or less forgot that was the case.

All of the villains were completely one-note, just absolute revolting people who would hurt any innocents the moment they got the chance. Not much build-up, just---Character gets alone with Bad Person, is tormented/beaten/mutilated/worse, repeat. They seem like caricatures. I was a little surprised that they weren't eating puppies for dinner, or tying people to railroad tracks. The supposed justification for the sadism was a bit weak, but put-together enough to spark outrage.

But you do feel outrage. You crave vengeance like the spirits mentioned. The author is a master of building suspense, of describing what it's like to feel backed against the wall, for all of those feral feelings of survival and community to bleed together. Overall, a wonderful queer gothic horror story about survival and revenge, particularly if you ignore the snags.

-Rune 💠