#the last paragraph was really my point here

[blakbonnet]

HAPPY FOX DAY TO ALL THOSE WHO CELEBRATE! Today's a special special AOTW because our featured author this week is best beloved @asneakyfox 🦊

Fox, I genuinely think you're one of the greatest fandom philosophers of our times, and what you write is so much more than regular old meta. Because we're all playing in the sandbox here and while a lot of us lose sight of canon sometimes, you have all four feet firmly planted in the lovely source material we've been provided with. And you don't stop there, you try to actively engage with the community, especially making sure you are keeping an eye on all the differing opinions. I feel like this is why your thesis resonates so thoroughly with different people--it's not trying to prove a point, it's very 'holmes saw a dead body and ejaculated'. You are just so smart that you make the rest of us smarter, but it's never intimidating to talk to you, and I love love love that I get to read your stories and your thoughts because of this show and this fandom.

Fox, brilliant as ever, agreed to answer a few questions for me:

What's your meta writing process like? Do you think in disparate strings about scenes and then write them down as they come to you OR is it usually a conversation or a thought that eats at you until you sit down and untangle it?

generally i'll be thinking about something, usually because i saw another post (or had a conversation about the show on discord; special shoutout to the crew on @figmentof and @scarrletmoon's servers, and especially to @glamaphonic, anything i've ever said you thought was really insightful probably came out of a dm conversation with glam) and some part of a post about it will start writing itself in my head, and unfortunately once that process starts the only way to stop it is to write it down.

even more unfortunately i never know whether it's all going to flow out easily into a coherent essay right away, or if it'll be one of those things where i write two really good paragraphs that ought to go in the middle section of a post that takes a while to figure out how to structure; i just have to start and see where it goes. some meta i've written that got lots of notes was written all at once the moment the thought struck me and posted as soon as it was done, but there's also a few that have been sitting in drafts for months as i keep rewriting the same section without being sure where it goes next.

Favourite themes or characterisations you like to explore while meta writing? (things like Ed's fisherman era and what led to it, etc)

i guess if there's a big theme i keep coming back to it's ed's character arc over the course of the show, his relationship with violence and how it affects his perception of himself and how he has to grow through that to be ready to commit to his relationship with stede. one of the very first things i ever said about the show on tumblr, way back in summer 2022, was that ed's absolute deepest fear was that he is fundamentally unlovable, so it was really a delight to see s2 dive so hard into addressing the exact issues i'd been looking at so explicitly. and of course there's also a lot of fandom racism that plays into some takes that go around about ed, and i think it's really important to call that out and push back against those takes.

i feel like it would be kind of silly to not call out izzy here too. izzy plays an absolutely crucial role in highlighting those exact issues in ed's arc, and i honestly just think the way their whole relationship develops in canon is deliciously meaty and a lot of fandom takes seem determined to flatten it out into something much more boring. so it's important to me to try to highlight the ways you don't have to pretend izzy was a secret good guy all along to appreciate the role he plays in the story.

finally i guess this has only developed over the last several months but i guess one of my trademarks now is speculation about what got deleted from s2. i've always been good at the game of watching a movie and guessing at scenes that were cut or changed, and my spider-sense for that was going off like crazy as i watched s2, and i didn't want to get too speculative at first, but as information has actually come out from samba and vico and other sources, a lot of it's lined up with what i thought. and i'm really interested in how the ofmd writers' room approached storybreaking, so it's worth it to me to try to understand this.

Whose head is it easier to get into - Ed or Stede? Why?

i guess i already answered this! i love them both a lot, and i'd been writing meta for a good while before i consciously realized i'd written a LOT more about ed than about stede, and the ed posts tend to be individually longer than the stede ones too. i think some of this is because ed's arc reads super clearly to me while stede, despite being the main character, gets an arc that's a lot more subtle and internal in some ways (and also i do think suffered significantly from the cuts to the second half of s2). and some of it's because people can be Wrong On The Internet about ed in ways i feel the need to push back against more than about stede. but some of it's just, you know, vibe.

it's always interesting to me that nearly all prolific fic authors in this fandom have a clear very strong preference for which POV they prefer - i don't think all fandoms are like that - but i guess my own alignment is obvious.

Your personal favourite thing you've written that you'd like more people to read

the obvious answer here is the one actual fic i have written for this fandom, "Nothing Could Touch It" which came out of thinking about how there's some post-s2 fic about ed reckoning with this relationship with izzy that i really like but none of it quite got at how i feel like canon's framing it. (don't worry it's not all about izzy! stede's there and there's a bunch of cuddling!)

as far as meta goes though i would call out this as the one i'm probably proudest of, this is the one where i most completely tried to lay out how i saw the show framing ed's relationship with violence during the s1 hiatus, and i think after s2 it holds up pretty well. but also since i was just talking about how i don't say enough about stede, this is the post where i tried to lay out the stuff i really admire in stede as a character.

What is the one word that you think you use a lot?

i've got a bunch of verbal tics i overuse but the one i'm self-conscious about in meta lately is "reading against the text," which sounds so pretentious and lit-crit i really wish there were another good phrase for it. but i think it's really useful as a way to clarify that sometimes i'm saying a particular take is clearly not how the narrative of ofmd is framing something but that doesn't mean you need to stop interpreting it that way. reading against the text is really fun and i recommend it sometimes! but you'll have more fun if you're aware that's what you're doing!

If you were writing his arc, keeping in mind that he stays largely antagonistic in line with the show, how would you have resolved the Izzy problem: would you have made the same decisions the writers made and written a redemption by death OR do you think that the spirit of the show specifically demands Izzy get a good guy (or not as bad a guy) ending where we see his muppetification

one of the predictions i was most confident of before s2 was that if izzy were redeemed, he wouldn't be able to remain in the cast as a good-guy crew muppet afterward. (for this reason i thought the likeliest possibility was a slower redemption arc that wouldn't fully complete till the end of s3.) several times i tried to game out what role a fully redeemed izzy could possibly continue to play within this story, or what personality traits that he showed in s1 he could even hang onto after a full redemption, and i couldn't come up with anything that felt plausible. not "loyalty to your captain," because his devotion to blackbeard was clearly toxic at the root and would need to be purged entirely before it could be replaced by anything healthier; not yelling at people to stop having so much fun and work harder, because that could work in a different story but would run directly counter to the core themes of ofmd - so what's left? i went looking at popular izzy redemption fic that tried to address that question, and some of it came up with answers that worked in the context of a fic focused mostly on izzy, but it was never anything that could possibly work in a tv show that already had established themes and would continue to focus primarily on other characters. and izzy wouldn't be able to just fade into the background with the other muppets after all the focus on him a believable redemption arc would require. so i knew once he was redeemed he'd be done as a character one way or another.

and s2 i think bore that out, honestly in a much more obvious way than i expected - over the course of izzy's s2 arc he's basically divested of all his s1 personality traits until all that's really left by the end is saying twat all the time, and Guy Who Says Twat is not a role the story's going to particularly need going forward. to keep him around after that you'd need to give him enough new traits that he'd be for all practical purposes a new character anyway.

i do sometimes wonder about a world where izzy's s2 arc saw him be offered a clear chance at redemption and choose to reject it and get worse instead. i kind of missed antagonist izzy by the end, and i wonder if a lot of people who'd originally wanted a redemption for him wouldn't have been happier with that even if they didn't realize it - a descent into full villainy would have kept izzy and his relationships with both ed and stede more central to the plot right up till the end, and in particular the sexual aspect of his feelings for ed could have stayed very directly relevant, where the redemption arc necessitated resolving that very firmly to clear it out of the way as early as possible in s2. i never agreed that ofmd's themes necessarily meant redemption for izzy was inevitable - ted lasso was much more overtly a show about redemption than ofmd right from the start, and even ted lasso let at least one of its antagonists make it all the way to the end as an unrepentant scumbag. if there's anything that meant izzy really had to be redeemed imo it wasn't the overall spirit of the show so much as izzy's role in ed's arc - before anything else izzy's narrative role was always to be a walking symbol of the part of ed that fears vulnerability and holds him back from committing himself to love, and for ed and stede to be happily together by the end of s2, ed had to get to a place where he could see that part of himself as something he no longer needs in his life but also doesn't hate anymore. nothing could have symbolized that like having ed embrace izzy as he dies granting ed permission to just be himself.

Why OFMD 🥹

you know, i could say a lot here about how i think ofmd is genuinely incredibly well-written in some ways that are really unusual on american tv. season 1 in particular is just incredibly tight and elegantly plotted, and s2 is messier but that just makes it all the more interesting to look at the constraints they were under that led to that. my day job's in narrative and i really do professionally admire ofmd a lot, which is one of the reasons i tend to think about creator intent more than some people do when i'm writing meta - death of the author is a super valid perspective but personally i'm really interested in trying to figure out why the writers made the choices they made and what i can learn from that for when i'm in their position.

so all of that's true. but also we all know it's kind of beside the point here, this is a hyperfixation, it's not rational. i can tell you i watched the first nine episodes of our flag means death and liked it a lot but in what i would describe as a basically normal kind of way, and then i watched the tenth and at some point during that episode a rat inside my brain hit the dopamine spigot with a wrench and now it won't turn off so here we are.

aaaand if you've made it to this point, please join us in evil ganging up on fox with love by sending a lovely letter to them over on @ofmdlovelyletters who was also kind enough to make this header <3

[youcouldmakealife]

Stuff that Helps me Write: Pacing (no, not that kind), and burnout avoidance

So this was supposed to be about something entirely different., but every time I started making a point, I got distracted by a second, bonus idea (ways to trick your brain when it's not cooperating with you! things I've tried (I will try everything) and what worked and didn't! what to do with writer's block!) and then start writing about that, and I've got half a dozen unrelated paragraphs going in my drafts, so I think I'm just going to make this a mini-series of 'stuff that helps me write and may also help you (or maybe they won't, I don't know, this shit's all subjective)'.

If there's anything in particular you'd like to hear about, or something about my process you're curious about, absolutely feel free to reply or shoot me an ask and I'll do my best to address them as I go.

But yeah, pacing. And more specifically, not burning out. I figured it was important I hit this one first, because I think it's the most important one, or at least, the one that makes the biggest difference.

With the caveat that I am someone who has repeatedly driven myself into burnout, I'm also someone who now knows why that is, and have been teaching myself how to, you know, not do that.

So. Here's how I, you know, don't do that.

Will preface this by again mentioning that most writing advice (and advice in general) never seemed to work for me, and I mostly thought I was just Bad at Doing Things, until I learned my brain's literally wired differently, and that I'd been trying to apply processes that didn't actually work for said wiring.

So instead, I figured out what worked for me. And what works for me isn't necessarily what will work for you, or even what will work for me a month or five years down the line, but it's going okay right now.

I'll straight up say that, contrary to all the Writing Advice, I don't write every day, and I don't think it's necessary, or even necessarily a good idea -- I have at times, but I no longer do, because if I write for more than six days straight I find the proverbial well dries up and I write less than I do had I just taken a break when I needed it.

Cognitive energy and the sort of ephemeral ~inspiration (work that's been done on a subconscious level) are fundamentally no different than physical energy: if you don't replenish it, you will run out. If you overdo it, you will run out. If you consistently overdo it without replenishing it, you will burn out.

Taking a page from hockey players here: if you did an intense workout right before a game they'd ask what the fuck was the matter with you. You need a nap and a meal and to get some stretching and light work in. Running at 100% all the time will burn you out in every single field, including this one.

That's not me saying not to run at 100% at all. I generally try to pace myself now, but if I'm really in it, and the words are coming easily, I don't stop until they stop -- I wrote just shy of 4k of later scenes for SAIT last week (my 2024 record!), all in one sititng, by hand, when I was supposed to be sleeping, because that's when the inspiration came. I didn't fall asleep until past 6am that night, and my hand is still mad at me.

But you know how much writing I got done the follow day? (None, I was busy transcribing 4k of handwriting). The rest of this week? (Not much more than that). Those bursts of energy are awesome, and honestly can make you feel like a writing god, but the well's the well, and I've learned my personal well is about 5000 words a week deep.

Before my most recent scrape with autistic burnout, which I'm still sort of climbing my way out of, that well was closer to 7500 words. But honestly, it probably wasn't; I was likely just siphoning words from future wells and then it all caught up with me when I was looking at a horizon of dry-ass wells ahead of me. (I'll admit this isn't a perfect metaphor.)

But seriously, my advice for basically everything, not just writing (and something I wish I'd learned before I hit my 30s), is 'figure out what pace you can work at sustainably'.

Please note that 'sustainably' is not 'without literally dying'. Because my literal ass thought when people said 'give everything 100%' they meant, you know, 'give everything 100%' (I know! absurd of me), rather than 'give the best effort you can give in this moment considering your current resources'. So I gave it my all (also interpreted that one wrong I guess?). And then I wondered why I kept hitting a wall all the time. And why, eventually, I stopped being able to climb that wall entirely.

I don't think I'm ever going to reach that 7500 word threshold again. There will be weeks I'm so inspired I write that much, but the next week I probably won't manage more than 2500. Or maybe I'll have two 7500 weeks in a row, but I'll need to take a whole week off after that, or spend several weeks working at a lower tempo while I let the well replenish itself.

I've been tracking some metrics quite closely as I sort of tweak my life into its new shape (said shape being 'do the best you can given your resources') , and during my most productive month of this year I wrote 3x as much as the worst (writing wise, I was finalising publication at the time), my current weekly average is about 4800 words. Sometimes it's a bit higher or lower, sometimes much higher or lower, but that's what I can sustainably do right now.

Frankly, I'm a little cranky about this: I know I can do more, because I did do more. But my priority now is not to send myself straight back into burnout again, so when I sprint, it's just that, rather than my previous 'trying to run a marathon at the pace of a sprinter'. I'm writing less than I used to, but it's honestly not that much less: because the pace is sustainable rather than boom and bust, I don't run myself ragged enough to desperately need a break.

I'm aware this advice only works if you have control over your own time, and a schedule that doesn't force you to focus on writing say, one day a week, or around other obligations, but the only real workaround for burnout is consistency, and that consistency cannot be your maximum.

Or, it can, but I guarantee you that will bite you in the ass at some point, and the pain of not getting enough done is nothing compared to the pain of not being able to get anything done because your nervous system threw up its hands and decided if you weren't going to listen to their clues (feelings, symptoms) or their warnings (Feelings, Symptoms) that you were overdoing it, they were going to shut your ass down until you listened.

0/10 do not recommend.

Next week: how to trick your brain into doing shit that it doesn't feel like doing, even though it's onto all your tricks by now. Or at least, how I trick mine.

[bilbao-song]

okay at long last (i wanted to do this at least a little sooner but by the end of last night i was so sleep deprived my brain was not functional): jeffrey in boston on the 23rd!!! (really in-depth PARAGRAPHS of rambling below the cut so you only have to look at it if u want to, otherwise just enjoy the photos lmao)

so. hmmmm what to say about this lmao (the first two paragraphs are probably least important here if u don't want to read All Of That)

all of this was like.....................a dream. like i know talking about this makes me sound like Insane Person Whose Life Revolves Around Concertgoing (although that's kind of just the truth tbh) but being THIS close was like...THE dream to me. or at least the most realistically attainable dream we got there a liiiittle after the opening band had started (they are pretty great btw? i approve. like i'm genuinely excited to see them lol) and i'm not sure what the problem was tbh!! we arrived at a perfectly reasonable time but then everyone got corralled into a giant line that like, looped around itself and wrapped around the block. so that took like ~25 minutes to get through. anywayyy i got one of the ???people who work there (there's a word for this that is escaping me atm) to help me find my seat bc things were of course a bit chaotic by that point and well...........that was a positively magical little jaunt as we got closer and closer and i just kind of lost my mind. my seat was in the third row riiiiiiiiiiiiiiiiiight in the middle. like, perfectly in the middle. it could hardly have been any better :'))))

so! i sat there by myself which felt a little strange bc although i do like doing things on my own i have just never done this before. the only other concert i have been to where i sat basically by myself was like, a thing i got to go to bc someone gave me their extra ticket (air supply! which was fun but like, i only went bc it just came up. no disrespect to air supply lmao) and even then the person next to me was like, super nice and also clearly entertained by my dedication to older music (always exquisite to encounter someone who genuinely wants to hear about ur interests. like once you manage to convince me you're asking out of genuine interest the floodgates are OPEN) but anyway!!! the strangers in the elo mosh pit did not talk to me. this was fine but i was a tiny bit surprised bc everyone has been pretty chatty at the other ones i have been to...as an aside i was repeatedly given the impression that the people directly behind me were kind of mean (consistently not shutting up during the opening act, loudly making rude comments about them, just kind......whining a lot lmao) so i'm 100000% good with not talking to them lol

ANYWAY...onto the important part. sitting through the little intermission was excruciating and kind of went by too quickly bc i kind of did not want the concert to start bc the sooner it started the sooner it was over </3 but it was fun to be sooo close bc i enjoyed watching the crew set everything up and adjusting things and putting jeffrey's little table directly in front of me and whatnot 🥺 but then it started and it was like..............surreal. it quickly became clear that i really had chosen like the absolute perfect seat bc a) the two people in front of me were really short. thank god (the jackasses behind me were also at least a little taller than me so i'm happy for them and was not sorry for standing in front of them in my huge shoes) b) jeffrey directly in front of me. (!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!) again this was like. SURREAL to me in a way bc it's just!!! the best yet and also 💕🥹💕🥹💕🥹 of course. i have been at least slightly pleasantly surprised by my seats at each one i've been to on this tour but even here i experienced that bc i did think i would be off to the side at least a tiiiiny bit...but no it was actually perfect. exquisite. like, i'm really truly not one of those overly-idolizing/Lose Your Mind Over Proximity To Famous Person types but well. i mean if you have read this far i'm sure you are already well aware of how i feel about him lmao

moving forward......bringing this up makes me feel weird bc it sounds so......well. you know. but ummmmm eye contact was definitely established repeatedly 🥺👉👈 looking at me and smiling adorably...........like, this is no exceptional credit to me or anything bc like...what else is he supposed to look at. i was very directly in his field of vision and significantly taller than the two people in front of me lol so he would have had to go to great lengths not to look at me at all. but ohhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh my god???????? it was also kind of hilarious bc it did very muchly keep triggering my insane reflex to look AWAY from people when they make eye contact with me so i had to keep consciously correcting that bc like ????? HELLO lmao. but it was just!!!!!!!! very sweet!!!!!!!!! he was very smiley and adorable. typical...........i could opine on this further but i shan't at the risk of sounding insane. but like this alone was worth it to me sdjkhsjkhsd. felt Nice!!!!!!!!

anyway hmmm what else. well it was just spectacular but u already knew that. his voice has sounded remarkably perfect at each of these shows and that really stands out to me bc i just love that :') i also just love that he's repeatedly absolutely killing it, most importantly just because like, of course!! yay!! but also bc for awhile there was like, a cluster of very weird naysayers within the general community (which involved some kind of disgusting behavior imo but i won't go into detail about that bc like, why rehash it when it's both negative and profoundly ridiculous) and every single concert is just a really beautiful little I Told You So to those people which is SO satisfying to me bc i love to see that sort of thing getting thoroughly shut down and also slightly in part bc i love when i'm right and rude people who i don't like are wrong but that's as snarky as i will allow myself to be in an otherwise very happy post. <3 but i like. idk i just knew. and everyone else who isnt absolutely bonkers did too but well. etc etc etc

as a final note!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! idk i loved it. and i'm so glad that i get to go to the phoenix one as well bc although i'm already getting a little emo about this (........i was already a slight mess after the one in indianapolis tbh) i do think that's like, the only thing that's keeping me from losing it entirely lmao. i feel super lucky to have done all of this and i am having a very very very very very good time

[askshivanulegacy]

you misread that aita post. they aren't digging up dirt on other people- they made the callout post about themself

No, I got that. Guess I wasn't that clear about it - I meant that they're digging up enough on other people to determine how those other people are enjoying a fandom and then judging them for it. If someone isn't enjoying the fandom in the right way (shipping the way that person wants characters to be shipped), then that person goes out of their way to bother people who reblogged their art with their own callout post.

I just think that:

If you're so obsessed about your own perfect way of interpreting fandom that you cannot stand it when other people who think differently reblog your art, you need a new life hobby.

If you HAVE to be so obsessed and controlling about who reblogs your stuff, there are ways to do that without bothering people until they delete the reblog, which is what the person is doing. Dunno about anyone else, but I would personally never delete the reblog out of pure spite. XD

These people who that person is targeting did absolutely nothing except enjoy the fandom the way it was presented to them, and the person is butthurt about it.

You actually should be grateful and appreciative when someone reblogs your art. You can't pick your audience and all different kinds of people are going to like your art and you need to make peace with that fact. Also??? it's a GOOD thing???? Like

Anyway. I get people think the asker was funny, but I just think they're being a gatekeeper and quite a bit dumb about outing themselves to random strangers online over something as trivial as a reblog. XD

This is tumblr and people reblog stuff. If you're here, you've GOTTA be okay with that. You can't go around wasting your time and energy trying to investigate who people are when they are having nothing to do with you other than them reblogging your stuff or you reblogging their stuff. If you can't, then this is not the platform for you.

[girlkomaeda]

thinking about replaying all the danganronpa games and reading more of the novels and spin offs n stuff…

[kriscommitscrimes]

merry krismas

[lifewithcake]

Sch Tip: Soil in Dungeons (L78+)

At Level 78, Sacred Soil gets a very powerful upgrade: a regen! The total cure potency of this regen is 600, making it a stronger heal than Indomitability and equal to Lustrate. Paired with its 10% mitigation, Soil becomes one of your best Aetherflow uses.

In dungeons, you should use Soil every pull. Its 30s CD means you can use it at least once every pull and twice on longer pulls. I always throw it down as soon as the tank stops running.

Starting from L78, Scholar's Aetherflow use in dungeons will pretty much bounce between Excog and Soil. Between these two, use Lustrate to manage the tank's HP if needed and dump Aetherflow on Energy Drain if not.

[leaf4e]

(posting w/ permission)

I don't really care about who interacts with my blog as long as no arguments or harassment is brought on here, and no harassment happens through my blog.

But also do keep in mind that this blog is run by a group of system members from a system that doesn't use label for, or cares about their origin, and that we support endogenic systems

[cescalr]

I LOVE HOW YOU TAG PARAGRAPHS THEYRE FUN TO READ!! /gen

Thank you!!! I love to ramble!!!

[byoldervine]

Types Of Writer’s Block (And How To Fix Them)

1. High inspiration, low motivation. You have so many ideas to write, but you just don’t have the motivation to actually get them down, and even if you can make yourself start writing it you’ll often find yourself getting distracted or disengaged in favour of imagining everything playing out

Try just bullet pointing the ideas you have instead of writing them properly, especially if you won’t remember it afterwards if you don’t. At least you’ll have the ideas ready to use when you have the motivation later on

2. Low inspiration, high motivation. You’re all prepared, you’re so pumped to write, you open your document aaaaand… three hours later, that cursor is still blinking at the top of a blank page

RIP pantsers but this is where plotting wins out; refer back to your plans and figure out where to go from here. You can also use your bullet points from the last point if this is applicable

3. No inspiration, no motivation. You don’t have any ideas, you don’t feel like writing, all in all everything is just sucky when you think about it

Make a deal with yourself; usually when I’m feeling this way I can tell myself “Okay, just write anyway for ten minutes and after that, if you really want to stop, you can stop” and then once my ten minutes is up I’ve often found my flow. Just remember that, if you still don’t want to keep writing after your ten minutes is up, don’t keep writing anyway and break your deal - it’ll be harder to make deals with yourself in future if your brain knows you don’t honour them

4. Can’t bridge the gap. When you’re stuck on this one sentence/paragraph that you just don’t know how to progress through. Until you figure it out, productivity has slowed to a halt

Mark it up, bullet point what you want to happen here, then move on. A lot of people don’t know how to keep writing after skipping a part because they don’t know exactly what happened to lead up to this moment - but you have a general idea just like you do for everything else you’re writing, and that’s enough. Just keep it generic and know you can go back to edit later, at the same time as when you’re filling in the blank. It’ll give editing you a clear purpose, if nothing else

5. Perfectionism and self-doubt. You don’t think your writing is perfect first time, so you struggle to accept that it’s anything better than a total failure. Whether or not you’re aware of the fact that this is an unrealistic standard makes no difference

Perfection is stagnant. If you write the perfect story, which would require you to turn a good story into something objective rather than subjective, then after that you’d never write again, because nothing will ever meet that standard again. That or you would only ever write the same kind of stories over and over, never growing or developing as a writer. If you’re looking back on your writing and saying “This is so bad, I hate it”, that’s generally a good thing; it means you’ve grown and improved. Maybe your current writing isn’t bad, if just matched your skill level at the time, and since then you’re able to maintain a higher standard since you’ve learned more about your craft as time went on

[andhumanslovedstories]

I've been running this writing experiment lately to cut out phrases like "I felt" in my fiction writing. Like I was looking at a sentence in a draft that said, "he felt as if character's eyes were pinning him in place." And then I was like, "well, does he think that or is it true? As a result of this person watching him, he's froze. It's not like a thing, it is that thing."

Oh and "almost"! I'm always going, "He felt almost relieved that it hadn't happened." Well, did he feel better that it didn't happen or didn't he? Or "somewhat", I'm always going, "she felt somewhat perturbed."

And like none of that is wrong, to be clear. I don't know if it'd improve your writing, I don't even know if it'll improve my writing, but I use this sentence structure all the time so every viewpoint is from a voice that thinks about what it thinks, hedges its statements, and offers the same ability for wry little jokes formatted in the exact same way. And I have a lot of writing like that and I think (!) that they're good, but read as a whole, I'm like, "god, they all sound the same." Like there's one melody that I write songs to, so even with different lyrics, it's almost (!) the same song. Something I've been struggling with in regards to my writing and why I've felt so blocked is how boring I found writing my usual way. I'd read something and enjoy the individual parts of it, but then I'd step back and I didn't like the whole. And I got good at this enough at seeing that I didn't like it to do it in real time as I was writing, which as you can imagine didn't improve the process of writing because now I was bored AND dejected about being bored.

There's this sentence-level structure fact that I use unconsciously. A pattern I find easy is short sentence, short sentence, short sentence, long sentence. So I write that. "He [verbed]. He [verbed]. Then he [verbed]. As he [verbed] to his [consequence], he [verbed] that [noun] was [statement of condition]." Which could work, it often does make for a nice rhythm, but it's something I reach for often because it's easier for me.

Just last sentence, I originally typed, "I find it easier for me." But if what I mean is "using this pattern is less effort than another pattern," then it's easier for me. One voice is hedging its bets and the other asserting. Either is fine! But they're different! And, again, GOD you would not believe how many words I've cut out of this paragraph as I write it. I'm so chatty. I love using twelve words when six will do. And that gives my writing a specific tone to my ear.

So if I am bored of that tone, why not try using just the six words? Why be understated? Why be afraid of stronger opinions? So right now with my fiction, I'm experimenting with cutting out as many self-reflective words as I can. Sometime you do need to draw attention to the face that this is the character's interpretation, but like you definitely don't need to do it as much as I naturally want to do it. You don't need to always go out of your way to allow the possibility that the narrative voice is wrong. During editing, I trim the weaker ones (I originally typed, "what I consider the weaker ones" Is that more accurate?). But I think them being there in the first place shifts my language which shifts my character's which shifts my plot. It's sentence structure all the way down!!

(this barely applies to my writing on here, btw. i try to do good but yknow this is a tumblr blog. i'm not trying to get a lit mag to accept it.)

Anyway blah blah (chatty!) the point is I've been trying to write in a way opposite of my interests. Something that doesn't take itself too seriously, that emphasizes EMOTION and ACTION instead of minimizing it, and that clips through scenes at a good pace. Doing this been amazingly fun. I've been having such a good time doing it. I am writing so much because I really enjoy doing it. The process of writing is so fun again.

This post is about two things. One is my new mood stabilizer and therapy day camp. The other is about the benefit of pretending to be MXTX.

[mismatched-sockss]

You're my future, past and present

» Pairing: Spencer Reid x fem!Reader » Word count: 6,4k » Warnings: spoiler mentioned for 9x23 Angels / 9x24 Demons, Spencer's POV, exes to lovers, set after s15, anxious!Spencer, reader feels guilty at one point, language? (one 'bitch' from reader to reader), mentions of past fights, minor misunderstandings, random old lady plays cupid <3, fluff, kissing, how many phrases for being in love can one pack in two paragraphs? me: yes., » A/N: my brain is on strike for finishing bingo fics for some reason, it instead gave us this so yay!, i'm still working on those of course but i can't tell when i will get the next one done (in the words of one Penelope Garcia: Why do the last 10% always take the longest?), hopefully by the end of the week; it's lightly implied that reader can get pregnant in the beginning but it's not explicitly said (only mentions of kids), which is the reason i tagged it as fem but no mentions of anything body related or any pronouns (i think so, please let me know if i missed pronouns), so it might as well can be read as gn; no body description --- pls take a look here for more info about my reader descriptions in general

⚶ masterlist ⚶

He should have asked Penelope for a favour to look you up, before he came here. He had no idea how your life had changed in all these years he hadn't seen you or if you even wanted to see him again. It didn't particularly sound like it the last time he saw you.

You could be happily married with kids for all he knew. The thought alone almost made him turn around without even knocking on your door. He didn't know what he would do if this was the case. Or maybe you didn't even live here any more, you could have moved; to the other side of the city, to another state. Another country. You had toyed with the idea to move to Scotland back then, it very well could be that you had acted on it.

Too much time had past, five whole years – five years, three months, twenty-one days and eleven hours, forty-two minutes to be exact; but who was counting, right? – and there was too much history, too much heartbreak. Too many reasons why it hadn't worked out.

The main – and kind of only – ones being his job at the BAU and everything that came with it. The travelling and never being home, not even a free day or annual leave really meant not getting called in, the late nights, the worries that he could get hurt and may not be coming back home, the worries when he got hurt.

You had your reasons to break it off and he still thought that you were right to do so. He never held it against you, never resented you for leaving. Because he understood. If the roles would have been reversed, he may would have made the same decisions.

This whole idea was stupid. Why was he even here. He should just leave.

What did he think would happen when you saw him? That showing up out of nowhere – with no contact since the break up, not even a single text message – and having a 'new' job would change everything and would make you jump back into his arms in an instant like nothing happened? Yeah... Sure...

Maybe, deep down and in the tiniest crack of his heart, he didn't even want you to open the door; didn't want to see your reaction to him just showing up and the inevitable rejection that would surely come. He was sabotaging himself, really. And if he would be more honest to himself, he'd knew that. Maybe he did, but just didn't want to see it.

Spencer had been pacing back and forth in front of your door for an eternity by now; walking closer to it and already lifting his hand to knock, but changing his mind before his fingers even came close and he was walking a few feet away to leave, only to change his mind again and repeat the whole ordeal. Over. And over. And over.

He just couldn't make his mind up, he didn't know what to do. It shouldn't be this hard to knock on a door. Especially yours. But maybe it was this hard for him because it was yours.

At one point, he, a man of science, even asked the universe to give him a sign, to show him what he should do; if he should do it or if he should go.

That's when it happened.

Right after, as he was walking closer to the door again, he tripped over his own damn feet and he ended up kicking the door with his shoe; not hard, but audible enough.

Shit. Not the sign he was looking for. A pedestrian screaming something outside that he could twist into an answer, a car honking when he either was close to the door or walking away; hell, even a spam mail popping up on his phone that had a certain word in the subject line... No, it had to be this way.

Now he had to knock.

Taking a shaky breath, he hit his knuckles against the wood a couple of times and started fidgeting with his fingers as soon as he had lowered his hands. His heart was in his throat as he waited anxiously. His mind in a constant battle of 'please be home' and 'please don't be home'.

A moment later – both too short and too long at the same time – the door opened just a crack and it was really you standing there. Not some random person that would tell him you moved. You.

You didn't turn your head just yet, looking back over your shoulder instead, you held out your arm behind you and said “Stay there” in a soft voice to someone behind you. When you turned you blocked the entrance with your body and kept your left hand on the door.

Your eyes grew wide when you saw him. Spencer probably was about the last person you would have expected to see when you opened the door. He couldn't bring himself to break the silence first, didn't dare to speak.

“Oh, hey... Uh-”, you stammered looking for words, blinking in confusion. For a moment you opened and closed your mouth, and he knew you were hating that you looked like a fish out of the water, before you gave up and just settled for another “Hi.”

“Hi.” He hated how shaky his voice sounded. He cleared his throat and averted his eyes for a moment, looking down at his hands and the floor before he met your gaze again.

“Wow, it- it's been a while.”

“Yeah...”

“How long 's it been? Five years?”

“Five years, three months and twenty-one days.” Spencer pressed his lips together before he could blurt out the hours and minutes as well.

You laughed – not mean, but endearing – and the sound combined with the smile that spread on your lips made his heart leap. “Right.”

God, how much he had missed your laugh; how much he had missed you. Now that you stood before him, it became evident, that all the longing and yearning he had felt in the past years had been nothing more than a fraction of what he was really feeling; repressed by throwing himself into work and keeping his mind off you as much as he could.

His love for you never went away, never dulled even the slightest bit, and seeing you now was almost too overwhelming for him, his feelings for you crashing over him, nearly sweeping him off his feet.

“Uhm, I was just about to go to the park with Cleo”, you started, shooting a look over your shoulder and Spencer's heart dropped. He could have sworn it stopped beating for a few seconds as well. The Stay there hadn't rung any alarms in his mind, it could have been said to any person really. Going to the park with Cleo however...

He really should have asked Penelope to look you up before he came. You had a kid.

And since he could only see the heel of your left hand and not your fingers, he couldn't be a hundred percent sure, but there was a high chance there was a ring on your finger.

“Oh, I'm sorry to hold you up. I'll just, uhm-”, he stammered choked up and pointed his thumbs over his shoulder, taking a step back, about to turn away and leave.

“No”, you exclaimed, maybe a bit too quickly and panicked, as you held out your right hand like you wanted to reach for his arm; even making a small step out of the door. “You don't have to leave. You could- uh, you could come with us? If you want to.” If he wouldn't know better, he'd say there was a pleading look in your eyes, begging him to say yes and stay.

His mouth opened, but no words came out, no matter how hard he tried. He didn't even know what he wanted to say.

'Yes sure, let's go to the park with your daughter and rip my heart into pieces seeing and hearing about you living the life I dreamt of having with you, with another man'.

A plain 'No.' would be too rude, wouldn't it? Even if he would add a 'thank you' at the end, it didn't feel right.

“She uh- she likes meeting new people, she's really open; sometimes I'm afraid she'll walk off with anyone. Come here, girl.” You looked over your shoulder again and tapped your flat hand against your thigh a couple of times, then some clicking and scratching could be heard behind you on the parquet floor.

The speckled snout of an Australian Shepherd pushed in the space between your knee and the door, then tried to push through further after seeing Spencer. With a laugh you took a hold of the collar and held the dog back from running out.

“Cleo, stay.” You squatted down next to her, petting her head and scratched behind her ear. ”I have to warn you, she can be a bit rough when she gets excited.” A wide smile was on your face as you looked up at Spencer. “I've been trying to teach her to not jump up on everyone she meets, but it doesn't stick.”

Just like that, he felt like he could breathe again. Cleo wasn't your daughter but your dog and the ring you were indeed wearing on your left hand was one he recognized from your jewellery box.

A relieved chuckle left his lips and he mirrored your position. He held out his hand for Cleo to smell before he touched her. She really was excited; she was pulling against your hold and tried to get closer, her tail was waggling so hard her whole body moved in the rhythm and she nudged her nose against his palm hard after a short sniff, so he would pet her.

You did your best to hold her back, but after Spencer verbally said hi to her and was petting her on both sides of her head she surged forward; your hand slipped from the collar and Cleo threw her whole weight against him, making him loose balance and topple over.

With an outstretched arm he held himself up, laughing, as your dog rubbed her head against his torso and hand and was spinning around a couple of times between his legs, repeatedly leaning herself into him with every turn.

“Cleo!” Your voice had a warning tone to it that hadn't fully replaced your laugh though, not until she let out a small bark and started to lick over his face. “No! Stop!” You pulled her away and moved her back into the apartment; Cleo only reluctantly complied.

Before he could react, you shuffled closer on your knees until you kneeled right before him and in between his legs. You reached out and started to wipe the side of his face clean; the sleeve of your sweater pulled over your fingers. “I'm so sorry, she's usually not that excited. I have never seen her do this to someone that isn't me.”

He froze when you got close and he felt your touch, every soft stroke leaving behind a trail of fire, even with the thin fabric barrier between you. One would think his heart couldn't pound any faster in his chest than it already had since he had laid eyes on you again, but it did.

“It's- hu, it's okay”, he stammered as he was watching you intensely, with wide eyes.

“No, it's not”, you said softly and took his chin between your thumb and index finger, slightly tilting his head to the side as you tried to get everything off. “Do you want a wet wipe or something? You can come in and wash your face if you'd prefer that.”

Spencer couldn't help the smile stretching on his lips, his heart warming over the fact that you were still looking out for him, after all these years; after everything that had happened and all the things that had been said the day you broke up with him. His hand moved on its own accord and he wrapped his hand around your wrist, stopping you. “Really, it's okay.”

You met his gaze, heat rising in your cheeks and it was like you only now realized how close the both of you were sitting and that you were touching him. For a second you froze, your eyes wide. Then, after a deep breath, you pulled back to bring some distance between you and cleared your throat, looking away.

He could tell there was an apology forming on your tongue, but you swallowed it down. You began to nervously fidget with the hem of your sleeve and cleared your throat. “So, uh, do you want to come with us? There is this coffee shop on the way that opened about six months ago and they're really good, we- we could grab a coffee and catch up...?”

“I'd really like that.”

It was easy, talking to you. The initial awkwardness and anxiety he had been feeling had quickly faded and the both of you were talking as freely and open as before, like no time had passed; and he was incredibly grateful for it. Neither of you had been going to personal topics for now though – the closest thing to personal in a deeper sense was when you asked about his mom –, the both of you had been talking more about everything and anything.

[..] Did you end up getting that book collection you had your eyes on? - When did you get Cleo? - Oh, do you remember my coworker Grace? All the rumours really were true! - Is your neighbour still vacuuming solely in the middle of the night? [..]

About halfway to the park you stopped at the café you had mentioned and while you were waiting in line, you told him about the different coffee varieties they offered; the flavours, how strong they were, how sweet, the seasonal ones. You had drunk your way through the list three times and until you decided on your Top 5.

He crinkled his nose in adoration as he was listening to you rambling about the coffee – what you liked about each one and why you didn't like another – totally engrossed by you; you had done this in the past as well and it made Spencer happy that you still were. It was adorable. He wondered, if you still wrote down your Top 5's in that little notebook you had always kept in your purse.

The one you recommended to him was really good, you had met his taste precisely; the perfect amount of sweetness just how he liked it, and with a hint of vanilla and cinnamon.

There were many occasions he was about to reach for your hand, it was almost instinctually when you were this close to him. He didn't know if you would let him, if you would want it. So Spencer didn't. Instead he buried his hand deep into the pocket of his coat to keep himself from reaching for you, holding a tight grip on an old pack of gum he forgot was even in there.

Throughout the whole way from your apartment to the park, Cleo was happily dancing around you, just shy of making one of you trip over her. That she didn't circle around the both of you to wrap the leash around your legs – all '101-Dalmatians'-like – was all.

After you arrived at the park you walked a bit further in until you came to a fenced area that seemed to be reserved for dogs for them to freely run around without having to be leashed. As soon as you unhooked the leash from Cleo's collar she dashed forward, joining a group of dogs playing.

Spencer and you sat down on a bench and just sat in comfortable silence for a moment, watching her. His hands got clammy as he got nervous because of the proximity, and he tried to wipe them on his pants as discreetly as he could. You were sitting so close to him, your thighs and shoulders were almost touching; he could feel the warmth radiating from your body and with every soft breeze the smell of your shampoo got carried over.

“So, uh... How have you been?”, you asked after a few minutes.

He huffed out a small laugh and licked over his lips. Where should he even begin. “Long story short? Not good then somewhat okay, bad, worse, better, okay.”

"Sounds like one hell of a roller coaster."

Oh you had no idea how much. And 'hell' sounded about right to be honest. "You could say that... How about you?"

"Wasn't much going on for me to be honest. I've been... okay? After some time at least...”, you admitted nervously, following Cleo with your eyes. “Everything alright at the BAU? How is everyone?”

“Good, they're good.” Spencer started telling you about all the changes within the team, but he left out all the bad stuff for now – he told you about Alex leaving, about Tara joining after practically a 36 hour long job interview for the open position, JJ and Will having a second child, that Morgan left and had married Savanah and that they had a son as well, Garcia vehemently trying – but ultimately failing – to hate the newbie Luke.

“Rossi got married last year.”

“Really? Again?” You let out a soft laugh.

“He re-married his third wife actually. They got back together after-” He had to stop for a second and swallowed hard as the spark of hope was reigniting in his chest. If Dave and Krystall had found their way back to each other after thirty years and made it work, five years didn't sound all that bad in retrospective. He tried to play it off like he was trying to remember the exact number of years. “Around three decades, I think.”

“Wow... That's a lot of time..”

“It is.” For a short moment Spencer didn't say anything more, trying to muster up the courage to tell you he left the team as well.

“And I- uh” He huffed out a small laugh, nervous, and let his gaze wander over the meadow. There he goes... “I'm not- I'm not with the BAU any more, actually.”

“...Oh”

For a moment you didn't say anything else and his heart beat faster. He couldn't a hundred percent gauge what your silence meant. What the oh meant. Did you care? Were you relieved or maybe even sad for him? Could – would – it change anything between you, even after all this time? Would you give the both of you a second chance? Him?

Hope started to rise up again in his chest and he tried to stop it and keep it at bay, so it wouldn't take over him; it would only crush him even more to lose you a second time if he'd let it happen. Spencer's breathing became more shallow and slightly faster as he waited for you to say more.

He could just turn his head to look at your face of course, study your expressions to get his answer without you saying another word. He didn't. Something held him back; maybe it was only because he was respecting your wishes from years ago not to profile you. Maybe it was fear of what he would see.

He heard you clear your throat and when you spoke, your voice was shaking, almost undetectable however. If you wouldn't sit so close to him – and if it wouldn't be you and he wouldn't be him – one probably wouldn't have noticed. “Why not?”

“Re-assignment due to budget-cuts or something like that. There were a couple of people higher up the food chain than Emily that had it out for us for a couple of years now.” His eyes followed Cleo sprinting over the grass, chasing and playing with the other dogs.

“Emily is back?”, you asked. The last thing you knew was that she had left for London not long after she came back from the dead.

“Yeah, she took over from Hotch after-” He stopped himself.

Telling you about Hotch and Scratch and why Emily fully became Unit Chief of the BAU, meant he had to tell you about everything else; everything that had happened to him. He just wasn't ready for this yet. This would have to be a story for another day; for both your and his sake.

“Anyway, I uh- I'm teaching now. Full-time. Mostly at the academy and some colleges here and there. But all in all-” Spencer took a deep breath. “Fixed work hours and no travelling for longer than a day.”

Only when he felt you tense up did he bring himself to look at you. You were sitting up with a straight back, eyebrows furrowed, lips slightly pursed. Your eyes were darting around and he watched a muscle twitch on your jaw.

He quickly looked away again, concentrating on Cleo again, before he could read you more. He couldn't help it, it was hard not to and turn it off. By now profiling was in his blood, it was a subconscious habit he couldn't always control, it just happened. You didn't want to get profiled, so he did what he could do to not use his profession on you. If it meant turning away and not look at you, even if he was only looking just to see you, he'd do it.

Also, he knew that he was biased; another reason why he shouldn't. What he would see and read would not be accurate. Usually, this was not a problem, he could read body language and micro-expressions with a 99,42% accuracy, since he'd do it with a neutral stand. But right now it was personal.

What ever Spencer would see in your non-verbal communication, he was too involved to not let his judgement get clouded by his feelings for you, his hopes and his fears. He would only see what he wanted to see, or what he not wanted to see, depending on which part of his heart was winning at the moment; the confident and hopeful part, or the insecure and anxious part.

“That's... That's nice. Do you like it?” He wished, he knew what you were thinking right now. Your tone didn't give much away on how you were feeling, but you seemed a bit more relaxed to him.

“Yeah, it's fun. There are some key topics on the curriculum I have to cover of course, but other than that I have pretty much full reign over the subject matters. Learning is more fun when it is about something you're really interested in, so I take suggestions from my students for a lot of the lectures. It's been paying off already.” He smiled proudly. “They contribute more and most grades have gone up.”

Slowly, the longer you talked as the evening proceeded and the sun slowly began to set, he let himself go, allowed his heart to open up and he welcomed the prospect of having you back in his life – to what ever extent it may be, even if only as a friend if that was what you wanted.

His heart had leaped when you shared you weren't seeing anyone and it hadn't slowed down it's pace ever since. Both of you had been talking and asking about it in the most complicated and conspicuously inconspicuous ways one can ask 'are you dating someone?'.

Not only this, but you wanted to spent more time with him. Spencer couldn't believe his luck. It was almost too good to be true and he feared he might wake up from this wonderful dream any minute.

He could tell how nervous you were when you asked him; hands and voice shaking, fingers fidgeting with Cleos leash in your lap, your eyes not daring to meet his.

"Tonight is this big bonfire at the Benson's farm, you know, the one with the apple orchard? I was thinking of going and.. maybe if you- I mean, if you are free tonight and want, uh- Would you like to go with me?"

There was nothing he'd rather do, nowhere he'd rather be.

After a short stop at your apartment to bring Cleo home and for the both of you to freshen up, you made your way to the farm. It was a fairly short drive and the roads were mostly empty as it got later, a bright full moon illuminating the way now.

When you arrived, there weren't too many people present. It felt more like a large family gathering than a big event. At a decent distance were benches placed around the huge bonfire, there was a tent where various beverages and a few food options were served. Next to it stood a truck from the fire department and an ambulance; a precaution if the fire got out of control or someone got hurt.

The air smelled of smoke and burning wood, french fries, beer and Mrs. Benson's home made apple pie.

Sorry, Mr. Benson's apple pie as Spencer learned some time after you arrived. You introduced him to the hosts and you started to talk about a new recipe for the pie filling you had tried to make and Mr. Benson explained what he would have done different than the recipe you found had stated.

The Benson's were nice people – he had met them once when he had accompanied you to the farm to get apples and honey. You had gotten closer to them since then, dropping by to help them out from time to time, especially when it was time for the harvest.

He had to catch his breath as his heart fluttered, his eyes glued to your face as he watched you talk with old man Benson. The way your eyes wrinkled at the corners when you smiled and the excited glint in your eyes, how the fire painted beautiful orange patterns on your face as the flames danced high, fuelled by the soft breeze; combined with the silvery light of the full moon shining bright. You looked ethereal.

Spencer became increasingly aware of said man's wife and her three friends, who stood a little farther away. The women were whispering to each other and kept looking over, one of them not so subtlety pointing at the both of you. They weren't talking badly, not at all; they were smiling and giggling as they were talking, nodding at what the other ones were saying, swooning with their hands over their hearts from time to time.

It could only mean one thing – and he wasn't sure if he should be embarrassed about it, or not: that he all too obviously for everyone around looked as love struck as he felt; utterly bewitched by your beauty, completely head over heels, truly madly and deeply in love with you in every way, a total goner who was worshipping the ground you were walking on.

Thank god for the warm shine of the fire, or they would be able to see the blush rising up his neck in this moment as well... He just was glad that he had finished his piece of pie before this, otherwise he'd probably stand here with an open mouth and the fork frozen in mid air as he was looking at you. Now, that would have been a good picture.

What he didn't know though, was that they weren't just talking about the smitten look on his face, but yours as well. The longing glances you shot his way whenever he wasn't looking, how you were orbiting around him like the earth around the sun, a magnetic pull to each other that not even the both of you seemed to realise you had as you unconsciously stepped closer to the other when you stood too far apart. They talked about the fact, that you looked at Spencer with such a happy and beaming smile they hadn't seen on your face in a long time.

And that they could tell how hesitant and shy the both of you were about getting closer.

It's not like he didn't want to, believe me. The urge to hold your hand or wrap his arms around you – to kiss you – was still burning in every fibre of his body and it got more and more challenging to hold back, the longer he was around you. Leaving out the tiny part in him that was still afraid of getting rejected, he didn't want to impose on you by acting on it. He didn't want to possibly make you uncomfortable, so he left it to you to initiate any physical contact.

Admittedly, this was very much a bad plan if you were doing the same and were waiting for him to make the first move. However, the universe seemed to take matters in its own hands again.

Spencer had to remove himself from of the situation for a moment to restore some of his composure and not ogle you non-stop; especially not in front of all these people. He let you know that he would get the both of you something to drink and asked what he should get for you; when he came back, Mr. Benson had left.

For some time you stayed close to the fire, until he saw you lift your hand to fan yourself some air. “Too warm?”

You let out a small laugh and smiled at him. “Yeah, it starts getting a bit too much.”

He took the now empty cup from you and with a tilt of his head he signalled you to follow him. He gave the cups back to the person behind the make-shift bar counter and you walked a little farther away, putting some distance between you and both the tent and the fire. And the people too actually, the majority had gathered close around the flames in small groups.

“That's much better”, you sighed. “I like a nice fire as much as the next pers- oh.”

Before you could finish, you lost your balance when a body collided with yours from behind. You stumbled forward and Spencer instinctively reached out to catch you – he got a hold of your arms with a firm grip on them right above your elbows as you fell into him, bringing up your own hands to hold onto his shoulders.

“Oh, dear, I am so sorry, I must have tripped over something. Are you okay?”, the voice of a woman came from behind you.

Neither of you let go of the other as you turned to face her. Spencer recognized her as one of the women that had talked with Mrs. Benson earlier and the look on her face told a whole different story than her words; that she wasn't sorry at all and that it had been deliberately planned to bump into you.

“I'm okay, no worries. Are you?”, you asked her and quickly scanned her for injuries.

“Ooh, I'm good. I'm good...”, she replied, almost in a sing-sang kind of tone and a wide smile on her lips. She snickered softly and walked away, her hand raised with a lazy kind of flick in her wrist as a wave good-bye.

The both of you watched her walk away, baffled.

“Okayyy”, you let out as you kept your eyes on her for a moment longer. “As long as she didn't twist her ankle or something.”

You turned your head, and just like earlier in front of your apartment, it seemed like you only just now realised the position you were in when your eyes met his. How close you were and that you were still holding on to each other.

Only this time, you didn't pull away.

The world around him seemed to fade away, time standing still, as he held your gaze. Your breath hitched and when his eyes flickered down to your lips, Spencer felt your grip on him tighten, subconsciously pulling him closer to you. His heart was in his throat and it beat so loud that he was sure you were able to hear it. He let his eyes wander back up and when he saw that you were looking at his lips as well, he threw all caution in the wind and just... did it.

He let go of your elbows, took your face in his hands and leaned in, hovering his lips over yours for a short moment to give you an out, to give you time to pull away, but you didn't; instead you closed the small space that was left between you.

A long and deep sigh rumbled in the back of his throat when your lips met and he pulled you closer; as you leaned into him, your hands moved higher until your fingers were tangled in his hair, slightly tugging on it.

When you pulled back – more than reluctantly, but the both of you were still in public – , you were panting, your breaths mingling as your faces were still so close to each other. Spencer kept his eyes closed for a moment longer, not quiet ready to open them yet, afraid that when he did, he would wake up from an incredibly vivid dream.

“I'm sorry”, you suddenly choked out, which made him open his eyes in an instant. Tears were streaming down your face and you took a step back, keeping him at arms length. “I am so sorry, Spencer.”

“Hey, what's wrong? Talk to me, please.” Your emotions had changed so suddenly, he didn't know what happened, what made you cry. He wasn't sure what he should do, how he could help you calm down.

“I'm sorry”, you repeated, shaking your head.

“What for?” Did you regret letting him get close to you again; kissing him? Did you regret, that you hadn't just closed the door right in his face as soon as you had seen him this afternoon?

“Everything!” you choked out. “For how I acted all the time and for leaving like that, for leaving when I did. That I didn't contact you even once. For saying all those things, it wasn't fair. It never was. You didn't deserve it. I was so mean for no reason...” You sniffled and wiped the back of your hand under your nose. “I regretted every word the moment I said it, I didn't mean any of it. I couldn't stop talking and it was like I was losing control over myself and it all just came out and-....”

“Hey, I know...” Spencer took a small step closer to you. “In that moment it hurt, yes. And it took a lot of time until it stopped hurting; sometimes it still does. But I get it. You were scared. Some people get angry and lash out at the people around them when they are scared, especially directed at the person they are scared for; everyone reacts different. It's a totally normal reaction, I don't blame you.“

A sob came over your lips, your face twisting in pain. “Please don't be like that...”

His brows furrowed, a short and sharp pain in his chest. “Like what?”, he breathed out.

“So understanding... I acted like a total bitch to you! You should hate me... Why don't you hate me?” Your voice broke and got smaller with every word.

The corners of his mouth slightly raised to the whisper of a smile and Spencer closed the distance between you, lifting his hands to cup your cheeks. He wholeheartedly meant what he said next; there was not one thing he could think of that would change anything about it.

“I could never hate you.”

“You were shot. You needed me and left you alone and-”

“I've had worse. Before that day in Texas and certainly after”, he trailed off and softly shook his head when your brows furrowed even more, pain and fear so evidently in your eyes; he could tell that you knew he wasn't talking about anything related to the break-up.

“It's okay, I'm okay.” Spencer brushed your tears away, holding your face so gently in his hands as if you'd break into a million pieces if he wasn't careful enough. By the looks of it, you may very well would. Not a risk he was willing to take.

You opened your mouth to say something, but he stopped you from asking what had happened after, by placing his thumb over your lips. “Not tonight.” Gently, he brushed his thumb over your bottom lip to the corner of your mouth. “We'll talk about it all and I will tell you everything, I promise. Just.. not tonight, okay?”

He wanted to stay in that little bubble you had created a little longer and ignore everything else but the feeling of having you back in his arms, being able to kiss and hug and touch you again, he just wanted to revel in your presence and your love. Everything else could wait; the guilt, the talking it out, the pain and especially all the bad stuff he had held back.

You pulled him closer by the collar of his jacket until there was no room left between you. For a second you fought with yourself, your eyes darting back and forth between his like you were looking for something in his gaze before you acted on what you wanted to do. Then-

“I love you.”

Before he could say, think or do anything else, Spencer dove down and pressed his lips against yours, smiling widely into the kiss. His heart was racing and he felt like a huge burden had fallen from his shoulders that he didn't even know he had been carrying. When he pulled back he rested his forehead against yours, his eyes closed. “I love you.”

He couldn't hold back his own soft laugh when he heard you giggle happily before you said: “I can't believe you still want me...”

“It's you. It's always been you and it always will be you.”

[sun-kissy]

Hi! Can I request James's sister with Sirius, but Sirius for some reason thinks she has a crush on Regulus? Thx I love your page! <3

thank you for the request angel! ♡

date | s.b.

tw: hurt/comfort, teensy bit of jegulus

potter!reader, sirius black x reader

“Potter. Do you think using unicorn’s blood instead would make our potion have a more iridescent colour? Because that’s what Slughorn wants,” Regulus asked dryly, shoving the book towards you and pointing at a paragraph which looked like nothing but muddled words.

You look at the book for a moment before sighing, letting your eyelids flutter closed and leaning back in your chair.

“No idea.”

Your hands come up to rub your eyes, exhaustion overwhelming your senses. Regulus and you had spent the whole day in the library like crazed scholars desperate for a good grade on an assignment.

That was exactly what you were. You had been paired with him for a Potions project, and ever since Professor Slughorn had made a breezy comment about your potion-in-progress, it had been driving the both of you mad. Although you weren’t exactly friends, there was a mutual agreement that doing well on this project was necessary to salvage both your grades.

The past few weeks were a blur - late nights wasted researching in the library and early mornings spent in the Potions classroom.

You groan and sit back up, willing yourself to hear him out and make sense of the lines in front of you. You blink and look up for a second when something, or rather someone, catches your attention. Sirius stands stiffly a few metres away, leaning on a bookshelf and looking over at the two of you.

When you meet his eyes, he quickly averts his gaze and pretends to be browsing the books on the shelf. You immediately sense that something is wrong - Sirius wouldn’t be caught dead in the library. You notice the hard look in his eyes, the subtle look of hurt in his features.

A frown instantly crosses your face. Your friend had been acting weird lately, ever since your lips accidentally crashed onto his at a party - and none of you pulled away.

It was a nice kind of weird, in which he fumbled over his words and his cheeks would get rosy when he talked to you. But ever since you had been swept up into the busyness of the project with Regulus, it was like whatever spark that was set ablaze had been doused out.

Sirius brushed you off every time you tried talking to him, yet you would catch him silently gazing at you in hallways and classes then immediately looking away as soon as eye contact was made. It made you mad, but more than that, it hurt your heart that the one person whom you thought would last forever was starting to drift apart from you.

Your annoyance started to get the better of you, slowly bubbling into anger in your chest. You take a deep breath and slowly stand up, your chair dragging across the floor. “Excuse me for a moment,” you mutter to Regulus, sidling your way around the table.

“Hey,” you make your way over to the bookshelf and stand in front of Sirius. He whips his head around, a false look of surprise on his face.

“Oh, hey Y/N! Didn’t think I would see you here. Anyway, I was just searching for a book for Moony - I should really make my way back now, James wants me to… plan some pranks with him,” he smiles, his lips pressed together. It’s obvious how forced it is.

You open your mouth to tell him your brother was in detention, his blatant lie adding fuel to the fire of irritation in you. But before you even say anything, he turns around to leave.

Anger flares up within you and before you can even think, you’re grabbing his wrist, your fingers wrapping around it with a vice-like grip. “Sirius!” you hiss, so unintentionally loud that Regulus looks up from his books, surprised. You look over at him apologetically.

Sirius turns back around, frowning. “What?” You flinch at the harsh tone, loosening your hold on his wrist but not letting go. You inhale sharply. “Talk to me,” you say, softening. “Please talk to me. What’s going on?”

“Nothing’s going on. What do you mean?” he bites back sharply, more hurt than anger in his tone.

“Let me go.” He tries to pull away, but you tighten your grip. “No. Something’s wrong, and you’re not telling me. Why are you ignoring me? What did I do wrong?” you ask, desperation seeping into your voice.

Sirius glares at you for a moment, seeming to be contemplating something. Then he sighs, his anger melting away as he runs a hand down his face.

“Fuck, you-” he gestures with his hands. “You-“ he groans and drops his arms to his sides. “Why do you play with my feelings like this? I thought we had something! I really- really thought we had something,” he mutters, his voice cracking slightly.

You feel your heart break a little. “Sirius,” you coo, moving your hand down to gently hold his. “We do. We do have something. Why would you think we didn’t?”

Upon hearing your words, he turns to you and huffs out a humourless laugh, pulling his hand away. “Really? You really think so? Don’t lie to me. I’ve seen you with Regulus.”

Your blink, your face morphing into one of confusion as you stare dazedly at Sirius.

“Regulus? You think I like Regulus?”

He frowns at you. “Of course. Why else would you be spending so much time with him? It’s like you forgot I even existed.”

The absurdity of his words brings a small smile to your face, and before you know it, you’re pressing the back of your hand to your mouth to stifle your laughter. “Oh my god, no. No way. He’s the most annoying partner I’ve ever had to work with. Why would you think I like him?”

The crease between his eyebrows softens, and you catch a glimpse of relief in his eyes, though he still seems suspicious. “You don’t? Then why have you been spending so much time with him? Going on study dates or whatever? You’re never with me anymore.”

You huff out a sigh, realisation dawning upon you. “For the Potions project, of course. Professor Slughorn said our potion wasn’t up to the mark, so we’ve been working our asses off to fix it. I really need to do well in this to pull my average up. I don’t like your brother, Sirius.”

“Oh,” he breathes out, and you can practically see the tension leave his body. “Oh. Sorry,” he mutters, running a hand through his hair.

You chuckle lightly. “It’s okay. It’s kind of my fault, I still should have made time for you. But is this why you’ve been ignoring me? You thought I liked Regulus?” you ask bemusedly. He winces and nods sheepishly, earning a laugh from you. “Siri, have you seen the way James looks at him?”

His lips start to curve upwards, his usual playful demeanour coming back to him. “I caught him drooling while looking at Reg once.”

You giggle at that, clearly imagining your brother gazing at Regulus with heart-eyes. Sirius grins back at you, taking your hand.

“So, we’re good?” he asks, intertwining your fingers together.

“More than good.”

“Great. Because I was just about to ask you out to Hogsmeade this Saturday. If you haven’t already got plans with emo boy, of course.”

“Sirius!” you whisper scandalously, trying to sound mad, but a giggle slips out and betrays your amusement. He chuckles, looking over at Regulus who was bent over a stack of papers and furiously scribbling down notes. “You better get back over there if you wanna survive till our date this weekend.”

“Date?” you ask mischievously, raising your eyebrow. “James would approve of that?”

He rolls his eyes at your feigned innocence, one hand on your shoulder as he gently pushes you back towards your table. “I’m pretty sure your brother is too lovesick for my brother to protest against it. So yes, love, it’s a date.”

[cripplecharacters]

The Mask Trope, and Disfiguremisia in Media

[large text: The Mask Trope, and Disfiguremisia in Media]

If you followed this blog for more than like a week, you're probably familiar with “the mask trope” or at least with me complaining about it over and over in perpetuity. But why is it bad and why can't this dude shut up about it?

Let's start with who this trope applies to: characters with facial differences. There is some overlap with blind characters as well; think of the blindfold that is forced on a blind character for no reason. Here is a great explanation of it in this context by blindbeta. It's an excellent post in general, even if your character isn't blind or low vision you should read at least the last few paragraphs.

Here's a good ol’ tired link to what a facial difference is, but to put it simply:

If you have a character, who is a burn survivor or has scars, who wears a mask, this is exactly this trope.

The concept applies to other facial differences as well, but scars and burns are 99% of the representation and “representation” we get, so I'll be using these somewhat interchangeably here.

The mask can be exactly what you think, but it refers to any facial covering that doesn't have a medical purpose. So for example, a CPAP mask doesn't count for this trope, but a Magic Porcelain Mask absolutely does. Bandages do as well. If it covers the part of the face that is “different”, it can be a mask in the context used here.

Eye patches are on thin ice because while they do serve a medical purpose in real life, in 99.9% of media they are used for the same purpose as a mask. It's purely aesthetic.

With that out of the way, let's get into why this trope sucks and find its roots. Because every trope is just a symptom of something, really.

Roughly in order of the least to most important reasons...

Why It Sucks 

[large text: Why It Sucks]

It's overdone. As in — boring. You made your character visibly different, and now they're no longer that. What is the point? Just don't give them the damn scar if you're going to hide it. 

Zero connection with reality. No one does this. I don't even know how to elaborate on this. This doesn't represent anyone because no one does this.

Disability erasure. For the majority of characters with facial differences, their scars or burns somehow don't disable them physically, so the only thing left is the visible part… aaand the mask takes care of it too. Again, what's the point? If you want to make your disabled character abled, then just have them be abled. What is the point of "curing" them other than to make it completely pointless?

Making your readers with facial differences feel straight up bad. I'm gonna be honest! This hurts to see when it's all you get, over and over. Imagine there's this thing that everyone bullied you about, everyone still stares at, that is with you 24/7. Imagine you wanted to see something where people like you aren't treated like a freakshow. Somewhat unrealistic, but imagine that. That kind of world would only exist in fiction, right? So let's look into fiction- oh, none of the positive (or at least not "child-murderer evil") characters look like me. I mean they do, but they don't. They're forced to hide the one thing that connects us. I don't want to hide myself. I don't want to be told over and over that this is what people like me should do. That this is what other people expect so much that it's basically the default way a person with a facial difference can exist. I don't want this.

Perpetuating disfiguremisia. 

"Quick" Disfiguremisia Talk

[large text: "Quick" Disfiguremisia Talk]

It's quick when compared to my average facial difference discussion post, bear with me please.

Disfiguremisia; portmanteau of disfigure from “disfigurement” and -misia, Greek for hatred. 

Also known as discrimination of those mythical horrifically deformed people.

It shows up in fiction all the time; in-universe and in-narrative. Mask trope is one of the most common* representations of it, and it's also a trope that is gaining traction more and more, both in visual art and writing. This is a trope I particularly hate, because it's a blatant symptom of disfiguremisia. It's not hidden and it doesn't try to be. It's a painful remainder that I do not want nor need.

*most common is easily “evil disfigured villain”, just look at any horror media. But that's for another post, if ever.

When you put your character in a mask, it sends a clear message: in your story, facial differences aren't welcome. The world is hostile. Other characters are hostile. The author is, quite possibly, hostile. Maybe consciously, but almost always not, they just don't think that disfiguremisia means anything because it's the default setting. No one wants to see you because your face makes you gross and unsightly. If you have a burn; good luck, but we think you're too ugly to have a face. Have a scar? Too bad, now you don't. Get hidden.

Everything here is a decision that was made by the author. You are the one who makes the world. You are the person who decides if being disabled is acceptable or not there. The story doesn't have a mind of its own, you chose to make it disfiguremisic. 

It doesn't have to be.

Questions to Ask Yourself

[large text: Questions to Ask Yourself]

Since I started talking about facial differences on this blog, I have noticed a very specific trend in how facial differences are treated when compared to other disabilities. A lot of writers and artists are interested in worldbuilding where accessibility is considered, where disabled people are accepted, where neurodivergence is seen as an important part of the human experience, not something “other”. This is amazing, genuinely.

Yet, absolutely no one seems to be interested in a world that is anything but cruel to facial differences. There's no escapist fantasies for us.

You see this over and over, at some point it feels like the same story with different names attached.

The only way a character with a facial difference can exist is to hide it. Otherwise, they are shamed by society. Seen as something gross. I noticed that it really doesn't matter who the character is, facial difference is this great equalizer. Both ancient deities and talking forest cats get treated as the same brand of disgusting thing as long as they're scarred, as long as they had something explode in their face, as long as they've been cursed. They can be accomplished, they can be a badass, they can be the leader of the world, they can kill a dragon, but they cannot, under any circumstances, be allowed to peacefully exist with a facial difference. They have to hide it in the literal sense, or be made to feel that they should. Constantly ashamed, embarrassed that they dare to have a face.

Question one to ask yourself: why is disfiguremisia a part of your story?

I'm part of a few minority groups. I'm an immigrant, I'm disabled, I'm queer. I get enough shit in real life for this so I like to take a break once in a while. I love stories where transphobia isn't a thing. Where xenophobia doesn't come up. But my whole life, I can't seem to find stories that don't spew out disfiguremisia in one way or the other at the first possible opportunity.

Why is disfiguremisia a default part of your worldbuilding? Why can't it be left out? Why in societies with scarred saviors and warriors is there such intense disgust for them? Why can't anyone even just question why this is the state of the world?

Why is disfiguremisia normal in your story?

Question two: do you know enough about disfiguremisia to write about it?

Ask yourself, really. Do you? Writers sometimes ask if or how to portray ableism when they themselves aren't disabled, but no one bothers to wonder if maybe they aren't knowledgeable enough to make half their story about their POV character experiencing disfiguremisia. How much do you know, and from where? Have you read Mikaela Moody or any other advocates’ work around disfiguremisia? Do you understand the way it intersects; with being a trans woman, with being Black? What is your education on this topic?

And for USAmericans... do you know what "Ugly Laws" are, and when they ended?

Question three: what does your story associate with facial difference — and why?

If I had to guess; “shame”, “embarrassment”, “violence”, "disgust", “intimidation”, “trauma”, “guilt”, “evil”, “curse”, “discomfort”, “fear”, or similar would show up. 

Why doesn't it associate it with positive concepts? Why not “hope” or “love” or “pride” or “community”? Why not “soft” or “delicate”? Dare I say, “beauty” or “innocence”? Why not “blessing”? “Acceptance”?

Why not “normal”?

Question four: why did you make the character the way they are? 

Have you considered that there are other things than “horrifically burned for some moral failing” or “most traumatic scenario put to paper”? Why is it always “a tough character with a history of violence” and never “a Disfigured princess”? Why not “a loving parent” or “a fashionable girl”, instead of “the most unkind person you ever met” and “total badass who doesn’t care about anything - other than how scary their facial difference is to these poor ableds”? Don’t endlessly associate us with brutality and suffering. We aren’t violent or manipulative or physically strong or brash or bloodthirsty by default. We can be soft, and frail and gentle and kind - and we can still be proud and unashamed.

Question five: why is your character just… fine with all this?

Can’t they make a community with other people with facial differences and do something about this? Demand the right to exist as disabled and not have to hide their literal face? Why are they cool with being dehumanized and treated with such hatred? Especially if they fall into the "not so soft and kind" category that I just talked about, it seems obvious to me that they would be incredibly and loudly pissed off about being discriminated against over and over... Why can't your character, who is a subject of disfiguremisia, realize that maybe it's disfiguremisia that's the problem, and try to fix it?

Question six: why is your character wearing a mask? 

Usually, there's no reason. Most of the time the author hasn't considered that there even should be one, the character just wears a mask because that's what people with facial differences do in their mind. Most writers aren't interested in this kind of research or even considering it as a thing they should do. The community is unimportant to them, it's not like we are real people who read books. They think they understand, because to them it's not complex, it's not nuanced. It's ugly = bad. Why would you need a reason?

For cases where the reason is stated, I promise, I have heard of every single one. To quote, "to spare others from looking at them". I have read, "content warning: he has burn scars under the mask, he absolutely hates taking it off!", emphasis not mine. Because "he hates the way his skin looks", because "they care for their appearance a lot" (facial differences make you ugly, remember?). My favorite: "only has scars and the mask when he's a villain, not as a hero", just to subtly drive the point home. This isn't the extreme end of the spectrum. Now, imagine being a reader with a facial difference. This is your representation, sitting next to Freddy Krueger and Voldemort.

How do you feel?

F.A.Q. [frequently asked questions]

[large text: F.A.Q. [frequently asked questions]]

As in, answers and “answers” to common arguments or concerns. 

“Actually they want to hide their facial difference” - your character doesn’t have free will. You want them to hide it. Again; why.

“They are hiding it to be more inconspicuous!” - I get that there are elves in their world, but there’s no universe where wearing a mask with eye cutouts on the street is less noticeable than having a scar. Facial differences aren’t open wounds sprinkling with blood, in case that's not clear.

“It’s for other people's comfort” - why are other characters disfiguremisic to this extent? Are they forcing all minorities to stay hidden and out of sight too? That’s a horrible society to exist in.

“They are wearing it for Actual Practical Reason” - cool! I hope that this means you have other characters with facial differences that don’t wear it for any reason.

"It's the character's artistic expression" - I sure hope that there are abled characters with the same kind of expression then.

“They’re ashamed of their face” - and they never have any character development that would make that go away? That's just bad writing. Why are they ashamed in the first place? Why is shame the default stance to have about your own face in your story? I get that you think we should be ashamed and do these ridiculous things, but in real life we just live with it. 

"Now that you say that it is kinda messed up but I'm too far into the story please help" - here you go.

“[some variation of My Character is evil so it's fine/a killer so it fits/just too disgusting to show their disability” - this is the one of the only cases where I’m fine with disability erasure, actually. Please don’t make them have a facial difference. This is the type of harm that real life activists spend years and decades undoing. Disfiguremisia from horror movies released in the 70s is still relevant. It still affects people today.

"But [in-universe explanation why disfiguremisia is cool and fine actually]" - this changes nothing.

Closing Remarks

[large text: Closing Remarks]

I hope that this post explains my thoughts on facial difference representation better. It's a complicated topic, I get it. I'm also aware that this post might come off as harsh (?) but disfiguremisia shouldn't be treated lightly, it shouldn't be a prop. It's real world discrimination with a big chunk of its origins coming out of popular media.

With the asks that have been sent regarding facial differences, I realized that I probably haven't explained what the actual problems are well enough. It's not about some technical definition, or about weird in-universe explanations. It's about categorizing us as some apparently fundamentally different entity that can't possibly be kind and happy, about disfiguremisia so ingrained into our culture that it's apparently impossible to make a world without it; discrimination so deep that it can't be excised, only worked around. But you can get rid of it. You can just not have it there in the first place. Disfiguremisia isn't a fundamental part of how the world works; getting rid of it won't cause it to collapse. Don't portray discrimination as an integral, unquestionable part of the world that has to stay no matter what; whether it's ableism, transphobia, or Islamophobia or anything else. A world without discrimination can exist. If you can't imagine a world without disfiguremisia in fiction... that's bad. Sad, mostly. To me, at least.

Remember, that your readers aren't going to look at Character with a Scar #14673 and think "now I'm going to research how real life people with facial differences live." They won't, there's no inclination for them to do so. If you don't give them a reason, they won't magically start thinking critically about facial differences and disfiguremisia. People like their biases and they like to think that they understand.

And, even if you're explaining it over and over ;-) (winky face) there will still be people who are going to be actively resistant to giving a shit. To try and get the ones who are capable of caring about us, you, as the author, need to first understand disfiguremisia, study Face Equality, think of me as a human being with human emotions who doesn't want to see people like me treated like garbage in every piece of media I look at. There's a place and time for that media, and if you don't actually understand disfiguremisia, you will only perpetuate it; not "subvert" it, not "comment" on it.

I hope this helps :-) (smile emoji. for good measure)

Mod Sasza

[wordsnstuff]

Hey, so i'm working on my first WIP, and i wanted to ask about drafting. When can one consider their first draft done? Does it have to have the goal word count (ie; 100K), or would being about halfway there be considered a good enough first draft, that i can move on to the second and start editing?

Concluding each stage of the writing process

It's difficult to know when a phase of a writing project has concluded and you're ready to focus on a new objective as it's developing. I tend to approach my writing projects with a clear and uniform trajectory, regardless of how diverse my projects can be. This approach allows me to remain focused, thorough, and reassured that I am covering all my bases in an organized fashion. However, it also maintains space for me to be explorative and intuitive when necessary. In regards to word count, I don't think it's entirely relevant unless you're determined to adhere to strict genre conventions. Give your story the space it needs and not an extra inch.

(Optional) Zero Draft

In this phase, you're telling yourself the story. You're doing it quickly, messily, intuitively, and forgivingly. Explore every idea that glows in the dark for you, don't throw anything away or discount any possibility. Exhaust your imagination in this phase so that when you reach the first draft, you know you're making informed decisions.

First Draft

You're crafting the structure and core elements of the story. This is often the phase of discovery. You're becoming acquainted with your characters and how they interact, you're beginning to feel at home in the world and settings you've built, and you're seeing all sides of the conflict as it evolves. The goal here is settle on a beginning, middle, and end point, and by the end of this process you want to know your characters' motivations and relationships inside and out.

Second Draft

Go back quickly through the first draft and address any points where you got stuck, where you compromised for the sake of carrying on to the end, and fill in any apparent blanks. The first time you really iron something out, there will always be a few pesky creases. This is the time to find and flatten them.

Third Draft

This is where you question everything. Identify and scrutinize your decisions, dive into the "curtains are blue" discussions with yourself, and begin to tidy up things like grammar, clumsy dialogue, over-poured descriptions, and dubious vocabulary. Comb through each paragraph and be brutal, prioritizing clarity and intentionality of how you've told the story.

The Read Through

This is the point where I recommend doing three things:

Letting it rest away from you for 1-3 months so that you can return to it with a bit of unfamiliarity and new perspective.

Hand it off to a couple of trusted readers and give them ample time to read, digest, and craft some feedback

Reread the project once all the way through making no changes (although annotations are acceptable)

Fourth Draft

Finishing touches. Vigorously and meticulously scrub and scrape between the lines and imagine giving it to your worst enemy. If you can imagine any mean (but valid) things they could conceive of to say about it, this is the time to grapple with or fix those details.

Additional Resources

Guide to Drafting

Word Count/Productivity Tracker Spreadsheet

Balancing Detail & Development

Writing The First Chapter

Writing The Middle of Your Story

Powering Through The Zero-Draft Phase

Writing The Last Chapter

Chapter Length

Happy drafting,

x Kate

[dduane]

By the way...

it was sort of last week, or maybe during the week before—I forget— when @petermorwood came downstairs to get tea while he was working on some long post or another full of guns and swords and assorted deadly weaponry—or cats, or food, or historical clothing, you know what he's like... and all of a sudden he said:

"So what about Cyber Monday?"

And I wasn't sure where that was coming from, as Peter normally doesn't spend a lot of his time being concerned about cyber stuff in general.

"Uh, why?" said I.

"Well, it's the Young Wizards anniversary month. Shouldn't you be doing some kind of sale offer over on Twitter, the way you did on Tumblr?"

My mouth kind of opened and shut again. Mostly at the moment when I think of Twitter, it's in terms of imagery involving things circling the drain at ever-increasing speed. And as far as Cyber Monday went, I hadn't really thought about it. This year I noticed that I've started kind of lumping it in with Black Friday, which mostly increasingly makes me mutter and shake my head as I see what my email box gets to look like this time of year. And since I'd been mostly preoccupied with writing issues and website crap lately, you could kind of multiply that not-caring by two. Or five. Or some power of ten.

...Yet he had a point. And what the hell, at least putting a video up there would remind people that the series existed! (Because people do seem to keep forgetting, and then suddenly bursting out with OH WAIT ARE THESE THOSE BOOKS I LOVED WHEN I WAS A KID, WAIT, YOU MEAN SHE WROTE THOSE, I THOUGHT ALL SHE DID WAS STAR TREK?!) (Eyeroll.)

"But I told them on Tumblr," I said, "that I wasn't going to do any more of these sales for the foreseeable future."

"Looks like you forgot to foresee this," said Himself, dumping half a cow's worth of milk in his tea as usual. "Look, if you do it just one more time, I bet they'll forgive you as long as you tell them about it so they can take advantage of it if they want to." Then he snickered. "And anyway, you told them you weren't going to do any Sherlock/Young Wizards fusions either, and look how that turned out." More snickering. "They forgave you for that. Eventually."

"Oh god."

"Just tell them. They'll let you off the hook." Up the stairs he went, still snickering. "Sometime in mid-2024 probably."

(eyeroll)

Dammitall, I hate it when he has a point.

So look. Here's the discount page. There's the video, two paragraphs down. You all know the drill. The "All the Wizardry" package is $29.99 today. The "I Want Everything You've Got" package is $40 just for today. Anybody who hasn't taken advantage of one of these offers previously, or didn't have the cash earlier, or wants to point somebody else at it...go knock yourself or -selves out with my abslute blessing. (Because who knows whether anybody on Twitter will notice at all, the way the algorithm's been behaving.)

And: everybody please forgive me. (abases herself before the assembled multitudes in the approved manner)

(...Anyway, WTH, it's worth a try. I want to get this friend of mine a new fountain pen for Christmas, and every little bit helps...) :)

(And a final reminder: we can't sell to people in Britain / the UK, it's a Brexit problem ... so sorry about that.)