#the more he loves neil the more he lives

[cubbyyyy]

the fact that neil chose andrew out of them all is so dear to me. that andrew chose neil out of them all is so dear to me. that they chose each other is so dear to me. and at the same time it seems inevitable? like of course they chose each other, like of course no one else would be possible. they are what the other needs and that’s why they last. they are so compatible it’s scary.

and the fact that nora said if andrew didn’t have neil he never would’ve gotten happiness proves my point. I know some want to have the whole “you don’t need anyone to be happy” kind of mindset but in my book you’ll always gonna need people. It’s inevitable. and not finding the one who gets you, can make you miserable. It’s hard to find, but it’s so so sweet when you do and I’m so glad andrew got blessed with it. He got the one. and through hard work (therapy etc) he made him last. neil never became the one who got away because andrew worked hard enough to not self sabotage anymore. he learned to recognize neil as a good thing, an important thing and eventually he learns that neil feels the same and will never be the one to hurt him. he won’t be like tilda. so they make it last. and that’s everything.

[puckspoetry]

Imagine hating on me and I’m here in my room like

[guess-i-do-art]

Behold:

the Goobers

[tiredgeekgirl]

fellas it has been three months since the beach episode and thinking about neil and eva in any capacity still makes me ILL

[borgialucrezia]

the borgias is my favorite show and i think it's the best show ever made and all. however, there's just this one aspect that is genuinely hilarious to me and i mostly criticize the show for. the writers suddenly trying to make the viewers massively despise juan by turning against him and disingenuously writing him in his final moments so the watchers won't miss him or sympathize with him by making him a walking danger as an excuse to kill him off and prop up cesare's character. they wanted the audience to root for cesare at juan's expense and make his death seem necessary lol. they truly thought they served with this one, like maybe juan's character was shamefully abandoned by the writers (as well as his family except for rodrigo) but david oakes had many people sold with the way he played him to perfection, improvising and making juan remarkable, tremendous, and humane. the show is obviously a classic masterpiece, but in my opinion about the juan part, simply rushing the writing of a tragic dying character on a show for weak reasons is pure disrespect.

[all-thestories-aretrue]

I've had this for a while and idk if I'm actually going to do anything with it, so have these five sentences about Neil and Nara.

Nara presses a joint into his hand, holds him as the world slips away, as his thoughts slip away. This is why he was made, she says, shushing his frantic speech. He believes her.

She carves up his memory to extract seemingly nonsensical visions, plies him with kalif and pleasure until they blur and he remembers neither.

[talentforlying]

boston brand: they say the third time's the charm. so what do you make of constantine? tim hunter: he's all right, i spose — easier to talk to than the other three. only thing i can't figure out is how we get from place to place ... boston brand: that one's easy, kiddo. he's riding the synchronicity freeway, and so everything just falls into place; time, movement, even distance just sit up and beg for him. you're having an adventure, kiddo. if you survive it, it'll be fun.

books of magic still has the most batshit way i've ever seen constantine's synchronicity wave traveling abilities showcased, actually.

for frame of reference, most of the hellblazer writers usually apply the concept of surfing the synchronicity highway in much smaller ways: namely constantine's uncanny ability to stumble across significant events/people/artifacts, or winning at gambling 100% of the time he chooses to. but books of magic has him doing shit like bending time and space to breeze both him and tim from a new york street onto a cross-country flight with no one questioning how they just ended up appearing in seats assigned to them.

so either constantine is showboating to absolute fuck for the sake of making a killer first impression (extremely plausible), or he's REALLY taking it easy with his use of magic most of the time.

[magdaclaire]

just got six completely empty never used perfect condition notebooks from my mom bc she had over thirty blank notebooks again (something of a personal limit). having a mom who has the same type of autism as you is so nice

[yourgamemasterthewhiterabbit]

What the fuck it cut off my tags, whatever

I do deserve a treat :( Thank you <3

sorry for ranting, also sorry half the rant was cut off

this is the single worst way i've ever read to describe an erection, frank herbert

[weirdly-specific-but-ok]

for whom good omens is being written

Hey maggots and the rest of the fandom, it's the Good Omens Mascot here. Today I read a post about this tweet:

The accompanying video genuinely made me cry. And I've been thinking about this for a long while, as far back as February, when I saw a lot of conflicting opinions on what people wanted from the third season. It really is true that no matter what you do, some people will be dissatisfied. But what matters is that Neil is writing this for Terry.

And I was reminded of some paragraphs from the Good Omens TV Companion, which I'd read in Amazon's sample excerpt of the book. I know this is a long post, but I really truly do think you all need to read these, I've done my best to select only the most important parts. Here you go:

'His Alzheimer's started progressing harder and faster than either of us had expected,' says Neil, referring to a period in which Terry recognized that despite everything he could no longer write. 'We had been friends for over thirty years, and during that time he had never asked me for anything. Then, out of the blue, I received an email from him with a special request. It read: “Listen, I know how busy you are. I know you don't have time to do this, but I want you to write the script for Good Omens. You are the only human being on this planet who has the passion, love and understanding for the old girl that I do. You have to do this for me so that I can see it." And I thought, “OK, if you put it like that then I'll do it."

'I had adapted my own work in the past, writing scripts for Death: The High Cost of Living and Sandman, but not a lot else was seen. I'd also written two episodes of Doctor Who, and so I felt like I knew what I was doing. Usually, having written something once I'd rather start something new, but having a very sick co-author saying I had to do this?' Neil spreads his hands as if the answer is clear to see. 'I had to step up to the plate.' A pause, then: 'All this took place in autumn 2014, around the time that the BBC radio adaptation of Good Omens was happening,' he continues, referring to the production scripted and co-directed by Dirk Maggs and starring Peter Serafinowicz and Mark Heap. ‘Terry had talked me into writing the TV adaptation, and I thought OK, I have a few years. Only I didn't have a few years,' he says. 'Terry was unconscious by December and dead by March.'

He pauses again. 'His passing took all of us by surprise,' Neil remembers. 'About a week later, I started writing, and it was very sad. The moments Terry felt closest to me were the moments I would get stuck during the writing process. In the old days, when we wrote the novel, I would send him what I'd done or phone him up. And he would say, "Aahh, the problem, Grasshopper, is in the way you phrase the question," and I would reply, "Just tell me what to do!" which somehow always started a conversation. 'In writing the script, there were times I'd really want to talk to Terry, and also places where I'd figure something out and do something really clever, and I would want to share it with him. So, instead, I would text Terry's former personal assistant, Rob Wilkins, now his representative on Earth. It was the nearest thing I had.'

(...) As Neil himself recognizes, this is an adaptation built upon the confidence that comes from three decades of writing for page and screen. But for all the wisdom of experience, he found that above all one factor guided him throughout the process. 'Terry isn't here, which leaves me as the guardian of the soul of the story,' he explains. 'It's funny because sometimes I found myself defending Terry's bits harder or more passionately than I would defend my own bits. Take Agnes Nutter,' he says, referring to what has become a key scene in the adaptation in which the seventeenth-century author of the book of prophecies foretelling the coming of the Antichrist is burned at the stake. ‘It was a huge, complicated and incredibly expensive shoot, with bonfires built and primed to explode as well as huge crowds in costume. It had to feel just like an English village in the 1640s, and of course everyone asked if there was a cheap way of doing it. 'One suggestion was that we could tell the story using old-fashioned woodcuts and have the narrator take us through what happened, but I just thought, “No”. Because I had brought aspects of the story like Crowley and the baby swap along to the mix, and Terry created Agnes Nutter. So, if I had cut out Agnes then I wouldn't be doing right by the person who gave me this job. Terry would've rolled over in his grave.'

And, finally, this paragraph:

"Once again, Neil cites the absence of his co-writer as his drive to ensure that Good Omens translated to the screen and remained true to the original vision. 'Terry's last request to me was to make this something he would be proud of. And so that has been my job.'"

I think that's so heartwrenchingly beautiful, and so I wanted you all to read this, too, just in case you (like me) don't have the Good Omens TV Companion. It adds another layer of depth and emotion to this already complex and amazing story that we all know and love.

Share this post, if you can, please, so that more people can read these excerpts :")

Tagging @neil-gaiman, @fuckyeahgoodomens and @orpiknight, even if you've definitely read these before :)

[fuckyeahgoodomens]

Today, Prime Video announced that it has confirmed that the global, fan-favorite series Good Omens will return for a third and final season. They have confirmed, as follows:

• The third season will comprise of one 90 minute episode starring Michael Sheen and David Tennant who return as the angel Aziraphale and demon Crowley, respectively. • Prime Video is delighted to bring its global customers a gripping conclusion to the ineffable journey between Aziraphale and Crowley. • Production is expected to begin in early 2025 in Scotland and the third season will premiere on Prime Video in more than 240 countries and territories worldwide. • The forthcoming season will bring to life a serendipitous conversation from almost 35 years ago, between the late Sir Terry Pratchett and Neil Gaiman, where they mapped out “what happens next” to the wonderful characters in the world of their internationally best-selling novel. • The first season of Good Omens launched globally as a limited series on Prime Video in May 2019, and became a worldwide hit. This led to the series being renewed for a second season, which premiered in July 2023, and explored storylines that went beyond the original source material to illuminate the ineffable friendship between Aziraphale (Michael Sheen), a fussy angel and rare-book dealer, and the fast-living demon Crowley (David Tennant). • Rob Wilkins of Narrativia, representing Terry Pratchett’s estate, as well as BBC Studios Productions’ head of comedy Josh Cole will executive produce. Good Omens is based on the well-loved novel Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch by Sir Terry Pratchett and Gaiman. The new season is produced by Amazon MGM Studios, BBC Studios Productions, and Narrativia. • While Gaiman has contributed to the writing of the Good Omens series finale, he will not be working on the production.

my musings:

Shouldn't it have been a series of six episodes?

It should have yeah. It should have been 6 episodes so the seasons would make 666, now it's 661.

Is Neil Gaiman involved?

According to the press he will not be working on it as such though he "contributed to the writing", I mean the third season is based on what he and Terry had outlined together and he started to write into the scripts so I guess it couldn't be done without?

Tell me some good news

uuuuh, *racks my brain*

It is not cancelled completely (like OFMD for example :(), so we still might get the cottage?

Since there will be less of it then there will also be less post production and we might get it sooner?

Ta-da. (sorry)

And

[stonedonblues]

Loved every part of this, thank you!

I think it's an important political statement right here. Crowley is in fact a rebel, someone that goes againts the rules and accept the consequences for his decisions, but always fight for his right to live as he wants. And all of this is good, it's really good, but at the same time it never changed anything for Hell or Heaven. Him being a deviant is both a problem and a way to question the system. Him being like this it's what changed Aziraphale, Gabriel and Beelzebub. What made them think about everything and re-evaluate it. But even though he questions the status quo, he doesn't have a different solution. No, he wants to maintain the status quo. He's a rebel, obviously, but he never actually tried to change something, not when it was "convenient" for him. And when things got problematic, his response to that great amount of stress was running away (which is perfectly understandable)

On the other hand Aziraphale is not as rebelious as Crowley. Crowley is like an anarchist, while Aziraphale still thinks that the Heaven can be changed. Azira is the one who wants to subvert the situation and Crowley isn't doing enough. We can see it in history itself, real change doesn't come from individuals that rebel against the system (a common way of thinking in our society), that is only the beggining. Aziraphale is stating that he can actually change things, no more atrocities done by the heaven, no more having to be distant from Crowley. Aziraphale was always like this and i find it strange that people think about his decision as something out of character or only drived by his trauma.

At the same time he isn't a saint: azira still treats heaven as the good one, even though he experienced that it's not like that, while viewing hell and the very essence of Crowley as bad. He doesn't think about his words when he talkslike that but he is pointing out how he've always seen Crowley as an angel. And Crowley obviously hates this, because he doesn't want to be an angel. It's really incredible how they can know each other for 6000 years, love each other in so many ways, and yet none of them understands what's in each other hearts.

I would also point out that when Metatron proposes Aziraphale to become the main archangel, he refuses and states immediatly that he is not interested. Only when Metatron says that he can bring Crowley with him, that Azira actually thinks about it. Because Aziraphale wouldn't try to change anything if it wasn't for Crowley, the one who made him question, who made him love the earth and love a fucking demon. Crowley can see the toxicity of heaven and hell, but he can't think about anything other than running away with his angel, while Aziraphale wants to create a better world for his love. That's fucking romantic please

The portrayal of that entire discussion, while being heartbreakig, is also so important to make: we need to stop searching for new ways to escape our world, even if it's toxic and sad and terrible. Even if it makes us happy, right now we need to change things, to do something better than just critizing and rebelling against it. We need to make a political, social, cultural and economic change because escapism is just another solution that our society gives us to distract ouselves from the literal end of the world.

Aziraphale’s Choice, the Job Connection, and Michael Sheen’s Morality

I’ve had time to process Aziraphale’s choice at the end of Season 2. And I think only blaming the religious trauma misses something important in Aziraphale’s character. I think what happened was also Aziraphale’s own conscious choice––as a growth from his trauma, in fact. Hear me out.

Since November 2022 I’ve been haunted by something Michael Sheen said at the MCM London Comic Con. At the Q&A, someone asked him about which fantasy creature he enjoyed playing most and Michael (bless him, truly) veered on a tangent about angels and goodness and how, specifically,

We as a society tend to sort of undervalue goodness. It’s sort of seen as sort of somehow weak and a bit nimby and “oh it’s nice.” And I think to be good takes enormous reserves of courage and stamina. I mean, you have to look the dark in the face to be truly good and to be truly of the light…. The idea that goodness is somehow lesser and less interesting and not as kind of muscular and as passionate and as fierce as evil somehow and darkness, I think is nonsense. The idea of being able to portray an angel, a being of love. I love seeing the things people have put online about angels being ferocious creatures, and I love that. I think that’s a really good representation of what goodness can be, what it should be, I suppose.

I was looking forward to BAMF!Aziraphale all season long, and I think that’s what we got in the end. Remember Neil said that the Job minisode was important for Aziraphale’s story. Remember how Aziraphale sat on that rock and reconciled to himself that he MUST go to Hell, because he lied and thwarted the will of God. He believed that––truly, honestly, with the faith of a child, but the bravery of a soldier.

Aziraphale, a being of love with more goodness than all of Heaven combined, believed he needed to walk through the Gates of Hell because it was the Right Thing to do. (Like Job, he didn’t understand his sin but believed he needed to sacrifice his happiness to do the Right Thing.)

That’s why we saw Aziraphale as a soldier this season: the bookshop battle, the halo. But yes, the ending as well.

Because Aziraphale never wanted to go to Heaven, and he never wanted to go there without Crowley.

But it was Crowley who taught him that he could, even SHOULD, act when his moral heart told him something was wrong. While Crowley was willing to run away and let the world burn, it was Aziraphale (in that bandstand at the end of the world) who stood his ground and said No. We can make a difference. We can save everyone.

And Aziraphale knew he could not give up the ace up his sleeve (his position as an angel) to talk to God and make them see the truth in his heart.

I was messed up by Ineffable Bureaucracy (Boxfly) getting their happy ending when our Ineffable Husbands didn’t, but I see now that them running away served to prove something to Aziraphale. (And I am fully convinced that Gabriel and Beelzebub saw the example of the Ineffables at the Not-pocalypse and took inspiration from them for choosing to ditch their respective sides)

But my point is that Aziraphale saw them, and in some ways, they looked like him and Crowley. And he saw how Gabriel, the biggest bully in Heaven, was also like him in a way (a being capable of love) and also just a child when he wasn’t influenced by the poison of Heaven. Muriel, too, wasn’t a bad person. The Metatron also seemed to have grown more flexible with his morality (from Aziraphale's perspective). Like Earth, Heaven was shades of (light?) gray.

Aziraphale is too good an angel not to believe in hope. Or forgiveness (something he’s very good at it).

Aziraphale has been scarred by Heaven all his life. But with the cracks in Heaven’s armor (cracks he and Crowley helped create), Aziraphale is seeing something else. A chance to change them. They did terrible things to him, but he is better than them, and because of Crowley, he feels ready to face them.

(Will it work? Can Heaven change, institutionally? Probably not, but I can't blame Aziraphale for trying.)

At the cafe, the Metatron said something big was coming in the Great Plan. Aziraphale knows how trapped he had felt when he didn’t have God’s ear the first time something huge happened in the Big Plan. He can’t take a chance again to risk the world by not having a foot in the door of Heaven. That’s why we saw individual human deaths (or the threat of death) so much more this season: Elspeth, Wee Morag, Job’s children, the 1940s magician. Aziraphale almost killed a child when he couldn’t get through to God, and he’s not going through that again.

“We could make a difference.” We could save everyone.

Remember what Michael Sheen said about courage and doing good––and having to “look the dark in the face to be truly good.” That’s what happened when Aziraphale was willing to go to Hell for his actions. That’s what happened when he decided he had to go to Heaven, where he had been abused and belittled and made to feel small. He decided to willingly go into the Lion’s Den, to face his abusers and his anxiety, to make them better so that they would not try to destroy the world again.

Him, just one angel. He needed Crowley to be there with him, to help him be brave, to ask the questions that Heaven needed to hear, to tell them God was wrong. Crowley is the inspiration that drives Aziraphale’s change, Crowley is the engine that fuels Aziraphale’s courage.

But then Crowley tells him that going to Heaven is stupid. That they don’t need Heaven. And he’s right. Aziraphale knows he’s right.

Aziraphale doesn’t need Heaven; Heaven needs him. They just don’t know how much they need him, or how much humanity needs him there, too. (If everyone who ran for office was corrupt, how can the system change?)

Terry Pratchett (in the Discworld book, Small Gods) is scathing of God, organized religion, and the corrupt people religion empowers, but he is sympathetic to the individual who has real, pure faith and a good heart. In fact, the everyman protagonist of Small Gods is a better person than the god he serves, and in the end, he ends up changing the church to be better, more open-minded, and more humanist than god could ever do alone.

Aziraphale is willing to go to the darkest places to do the Right Thing, and Heaven is no exception. When Crowley says that Heaven is toxic, that’s exactly why Aziraphale knows he needs to go there. “You’re exactly is different from my exactly.”

____

In the aftermath of Trump's election in the US, Brexit happened in 2018. Michael Sheen felt compelled to figure out what was going on in his country after this shock. But he was living in Los Angeles with Sarah Silverman at the time, and she also wanted to become more politically active in the US.

Sheen: “I felt a responsibility to do something, but it [meant] coming back [to Britain] – which was difficult for us, because we were very important to each other. But we both acknowledge that each of us had to do what we needed to do.” In the end, they split up and Michael moved back to the UK.

Sometimes doing the Right Thing means sacrificing your own happiness. Sometimes it means going to Hell. Sometimes it means going to Heaven. Sometimes it means losing a relationship.

And that’s why what happened in the end was so difficult for Aziraphale. Because he loves Crowley desperately. He wants to be together. He wanted that kiss for thousands of years. He knows that taking command of Heaven means they would never again have to bow to the demands of a God they couldn’t understand, or run from a Hell who still came after them. They could change the rules of the game.

And he’s still going to do that. But it hurts him that he has to do that alone.

[captainfantasticalright]

In 1985, one of the only persons interested in an interview with a “new” writer called Terry Pratchett, after his publication of the Colour of Magic, was one Neil Gaiman. Neil Gaiman was writing for Space Voyager at the time. "The Colour of Pratchett" was the name given here:

It ran exactly one page inside the June/July issue of that year. The interview took place in a Chinese restaurant in London.

Here is Neil many years later holding that issue. You can see it here if you want. Warning: extremely emotional video.

Neil arrived wearing a grey homburg hat. “Sort of like the ones Humphrey Bogart wears in movies” he later wrote. (Before saying that in fact he did not look like him, but like someone wearing a grown-up’s hat). Terry Pratchett, photo courtesy of one @neil-gaiman, was in a Lenin-style leather cap and a harlequin-patterned pullover. At this point, Terry was already a hat person, although not that hat.

Terry offered Neil this : "An interview needn't last more than 15 minutes. A good quote for the beginning, a good quote for the end, and the rest you make up back at the office"*. (Terry Pratchett had worked many years in journalism by this point ).

But the meeting went terribly well. The two of them realized they had "the same sort of brains". So well indeed, that in 1985, Neil had shown Terry a file containing 5282 words, exploring a scenario in which Richmal Crompton's William Brown had somehow become the Antichrist. Was a collaboration in the cards as of that moment? Not really. But Terry found in Neil someone to whom he could send disks of work in progress and to whom he could pick up the phone sometimes when he hit a brick in the road of his writing.

Terry loved it and the concept stayed in his mind. A couple of years later, he rang Neil to ask him if he had done any more work on it. Neil had been busy with The Sandman, he had not really given it another thought. Terry said, "Well I know what happens next, so either you sell me the idea or we can write it together". **

On collaborating together:

Here is a video of Sir Terry saying why he chose to collaborate with Neil, another video talking about the technical difficulties of writing a book when the two of them where miles apart ,and some pages from Interzone Magazine Issue 207 published December 2006:

An Interview with Sir Terry Pratchett and his works- and Neil Gaiman, where he shortly addresses the process of writing Good Omens.

Terry shortly mentions,

“Neil doesn't rule out another book with me and he was good to write with...yep, it could happen. With anyone else? I don't know, but probably not.?”

Neil says,

"Terry took that initial 5,000 words of mine and ran it through the computer (because I’d lost the files in a computer crash) and made it the first 10,000 words, and it was definitely Good Omens at that point. Neither one thing nor the other, but a third thing.”

"I think Terry could do a very good impersonation of me if he needed to, and I could do a very good impersonation of him; so we knew the area of the Venn diagram in which we were working. But mostly the book found its own voice very quickly. It helped that we were both scarred by the William books when we were kids...”

And as you know, unless you’ve been living in Alpha Centauri, the rest is history. That was the beginning of what would become William the Antichrist and later would get the name Good Omens:The Nice and Accurate Prophecies of Agnes Nutter, Witch. (Title provided by Neil Gaiman and subtitle by Terry Pratchett).

More about the writing process:

Terry took the first 5,000 words and typed them into his word processor, and by the time he had finished they were the first 10,000 words. Terry had borrowed all the things about me that he thought were amusing, like my tendency back then to wear sunglasses even when it wasn't sunny, and given them, along with a vintage Bentley, to Crawleigh, who had now become Crowley. The Satanic Nurses were Satanic Nuns.

The book was under way.

We wrote the first draft in about nine weeks. Nine weeks of gloriously long phone calls, in which we would read each other what we'd written, and try to make the other one laugh. We'd plot, delightedly, and then hurry off the phone, determined to get to the next good bit before the other one could. We'd rewrite each other, footnote each other's pages, sometimes even footnote each other's footnotes. We would throw characters in, hand them off when we got stuck. We finished the book and decided we would only tell people a little about the writing process - we would tell them that Agnes Nutter was Terry's, and the Four Horsemen (and the Other Four Motorcyclists) were mine.

From the introduction to William the Antichrist:

“In the summer of 1987 several odd ideas came together: (..)I found myself imagining a book called William the Antichrist, in which a hapless demon was going to be responsible for swapping the wrong baby over, and the son of the US Ambassador would be completely undemonic, while William Brown would grow up to be the Antichrist, and the demon would need to stop him ending the world. The unfortunate demon, whom I called Crawleigh, because Crawley was a nearby town with an unfortunate name, would have to sort it all out as best he could.

It felt like a story with legs.

Terry took the 5,000 words, and rewrote them, calling me to tell me what he was doing and what he was planning to do. The biggest thing he was going to do, he told me, was split the hapless demon into two characters – a would-be-cool demon in dark glasses (which was, I think, Terry’s way of making fun of me, a never-actually- cool journalist in dark glasses) who had renamed himself Crowley, and a rare-book dealer and angel called Aziraphale, who would embody all the English awkwardness that either of us could conceive.”

William the Antichrist being a direct inspiration of the 1976 film The Omen. If the baby swap had just been a little bit messier and the kid had gone off somewhere else he would have grown up as somebody else. “And then there was a beat and I thought, I should write it, it will be called William the Antichrist” says Neil. ***

“The first draft of Good Omens was a William-book. It was absolutely in every way it could be a William book. It had Violet Elizabeth Bott, it had William and the Outlaws, it had Mr. Brown”.

Over time they realized that they would have more creative freedom if they in their own words filed off the serial numbers. William and the Outlaws becoming Adam and the Them.

But the spirit of Just William was never far away.

The joy for Neil was to construct “perfectly William sentences”. The one when Anathema tells Adam that she has lost the Book, and he tells her that he has written a book about a pirate who became a famous detective and it is 8 pages long… that’s “a William sentence”.

If you want to read more details about William The Antichrist, here are some slides I made.

Good Omens was also inspired by a particularly antisemitic moment in The Jew of Malta and John le Carre's spy novels. (Neil’s ask)

 Then I was reading The Jew of Malta by Kit Marlowe, and it has a bit where the three (cartoonishly evil) Jews compare notes on all the well-poisoning and suchlike they’d done that day, and as a Jew who never quite gets his act together, it occurred to me that if I were the third Jew I’d just be apologizing for having failed to poison a well… And suddenly I had the opening of a book. It would be called William the Antichrist. And it would begin with three Demons in a graveyard… (x).

“When we finished the book we estimated that the words were 60% Terry’s and 40% mine, and the plot, such as it was, was entirely ours.” -Neil Gaiman

"Neil and I had known each other since early 1985. Doing it was our idea, not a publisher's deal." "I think this is an honest account of the process of writing Good Omens. It was fairly easy to keep track of because of the way we sent discs to one another, and because I was Keeper of the Official Master Copy I can say that I wrote a bit over two thirds of Good Omens. However, we were on the phone to each other every day, at least once. If you have an idea during a brainstorming session with another guy, whose idea is it? One guy goes and writes 2,000 words after thirty minutes on the phone, what exactly is the process that's happening? I did most of the physical writing because: 1) I had to. Neil had to keep Sandman going -- I could take time off from the DW; 2) One person has to be overall editor, and do all the stitching and filling and slicing and, as I've said before, it was me by agreement -- if it had been a graphic novel, it would have been Neil taking the chair for exactly the same reasons it was me for a novel; 3) I'm a selfish bastard and tried to write ahead to get to the good bits before Neil. Initially, I did most of Adam and the Them and Neil did most of the Four Horsemen, and everything else kind of got done by whoever -- by the end, large sections were being done by a composite creature called Terryandneil, whoever was actually hitting the keys. By agreement, I am allowed to say that Agnes Nutter, her life and death, was completely and utterly mine. And Neil proudly claims responsibility for the maggots. Neil's had a major influence on the opening scenes, me on the ending. In the end, it was this book done by two guys, who shared the money equally and did it for fun and wouldn't do it again for a big clock." "Yes, the maggot reversal was by me, with a gun to Neil's head (although he understood the reasons, it's just that he likes maggots). There couldn't be blood on Adam's hands, even blood spilled by third parties. No-one should die because he was alive." -("Terry Pratchett : His World”)

(Here are some slides of mine where I go into some other details concerning the origins of Good Omens).

Another wonderful insight with Rob Wilkins in "The Worlds of Terry Pratchett".

*Quote: from Terry Pratchett A Life With Footnotes by Rob Wilkins, but said by Terry of course.

** All the quotes, facts listed here : see above.

***all other quotes by Neil Gaiman from various interviews and asks I’ll link.

[dayurno]

[morally-gray101]

I love you and you are the light of my life

when neil was going to save andrew at the hemmick's house, he knew exactly what kind of wood the door was, and how easy it would be to break through. that's what kind of guy he is. neil doesn't win fights, but he is damn good at a getaway. this is a really good example about how all of neil's knowledge is really selective because of his upbringing. we need more survivalist neil because he shows all these traits in the books, another example is when he hitchhiked from columbia to palmetto. please stop ignoring this because i want to see batshit insane neil on the run fics right now thx

[joejhang]

once again thinking about how andreil is actually the perfect relationship because of how deeply they both understand each other and how they are the only ones to do so. thinking about the first time neil opens up to anyone and it's to andrew in tfc and the look in andrew's eyes is "perfect understanding". and the same look in his eyes right before he kisses neil for the first time when neil is at the end of his rope, and andrew understands because he's been there too. neil knowing when to push andrew and when to leave him be. neil understanding that andrew is primarily self-destructive and more of a harm to himself than to anyone else and asking him "how have you survived this long when you're so violently self-destructive?". neil being the only one who actually wants andrew off his drugs for his own good, not for exy or out of curiosity. neil never forcing or coercing andrew into doing anything he doesn't want to do, he gets what he wants simply by asking, and that's enough. andrew's interest in neil turning into understanding turning into care turning into love, against his will. their hours-long conversation on the bus in tkm where they literally just yap about their lives without any transactions or deals involved. them learning to talk to each other without the exchange of truths. their first ever proper conversation back in tfc when neil thinks he's talking to aaron, showing how they can actually talk and communicate and have a good conversation. neil always taking andrew at face value rather than making assumptions based on his past or his attitude. the trust they have in each other even before they ever get together. them genuinely enjoying each other's company, the way no one else does. nora sakavic you invented love actually.