#the novels are a different timeline; they are great

[paigelts05]

I watched the interview yesterday. I also saw the new game teaser

I am still riding the high of Scott saying that burntrap was never supposed to move, because it is yet another piece of evidence and a win for those of us who beleive that Glitchtrap and Burntrap are Afton.

With Security Breach, Scott and Steel Wool were telling different stories. With how Scott described how Burntrap was supposed to act, lurking out of reach and being unable to move, it genuinely feels like Scott intended for Burntrap to be William. He was supposed to be a ghost possessing both people and machines, likely with little time for his own decaying body.

This falls in stark contrast with how the mimic is highly energetic and mobile in its debut in RUIN. RUIN also feels like an emergency introduction of the mimic in order to place the series' new secondary antagonist into the megaplex. A damn good emergency introduction to the secondary villain if I do say so myself.

Also, in my opinion, the new SW teaser is THE nail in the coffin that proves that the mimic is not Glitchtrap or Burntrap. The entity in the box has orange eyes, and the title of the game is orange. Every confirmed-beyond-doubt appearance of the mimic in the games has orange eyes: mimic at the end of ruin, and mimic controlled Helpi. This new entity also bearing the orange eyes is PROOF that the mimic gives whatever it controls orange or orange appearing eyes.

Both Glitchtrap and Burntrap have clearly purple eyes.

The lack of orange eyes on Burntrap post-RUIN-patch and the lack of orange eyes on HW2 Glitchtrap is proof that Glitchtrap and Burntrap are not the mimic, as they do not have the orange mimic eyes.

Also, Steel Wool calls the new game an “new original nightmare”, which feels like a big a win for those of us who do not believe in talesgames as it shows us that the mimic from the games is highly likely to diverge HEAVILY from the mimic from the books.

[marlynnofmany]

It’s back!

If you missed it the first time around, the “human are weird” anthology is back for a second printing. (There’s even a new story included: “Black Box” by Dara Brophy.)

Here’s the blurb:

In science fiction, humans are usually boring compared to other races: small, weak, with no claws or tentacles, and no special abilities to speak of. But what if we were the impressive ones, the unsettling ones, the ones talked about by all the other aliens? What if we're weird?

If you’d like a collection of excellent stories about humans inspiring awe, fear, and utter confusion, it’s available everywhere books are sold!

[notbecauseofvictories]

it takes years for terry pratchett's books to get consistently good. I would argue that the series doesn't really hit its stride until Feet of Clay, which means that pratchett was writing and being published for 12 years before he found his groove.

and I genuinely can't imagine that. in part because I do think that pratchett's publication calendar looks different than what's expected of writers today---he had about 2 books published per year for his entire career. he must have been writing furiously, and the publisher must have relatively quickly gotten these to press.

but also....I just can't imagine any modern-day publisher keeping an author on their list for twelve years, unless that author is a prestige get or a constant presence on the bestseller list. And what does it say about the state of publishing that you can't go on publishing someone's good-but-not-revelatory books until they figure out what story they're trying to tell?

[drchucktingle]

sometimes buds ask’ what is it like to be a neurodivergent artist?’ and this is great summary: the charts can look like this, and at same time people will be endlessly posting on how you are ‘not real’ or ‘a bit’. you can hold bestsellers in slot 1 to 4 and still not be 'serious'

i am ultimately ok with this. i love my trot and would not have it any other way, but i think it is worth investigation. when irony poisoning has seeped into everything, how many times does a neurodivergent person have to say ‘actually this is NOT so bad its good. its just good’

when you are autistic, or queer, or both, how much proof do you need to be considered good art? or good business? what do the charts have to look like for me to be a ‘real’ author? or allowed my face mask at a library association conference? or one person not a group of writers?

im coming up on a decade of writing tinglers soon, and people are still talkin about my ‘serious’ works vs my ‘joke books’ and at every turn, as kindly as i can, i shout from the rooftops: THEY ARE ALL SERIOUS BOOKS. THIS IS NOT A BIT.

but its hard when buds have had ‘the correct way to be a writer. the correct way to be an artist. the COOL way to react to a book that is TOO weird’ pounded into their heads by internet culture. 'kill it with fire' they say. 'i need eye bleach' they say without thinking. a line.

heres the thing, the tide IS turning. theres buckaroos jumping in and saying, ‘I want to be a part of this’ and for that they are being rewarded. the publisher who took me seriously is lookin pretty dang good right now with these charts and these sales. i am honored and moved

over time there will be more buds who shed that irony mask. the tide of sincerity is powerful, and the tide of love is inevitable. it is difficult to stand strong in our uniqueness but it also pays off, and I hope to be a shining example. eventually THE TIMELINE BENDS TO YOU

so this is not a thread to complain. i have been trotting long enough that these things do not really bother me. being made fun of and disparaged as ‘not legit art’ while also being objectively successful at the things im made fun of about is kind of the ocean that i swim in.

no. my point of this is to say THANK YOU to those of you who have been trotting by my side over these years. THANK YOU for proving love to me. im so honored by your support, and you should know that YOU have seen beyond the irony poisoned veil that stops many others. YOU get it.

and to those with their own unique perspective on creation: look what you can do. yes there will likely be a lot of resistance to something different, but there is also a LOT of reward. YOU can trot a new path. YOU can prove love is real, not in MY way, but IN YOUR OWN WAY

anyway thank you for reading buckaroos. thank you for your support. LUCKY DAY comes out next summer and it is probably as FAR OUT and existential as the tingleverse has ever gone. you can preorder it here

[thatsveryvortex]

Writing Tools for Planning Your Story

I've tried tons of writing apps and sites, so you don't have to. Here's a list of free sites to plot out your novel, with my review and some images of how I use it.

Milanote

Milanote is like having a giant pinboard with folders. You can upload anything onto it [yes even your main doc] and then draw over it or connect things with lines and arrows

Milanote lets you add up to a hundred things for free, not including drawing. This is one of the downsides of the site as I've found myself reaching that limit recently.

For me, the best part is being able to draw over stuff, and the color swatches.

Milanote is a lot less structured than other sites I've used, and personally, I don't think their templates are worth using.

8/10 overall, Milanote is what I mainly use. Here are some pics of how I use it:

Miro

Miro is a flowchart website mainly used for corporate jobs, however, it can be a great plotting tool for that reason

Miro has a lot of great starter templates if you are looking for a more structured freeform experience. It also comes with a blank page as well.

Unfortunately, I'd argue that it's a bit of a hard tool for beginners to use without a template, I've learned copy-paste is my best friend with Miro the hard way.

It's much better than most platforms at making timelines though.

It has a limit of three boards which is a bit disappointing but overall, I think it's worth the try.

5/10 Miro is very middle of the road for me due to the limited ability to customize things and the free limit. Here are some pics:

[I wrote that part weeks ago, I am now fully using Miro and believe it's the best for making timelines and charts, I just wish it let me make more boards 8/10]

Hiveword

This might be someone's jam, I can't really say it's mine though.

First off, the unpaid version is really just a few boxes saying "Write a summary here." which makes it just not worth it in my opinion

There really isn't any way to customise things which is my favorite part of most of these softwares

I've barely used this, so maybe there's something I'm missing but

1/10, Just use Google Docs at this point, here's a couple pics

World Anvil

People like this software, it's mainly used for tabletop, which is just a different way of writing adventure, and I've seen it recommended by authors.

Unfortunately, I'm going to disagree with a lot of people and say it's hard to use and isn't even really good at plotting.

I may be biased on this one as every time I've tried to use it in the past I've struggled. However, it seems like another just write it in a document and create a folder.

I'd say it's closer to an organizing tool, but even then just use something else.

3/10, I have nothing to say about it but maybe you'll enjoy it, all here are two photos

Campfire

This is the one I think I've heard the most about, but have never actually tried.

right off the bat, I'm going to say this is 100% worth it, you'll see at the end with the photos but this is like if Miro and World Anvil had an organization baby.

It's extremely easy to understand, and it makes timelines, it's more for writing your whole book but idk about that yet.

7/10, its themes are really pretty but it limits how much you can do to 20 I believe. Here are the photos

That's all for now, honestly, I think you should use Miro if you are looking to plot things out, and Milanote if you want to collect and organize your thoughts for writing, as that's what I do. Obviously what I like won't be for everyone, but hopefully, this helped you see some options

[writers-potion]

Storyediting Questions to Ask

As You Read the First Draft:

Are there place that surprised you as you read your first draft? - Why do you suppose that is? - Is there material there you'd like to expand?

What are the character really doing in this story? - Might they have issues you haven't explored fully yet?

Look to the places that drag. - These might be scenes where you have avoided dealing with something deeper. - What are the characters really thinking in these places? - What are their passions, frustrations, and desires?

Imagine alternative plotlines. - How might your plot be different if ti headed off on another tangent from various points in the story? - You don't have to follow them, but they might suggest other streams that can flow into the main plot.

Think About Structure:

Does you story play out naturally in three acts?

Is there an immediate disturbance to the Lead's world?

Does the first doorway of no return occur before the one-fifth mark?

Are the stakes being raised sufficiently?

Does the second doorway of no return put the Lead on the path to the climax?

Does the rhythm of the sotyr match your intent? If this is an action novel, does the plot move relentlessly forward? If this is a character-driven novel, do the scenes delve deeply enough?

Are there strongly motivated characters?

Have coincidence been established?

Is something happeing immediately at the beginning? Did you establish a person in a setting with a problem, onfronted with change or threat?

Is the timeline logical?

Is the story too predictable in terms of sequence? Should it be rearranged?

About Your Lead Character:

Is the character memorable? Compelling? Enough to carry a reader all the way through the plot?

A lead character has to jump off the page. Does yours?

Does this character avoid cliches? Is he capable of surprising us?

What's unique about the character?

Is the character's objective strong enough?

How does the character grow over the course of the story?

How does the character demonstrate inner strength?

About Your Opposition:

Is your oppositing character interesting?

Is he fully realized, not just a cardboard cutout?

Is he justified (at least in his own mind) in his actions?

Is he believable?

Is he strong as or stronger than the Lead?

About Your Story's Adhesive Nature:

Is the conflcit between the Lead and opposition crucial for both?

Why can't they just walk away? What holds them together?

About Your Scene:

Are the big scenes big enough? Surprising enough? Can you make them more original, unanticipated, and draw them out for all they are worth?

Is there enough conflict in the scenes?

What is the least memorable scene? Cut it!

What else can be cut in order to move the story relentlessly forward?

Does the climactic scene come too fast (through a writer fatigue)? Can you make it more, write it for all it's worth?

Does we need a new minor subplot to build up a saggin midsection?

About Your Minor Characters:

What is their purpose in the plot?

Are they unique and colorful?

Polishing Questions:

Are you hooking the reader from the beginning?

Are suspenseful scenes drawn out for the ultimate tension?

Can any information be delayed? This creates tension in the reader, always a good thing.

Are there enough surprises?

Are character-reaction scenes deep and interesting?

Read chapter ending for read-on prompts

Are there places you can replace describing how a character feels with actions?

Do I use visual, sensory-laden words?

For a Dialogue Read-Through:

Dialogue is almost always strengthened by cutting words within the lines.

In dialogue, be fair to both sides. Don't give one character all the good lines.

Greate dialogue surprises the reader and creates tension. View it like a game, where the players are trying to outfox each other.

Can you get more conflict into dialogue, even emong allies?

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

[emeritusemeritus]

You think you know someone. [Fred Weasley x Reader]

Title: You think you know someone.

Pairing: Fred Weasley x Reader

Timeline: OOTP- canon and timelines altered for purposes of the story. Some bits have been exaggerated for artistic purposes. Based more on the films than the books. Reader joins DA but what if instead of Cho ratting them out, it’s you?

Summary: You had everything during your time at Hogwarts- good friends, Fred Weasley as your boyfriend and a promising future, until Dolores Umbridge turns up.

Warnings: This one turned out a little dark. Mentions of injury, torture, bullying, wounds, blood. Umbridge is a bitch. Snape is a bully. Use of unforgivable curses. Punishment. Kissing, pranks, swearing. Dumbledore’s Army and resistant forces. Brief mentions of Voldemort and probable war. Pet names: baby, sweetheart, princess. Not beta read. Happy ending I promise.

Word count: 9.3k (I feel like I’ve written a novel here)

This work is gifted to @kellyxo1 thanks to the wonderful request that I couldn’t turn down! I’m sorry it’s taken me a while to get this out but it’s been a complete labour of love and I hope you like it!💕

You knew Dolores Umbridge was trouble the moment you spotted her in the Great Hall, her gaudy pink outfit and matching pink cheeks made her stick out like a sore thumb amongst the classic, muted colour pallet you knew to be Hogwarts. Her smile unnerved you, the cold expression in her eyes never once matching the infallible twisted, sadistic smile that so often painted her face. Everything about her rang alarm bells in your mind.

Fred and George had been sitting either side of you at the banquet table in the Great Hall as she took centre stage and delivered her speech about being very good friends, as ominous and foreboding as it seemed.

"That's likely," the twins had mumbled, resting their heads on their hands, elbows on the table as a small act of rebellion against the airs and graces she clearly put on. You'd subconsciously scooted closer to Fred when she stood, reaching for his spare hand under the table that he'd offered you, sensing a little of your discomfort. Fred was always acutely aware of your emotions, able to read you like a book, you supposed it was a natural consequence of being together for so long.

You'd met on the first day of Hogwarts when you'd stepped into the train compartment he shared with George, locked eyes and the rest was history. You'd been dating since your second year, both of you unable to deny the childlike crushes and stolen glances of your attraction and as you grew up, you grew together. Now you were in your last year, with big plans ahead of Fred and George's business which you'd planned to help them with initially and bigger promises of moving in together in the flat above the shop. The natural progression of a happy relationship and an exciting prospect that kept you motivated to finish school on a high.

The atmosphere at Hogwarts was different this year: understandably tense and foreboding, not just because of Cedric's death and the rumoured return of Voldemort but of the disquiet around Harry's claims and the propagandistic reporting from the Daily Prophet refuting Harry's claims. It seemed everyone was divided into wether they believed Harry or if they believed what they were reading in the media. It was evident that the ministry had worked hard to deny and deflect Harry'a claims, disparaging and slandering him publicly. Of course the arrival of a certain Pink adorned dementor didn't help things, especially when she, as new defense against the dark arts teacher, did away with the old curriculum and removed any defensive, practical teaching in favour of simple theory- which would be of no use in real life situations, of which you were all undoubtedly facing. Then the educational decrees began where she was appointed Hogwarts' high inquisitor and sought to change anything she was as unsatisfactory, backed by the ministry, which seemed to propel the whole school further and further away from what it should be teaching and how it should be preparing it's students for what was inevitably happening.

"She can't do this! It's ridiculous, George is fuming, never mind Fred," you overheard Ginny say as you were about to take a seat for dinner but quickly stopped as you gave her a questioning look, not knowing what she meant, her eyes focusing in on your frozen form.

"What?"

"You haven't seen the new decree?" She asks curiously, placing down her fork onto the plate. You shook your head briefly before walking quickly out of the hall, dinner be damned to examine the wall of decrees, trying to fix your eyes onto the new plaque on the wall.

Educational Decree No. 30: All Weasley products will be banned immediately.

You rushed upstairs to the common room, split in two minds about wether they would be there or on the quidditch pitch, trying to expel their frustrations... until you remembered that broom flying had been outlawed unless part of a lesson or during Quidditch games, as few and far between as they were coming due to the constant cancelling.

When you found them in their dorm, George was pacing the room, kicking the wooden frame of his bed after every circuit whilst Fred sat perched on his own bed, face downcast and eyes filled with anger.

You knew it wouldn't stop them, nothing ever did, but the business they forged from nothing had suffered for a while as students were afraid of the repercussions of being searched and found with their products.

"Can't sell my products, can't fly a broom, can't even kiss my own girlfriend unless I find a way to snog her from six inches away!" Fred had been furious and rightly so but there seemed to be no hope in sight.

It seemed no one was unaffected by the drastic measures Umbridge was taking and you were all facing the consequences of the increasing restrictions, in multiple ways. You'd been given detention for the stupidest things, including casting a spell to undo the jinx Malfoy had placed on Neville one afternoon, another leg lock jinx that you'd fixed for him, received another for the muggle book in your possessions and another for deigning to be within six inches of George. The punishment was cruel and twisted but you'd hidden it from Fred, knowing how protective he was and how he'd act out to retaliate against her which would only land him in worse trouble. She seemed to focus on you in particular, for whatever reason you weren't sure but she hardly hid her distaste for you publicly. Fred said it was because of your connection to him and George but you weren't sure, it seemed more personal than that.

It had been Hermione's brilliant idea to forge a sort of rebellion in order to actually learn the practical side of defence and you'd been eager to sign up after attending the first meeting at the Hog's Head in Hogsmeade, knowing that you had to arm yourself in whatever way you could, the feeling of unease at the current climate always looming overhead. You'd been pleasantly surprised by the turn out, seeing many familiar faces as you'd walked hand in hand with Fred into the small, freezing cold room as you waited for Harry, Ron and Hermione. Cho, Luna, Neville, Ginny, Michael and so many others from Gryffindor, Ravenclaw and Hufflepuff had turned out to fight for the cause and as you looked around the room of friends and familiars, it was evident that this could work.

You'd signed the parchment Hermione had brought with no hesitation, lining up between Fred and Ginny, clearly marking your name under his in the pencil provided. As you walked back to the castle in a group, Fred's arm around you and his hat in your head to keep the cold away from your ears, you felt determined and inspired to make this work. You'd just need to find somewhere to practice away from the prying eyes of the inquisitor.

Then came Educational Decree No.68: All student organisations are henceforth be disbanded. Any student in noncompliance will be expelled.

This time, you weren't angered or afraid of the newly instated restriction but instead felt empowered to rebel. Neville, in a feat of brilliance, had discovered the room of requirement one Saturday afternoon as he made his way down the seventh floor corridor. It was perfect, exactly what was needed, and you'd all wasted no time in putting the room to good use.

Within just two weeks, you'd mastered disarming spells, stunning spells, hexes, jinxes and defensive charms that you'd never thought you could do. Ginny had proven herself to be incredibly skilled and you'd stood watching in amazement as two magpies flying around the room, both coming from your boyfriend and his twin. The twins had taken to placing bets, mostly against Ron, all of you in good spirits about finally being able to do magic again. You and Fred took full advantage of being shielded away from the eyes of Hogwarts and had taken to lingering in the room after the sessions so you could be close to each other, to kiss freely and be intimate again. It had seemed so long, so cruel to have to keep away from him, at least in public and as you watched him master spells so effortlessly and looking so deliciously hot as he did it, often with messy hair and rolled up sleeves, it was exactly what you needed to relieve yourself of the building frustrations.

Fun and laughter had once again returned to Hogwarts, though shielded from the regulating eyes, it was just like before. The twins had even taken to pranking again, no longer concerned by the changes, including giving Filch laced chocolates which made him erupt with giant, puss-filled boils on his face when he got too close to the scent of your secret gatherings.

Educational decree No. 82: All students will submit to questioning about suspected illicit activities.

Umbridge had began to gather students for an inquisitorial squad which would earn them credit for joining, most notably the Slytherin students that weaselled their way into Umbridge's good books. Most probably by being pure bloods. They took great pleasure in pulling up the younger students in particular for punishment or questioning and abused their powers frequently.

Then you returned to school after winter break and the news of the Azkaban breakout happened, constant storms were forecasted, Umbridge's cruel regime heightened. Everything felt so restrictive, so unnecessary, so twisted. The only place you found solace was during DA meetings when you could be yourself, free to act and perform as you wanted surrounded by your friends and boyfriend. Always alert at the imposing threat, knowing Filch was on to you all and the rest of the inquisitorial squad which only fuelled you to keep discreet.

It had been a regular day of classes until your DADA lesson where you'd been required by the toad to write an essay on the benefits of conversational reasoning as opposed to practical magic to handle disputes with half breeds and lower class species, such as centaurs. You'd almost immediately refused to write such things, particularly due to the disgusting terms used to class different species but also due to the ridiculous concept.

"I am teaching you verified way of effective communication, in which you do not have to use your wand," she defends with a sickeningly fake smirk.

"Or our brains by taking away our autonomy," you'd argued, not even under your breath.

"Are you questioning my methods of teaching miss y/l/n? By all means if you think you can do better I should like to see you try."

"Can't be hard, Professor Quirrel did a better job and he shared a head and a singular brain cell with Voldemort."

A murmur of concealed laughter burst from the students around you and for a singular moment you felt the victory of it, empowered even.

"Detention!" She's utterly outraged, her face turning a dangerous shade of fuchsia. You could feel the eyes on you, most notably your boyfriend and his twin from across the room but you didn't care. Since returning to school you'd been torn away from Fred, unable to be anywhere near each other and certainly not in a group with your friends as it would break at least three decrees. You were frustrated and had hit breaking point, anger simmering in you but why you didn't know. You'd completely had enough.

"It's a date Dolores," you said sarcastically with the sickliest smile you could muster. More snickers erupted around you and even a clap that sounded suspiciously like it came from the direction of your future brother in law.

"My office, now!" She screams, pointing with her pink tipped finger towards the door. You grabbed your stuff from the desk and walked out without a single look in anyone's direction. On your way to her office, you pulled the special coin from your pocket and checked over the date and time to check you had it right. There was a DA meeting later that evening and you'd hoped this would be over quickly so that you could still attend.

Only, that never happened. Instead you'd been tortured for hours in the cruelest of ways, repeatedly questioned over your involvement with the alleged group and had been forced to drink truth serum until the words had slipped out of your mouth. You'd had no control over it, no way of resisting any longer and with great shame, you'd told her about the room of requirement, completely unable to stop the words from coming out.

The inquisitorial squad was on you in mere moments, as soon as Umbridge had signalled them from outside the door and Malfoy's grubby hands were pulling your weak and exhausted body from the chair before you could even register the intrusion. The things you'd been through, the pain and the anguish, it was nothing compared to the fear you felt at the DA being discovered; you could only pray that you'd held out long enough so that the meeting was over.

"Where is it?!" Umbridge screamed into your face when you wouldn't disclose the exact location of the room of requirement, having already inadvertently let slip that the room was your meeting place. You gave her your darkest look, no longer feeling controlled by whatever she had obviously put in your tea. When she didn't get an answer, her hand struck you hard right across the cheek but you hardly flinched, hardly feeling the pain anymore.

"I know the way Ma'am," Filch said, his saggy face appearing around the corner creepily, his features twisting into a vulgar, perverse smile. You could hardly look at Umbridge's face as it twisted into a pleased, twisted grin as she fixed her jacket and allowed Filch to lead her. Malfoy grabbed hold of your robes tighter in his fist and you were dragged along with them until you reached the seventh floor.

You felt sick to your stomach, wanting to scream and cry, resist in anyway you could as you fought against Malfoy's hold but you were physically tired and weak. Crabbe had grabbed hold of the other side of you, your thrashing too much for Malfoy to hold down by himself and his hands were much tougher against your skin, no doubt leaving bruises in their wake. When the door to the room of requirement didn't appear, you felt hopeful that she'd realise you were lying, even if that meant horrendous consequences for you. There was no way of warning them, nothing you could do to allow them to flee, you'd have to watch as they were all caught redhanded. They'd think you ratted them out, your friends, the love of your life. You knew it was exactly what Umbridge wanted, to turn everyone against you- and she was undoubtedly going to get it.

"Bombarda Maxima," her eerily calm and squeaky voice rang out as she pointed her want at the wall. Your scream mixed in with the large bang as a giant hole was created in the wall, depris and dust flying everywhere.

When the dust cloud cleared, you were dragged off from the side viciously by Malfoy and Crabbe until you were presented in front of the Army- your friends. You didn't want to look up from your spot on the floor, still fighting against their holds on you but something made you look up. And then you met his eyes.

Fred had never looked at you that way, ever. The looks of love and adoration you'd become accustomed to over the years, the playfulness and the intimate looks, it was all gone. The look in his eyes would haunt you forever, the coldness, betrayal and the resentment and it was explicitly clear what his expression told you.

He believed that you ratted them out, believed that you could ever do that to him, to them all.

You had to look away, desperate to see any hope that someone believed you, that someone sympathised with the torment you'd endured but as your eyes travelled across to George, you stopped short. He looked furious with you, disgusted and despite everything you'd been through in the past few hours, you'd receive no sympathy or chance to explain yourself to the people you loved.

You were dragged away as Umbridge dealt with the Army, bestowing threats and punishments upon them that you couldn't hear. You no longer fought against the holds of the Slytherins but instead went willingly, feeling guilty, shame and simply dirty for your role in all of this, even if it wasn't your fault.

Members of the ministry arrived not too long after, having been alerted prior to the discovery of the DA. You couldn't look at Kingsley, much too distraught to see his look of disgust at you, no doubt planning to tell the Order what you'd done. Harry was ushered in not long after having been caught in the skirmish. His newfound hatred of you seemed to radiate off him as he stood beside you and this alone made you want to scream and cry out of frustration, tears welling in your eyes that you wouldn't allow to spill.

The final straw was when Percy walked in, without so much as a glimmer of recognition towards you and took over from Malfoy to restrain you and Harry, keeping the shoulder of your robe balled up in his hand. The minister ordered him to dispatch an owl to the Daily Prophet and he diligently nodded, trying to manoeuvre you along with him.

"Get off me Weatherby," you demanded viciously, fighting against his hold and managing to break free, only to be stopped as you all looked on in amazement as Dumbledore disappeared out of sight in a magnificent display.

You'd hoped after that, you'd be able to get Harry alone, to explain yourself to him, to tell him what had happened but he'd completely avoided you, blanked you entirely. You hardly blamed him but you needed to explain, to clear your name. Umbridge then commanded Harry to join her in the hall where the punishment was being conducted, all of the DA together.

You'd been permitted to return to your dorm after the meeting had finished but you stood outside of the hall doors, desperate to see Fred and explain yourself, hoping he could bring you at least an ounce of comfort. Your head was pounding from the pain earlier and the marks on your arms were throbbing, sore and weeping though you fought not to look at them, knowing the pain would only be worse when you saw what was tormenting you. You couldn't go to Madame pomfrey, Umbridge had made that very clear and so you suffered in complete silence until you could reach out for your friends.

You lingered outside of the door for what felt like hours, the anxiety and the nerves you felt seemingly freezing time. When the doors opened, the members of the DA began pouring out with soured looks on their faces which only heightened when they caught sight of you. It was never hard to spot Fred and George amongst a crowd, their towering height easily distinguishable amongst a sea of people.

The look on everyone's face was near identical, the disgust and the resentment evident in their eyes as they spotted you but none clearer than the twins. George looked like he detested you, his face scrunched into a look of utter distaste, eyes glaring into you as he walked past without a care. Fred looked away, ignoring your presence completely as he glided past you without muttering a single word, his face stone cold and void of expression.

"Freddie, please," you said weakly and emotionally, with tears in your eyes, turning around in the spot as he walked past you. But nothing, he didn't turn, didn't react, simply walked away without so much as a single glance.

"Harry," you implored, taking a step towards him but he too blanked you again, pushing past you and walking quickly up the steps to avoid you.

You stood alone in the cold and empty corridor, feeling more isolated and alone than you ever had and finally allowed yourself to cry. Silent tears fell down your cheeks, shoulders sagging as you cried for everything you had undoubtedly lost, for the treatment you'd received and for the pain you still felt in your head and arms. Finding a spot in a hidden corner, you finally allowed yourself to pull up the sleeve of your robe and look upon the damage that Umbridge had inflicted with her sadistic quill. It was horrendous, an onslaught of slurs and vicious words etched into your body, no doubt intentionally done to leave the scars as a permanent reminder.

You sobbed your heart out in that little nook between two cold, stone pillars as you tried desperately to heal the marks but no spell was strong enough even to numb it in your weakened state.

You eventually made your way to Gryffindor tower, stepping through the portrait and finding the common room practically deserted. You sighed and walked up the stone steps to your dorm, only to find that the door had been shut and your blanket and pillow had been thrown outside of it, a clear sign you were not welcome even within your own dorm. You were painfully exhausted and wanted nothing more than to curl up in your bed and cry into your pillow until you eventually passed out. But you didn't even deserve that.

With a heavy sigh, you collected your blanket and pillow and trudged down the steps back towards the common room, eyes blurry through a mixture of tiredness and tears. You stopped short the second you crossed the last step, seeing Fred and George step in through the portrait hole, your stomach flipping nervously as you anticipated a barrage of insults or horrible pranks, their allegiance turning from you now.

"Fred, Freddie please," you begged, dropping your makeshift bedding to walk towards him, trying to reach out for him. You paused as you saw the redness on the back of his left hand, a clearly fresh punishment, 'I must not break rules'. George intercepts immediately and barges past you, blocking you from getting to Fred as he turns his twin away from you.

"You think you know someone," George mutters as he gently nudges Fred up the stairs, sending you a vicious glare before he walks up after him, once again leaving you alone. Fred didn't even spare a single glance at you, not even to recoil away.

You curled up in a corner armchair as soon as the tears appeared, pathetically dragging the blanket over you and cried until you fell asleep in the uncomfortable chair.

The two weeks that followed were the absolute worst weeks of your life. Umbridge had stripped you of everything you loved in one fell swoop, turned everyone against you and left the place you called home feeling miserable and lonely. You deserved it, you knew that, having ratted them out. You'd antagonised her and now had to live through then consequences, as cruel and twisted as they were.

The glares from everyone you had once called friends hadn't stopped, especially from George, which hurt the most. Fred had outright ignored any effort you'd made to reach out to him, no matter how desperate you'd sounded or how hard you'd tried to make him understand. He didn't care. He believed the lie.

The first week you'd tried to take your meals with the rest of the Gryffindors but it was made abundantly clear to you that you were not permitted nor welcome to join your friends and had been cruelly banished to the end of the table, beside the first years. The second week you'd stopped attending meals at all, not able to push through the shame and embarrassment of being cast away, exiled from your group. Lessons were monotonous and any down time was utterly excruciating as you were left enclosed with the other Gryffindors, namely your ex boyfriend, though no one would make any contact with you. You'd tried to sleep in your dorm but the girls had done nearly everything to prevent you from actually sleeping, talking loudly, setting off whizzbangs inside your curtains and had even transfigured your blanket a few times to varying degrees of horrid things. At the end of the night when you were certain everyone was asleep, usually very late, you'd creep down to the common room and huddle into your uncomfortable chair to sleep, only to be woken mere hours later when the first of the easy risers woke up. Your life was hell.

"There's just something I don't understand," Hermione says as they all stand on the bridge, the golden trio, Ginny and the Twins, all wrapped up in warm clothes and sweaters as they discuss the changes put into place since Umbridge had taken over as Headmistress. Naturally, the conversation had diverted to you, something Fred was entirely displeased about. The group turn to Hermione after her words, intrigued by the change in tone. She took a deep breath, closing her eyes before opening them again, as if building the strength to say her next sentence.

"I jinxed the enrolment parchment, for Dumbledore's Army," she admits, not quite meeting the gaze of the group around her. "It was purely a preventative measure, incase we were betrayed by one of our own. The person who disclosed any secrets would be jinxed to break out in spots, to spell out 'sneak' across their forehead, so we knew who the betrayer was. Y/N didn't have that, she never even had a single spot."

"Blimey Hermione," Ron says a little breathlessly, disbelieving she'd have actually gone that far.

"I know," she says a little defensively, "I just can't work out how she got around it!"

"Maybe she wrote her name wrong? Did she know about the jinx?" Harry suggests but Hermione shook her head, at the very same time that Ginny replied.

"I was behind her, I saw her write her name. It was right."

"Maybe the jinx didn't work?" Harry suggests carefully but stops himself when he receives a forceful glare from Hermione at the very notion of her failure.

"What does it matter? She dobbed us in wether or not she's covered in spots!" Ron says rather harshly, leaning against the wooden bannister.

Fred can't listen anymore, completely overwhelmed by the conversation and the thought of you betraying them. He turns and walks off back towards the castle without so much as a word to the others, not even his twin, and ignores their calls of his name as they watch him fade into the distance.

Spotting you sitting alone in the corner of the room when he returns to the common room, he frowns to himself. He'd known you since the moment you stepped on the Hogwarts express and had loved you for nearly just as long. It was wrong to see you sat alone, so sad and without the usual spark you naturally emitted. Everyone had always been drawn to you, your humour and wit, your dazzling smile, the fact you made everyone aroun you feel comfortable and valued. Too many boys had been drawn to you for his liking but you'd never even given them the time of day, never once wavering in your loyalty to him or ever made him doubt that it was him you wanted. You'd spent years supporting him, helping him and George develop their products, cheering for him loudly at every Quidditch game and had wormed your way into the hearts of every single one of his family members. Secretly, it crushed him to see you so lonely and tired, even if he still felt the sting of your betrayal.

It didn't add up, though he wouldn't disclose this to any of the more angered members of the group, why you would do such a thing. You'd been excited to start the DA, had joined in enthusiastically, kept the secret for so long and most of all you completely despised Umbridge. He couldn't deny that he still loved you, even though he was conflicted with his feelings now, he still held out hope that this would all go away, that there was a reasonable explanation but his anger wouldn't allow him to listen. It killed him to push you away, wanting nothing more than for things to return to normal but he felt a deep sense of betrayal that he couldn't shift.

"Fred?" He heard from behind him, pulling him out of his musings making him realise that he'd been staring at you all this time as he turned towards the person addressing him. Her name was Emery Atkinson, a Gryffindor from the year below that he'd never really acknowledged or spent much time with.

"Yeah?" He replies politely though he couldn't escape the edge of irritation after being pulled away from his thoughts. He watches as the girl giggles as soon as he acknowledges her and tucks a strand of blonde hair behind her ear.

"Oh good I got the right twin!" She giggles, ignorant to the blank look she received from Fred. "I was wondering if you had some canary creams I could buy? My brother loves them and it's his birthday soon. Your inventions are so clever, I don't know how you and George find the time between your studies and Quidditch, it must be exhausting. You're so good as Quidditch, I always cheer you on. Plus your girlfriend, but I heard that you weren't together anymore right?"

Truthfully, Fred had only registered the first half of her speech, tuning out after Canary Creams but his attention had been drawn back at the mention of you. He can't help but feel that little stab of sadness at the mention of you, especially someone referring to you as his girlfriend, or Ex rather. In the back of his mind he wonders if you heard that, from your short distance away, he hoped not.

"I still can't believe it, why would she do that? If I was with you I wouldn't even dream of ruining it." She sounds faux-scandalised and quite frankly, rather bitchy as he reaches out to touch the sleeve of his sweater. Fred doesn't humour her and instead takes half a step back subtly, reaching to scratch the back of his head as a discreet way of getting her off.

"Er, yeah I think we have some creams leftover, I'll send George over with some later, alright?"

"Not you?" She says with a sad little face, trying out her best puppy dog eyes that have absolutely no affect on him.

"George deals with the confectionery," he says a little too quickly; which is a complete lie. "Sorry, I've got somewhere to be but I'll let him know you're interested in buying."

He breaks away, giving her a forced but polite smile and a brief, parting wave but it's awkward and he's inwardly cringing as soon as he puts his hand down. Turning to where you had been sat in the chair, he notices you've disappeared and he is instantly overcome with a wave of guilt. You'd heard it all.

—

The next few days passed in blur for Fred, his mind wandering between what he was doing and thoughts of you, like he couldn't concentrate for more than a minute. He felt so conflicted within himself, made worse by the time spent apart from you, the longing beginning to set in. He'd never really been apart from you for very long, at most only a few weeks during the summer holidays and even then you'd have sent numerous letters by now, keeping in contact as much as you could until you were back beside each other. Now it was just torture, having you so close but so far away and the knowledge that he was the one that had pushed you away only furthered his guilt and internal conflict.

Fred was in a terrible mood, battling his thoughts, surviving on very little sleep and now the threat of her sadistic punishment was the icing on the cake of a really crap day when he and George had been forced to Umbridge's office. Harry had been caught trying to use the floo, to alert the order or escape and had been caught red handed by Umbridge. Each member of the DA had been frogmarched into the office, shoved and restrained by members of the inquisitorial squad and each member looked as uneasy as the next. His stomach turned when he saw Ginny held down by Goyle and he fought to get out of Graham Montegue's hold but it was useless when Umbridge mindlessly cast a spell to subdue him.

Harry was sat in the chair in the centre of the room, the first to be questioned with Umbridge hovering dangerously close to him, her temper boiling over as she speaks frantically in his face.

"You were going to Dumbledore weren't you?" She says, leaning down threateningly in front of Harry.

"No," Harry responds.

"Liar!" She screams back and in a move that shocks each member of the DA, she pulls back her hand and slaps Harry hard around the face, the harsh sound echoing through the otherwise silent room.

She pauses for a moment, simply glaring at Harry until her face twists into a sick, twisted grin as she straightens up and composes herself, each movement carefully thought out as she turns her back to him.

"Very well, you give me no choice Potter," she says with an even cadence, her tone dangerously low. "As this is an issue of Ministry security, you leave me with... no alternative, unless Professor Snape arrives within moments."

Fred feels like he can hardly breathe, the tension and unease in the air so thick that the room feels like it's getting smaller by the second. The unpredictability of the woman before them was alarming, the dangerous undertone of her voice despite her light and breezy tone was almost scarier than his worst nightmare.

"The cruciatus curse ought to loosen your tongue," she says, adjusting her pink jacket.

"That's illegal," Hermione states in outrage but Umbridge hardly flinches. Instead, she reaches out for the photo frame of the minister on her desk and pauses briefly to look at it before turning it over and lying it down flat on the desk, so that Fudge could not see her next move. She straightens herself and extends her wand, only to stop when Snape appears by the door, his eyes fixed to her outstretched wand that was pointed directly at Harry.

"You sent for me Headmistress?"

"Snape, yes," she says, taking a step back and everyone in the room exhales, relaxing only slightly. "The time has come for answers, wether he wants to give them to me or not," she says, her eyes flicking to Harry only briefly.

"Might I suggest against the cruciatus curse this time headmistress," he says evenly and carefully, "the consequences of such an audience might be... disagreeable. In fact I would hesitate in conducting any of the prior disciplinary methods in this instance.""

This time? She'd used the cruciatus curse before? And on a student? Prior disciplinary methods? Fred thinks, did he mean the quill?

"Very well," she says after a moment of pondering, her arm falling to her side as she relents, eyes wandering over the all too familiar Quill that sits proudly on her desk before her gaze shifts back to Snape. "Have you brought the veritaserum?"

"I'm afraid you've used up all my stores, the last of it interrogating Miss y/l/n."

Snape carries on speaking but Fred doesn't hear a single word, blood rushing to his ears as his heart pounds. He feels like he's received a stray bludger straight to the chest, his stomach dropping with fresh shame, sadness and overwhelming guilt.

Suddenly it all made sense. She'd tortured you into giving out the information- the cruciatus curse, veritaserum, what else had she done to you?

He couldn't help but let out a dry sob at the information, sensing everyone's eyes on him at the news. He struggled against the holds with everything in him, needing to fix what he'd broken.

He'd believed them, so quickly, believed that you could have betrayed them like that. The pain you must have felt, the loneliness and the guilt and then after your whole ordeal he had cast you aside, pushed you away and never given you a single chance to explain.

He eventually turned to look at George who looked utterly broken by the news, his regretful inner thoughts so evident upon his face. Each member of the DA looked a mixture of guilty, sheepish and sad, realising how wrong they'd been about you and what they'd done to someone who had once been their friend, someone who had suffered so much for all of them.

The meeting seemed to go abhorrently slowly until Umbridge left with Harry and Hermione on a sort of mission based upon a quickly constructed lie and Fred didn't waste a single moment before turning around on the spot and punching Graham Montegue straight in the face as soon as Umbridge had left. Seizing the momentary upper hand, the remaining members of the DA turned on the inquisitorial squad and fired an array of jinxes and spells at them in order to get away.

"Fred, Go!" George had urged whilst stunning Crabbe, allowing Ginny to step free. Malfoy fought back but he was quickly matched by Angelina who covered for Fred, blocking the exit.

"Go, she needs you!" Angelina shouted as she sent a jinx flying towards Cassius Warrington's smug face.

Fred didn't hang about and immediately ran out of the office and towards the common room where he was praying you'd be. It was quiet on the main staircases, perhaps it seemed much quieter because of the lack of portraits and bare walls but even to the few people Fred passed, he offered no explanation nor cared about what they thought. He needed to find you.

"Y/n!" He said bursting through the portrait hole and scanning the common room for you, checking the chair you'd so often occupied but found nothing except a couple of bewildered faces at his strange outburst.

"Y/n?" He called again, walking up the stairs towards the dormitories but received no reply. In his haste, he accidentally misstepped as he climbed up to the girls dorm and nearly triggered the blocking slide to appease but fortunately managed to regain his balance and stress carefully over the path he'd taken so many times before, the secret message in the steps that allowed him to breach the rules.

He threw open your dormitory door and stopped blankly when he found nothing. Your bed looked like it hadn't been slept in, there was hardly any of your things around the bed and the room. Had he come to the wrong room?

"Fred?" Your voice said shyly from behind him and he whipped around to see you looking up at him hesitantly from near the door, holding a few things in your arms and your robe tied tightly around your chest.

"Y/n," he says with a sigh of relief, moving forwards quickly to reach out to you but once again stopping short as he noticed you visibly flinch at his sudden movement. Suddenly the overwhelming agony of guilt and regret hit him anew and he vowed to slow down, hoping not to scare you away.

"I'm so sorry," he said, voice breaking slightly as he looked at your tired, sullen face and those wide, scared eyes. He'd never seen you look so broken and it killed him.

"I didn't, I don't ," he stutters, dropping to sit on the side of your bed. "You haven't been sleeping here have you?"

There's a minor pause and he wonders if you're actually going to reply to him, if he even deserves it, until you step forward and place your things down onto the bedside table. He watches in silence, noting the large book and a few packaged bandages that slip onto the table as you gingerly take a seat beside him, your feet no longer touching the floor.

"Kind of hard to when you're banished by the rest of your dorm," you reply quietly. He can't detect the tone of your voice, expecting it to be sarcastic or unhappy but it actually sounds flat and completely void of emotion.

"The chair," he realises, "you've been sleeping in that chair?" He's slightly bewildered and profoundly ashamed now, not having clicked until now that you'd been there early in a morning and late in the night, much later than you'd ever typically stayed up before. You shrug and turn your attention away, though you're yet to actually meet his eyes.

He drags a deep breath in through his teeth, resisting the urge to hang his head low on his shoulders.

"Y/n, I am so sorry, I, I don't even have words," he says, stumbling over his words- something so uncharacteristic for him that it briefly startles you. "You didn't deserve this, even if you had told Umbridge about us, no one deserves this. We were all so shocked that it could be you, of all people. We never stopped to think of why," he pauses again, steadying himself. "Snape admitted what she did to you, she tried to use it on Harry but he stopped him."

"But the quill was broken? How could she use it on Harry?" You say, finally looking up with a look of complete confusion.

"What quill?" Fred asks, completely lost himself, "the black quills? I meant the cruciatus curse, she, I mean she, on you, didn't she?"

Your silence says everything and he has to close his eyes and steady his breathing at your silent confirmation.

"What quill?" Fred feels a little bolder now and reaches for you but you pull your arm back and place it in your lap, trying not to wince as you catch the healing scars. "This one?"

He holds out his hand and shows you the faint markings from his punishment, 'I must not break rules' barely visible now. He frowns when you shake your head but don't offer any other explanation. He's frustrated that he's not getting anywhere but it's internal and he knows it's not your fault, he just wishes he could help, or go back in time and fix everything.

"Tell me, please," he says, keeping his eyes locked in the side of your face, trying to urge you to look at him. "What happened in that detention?"

"It doesn't matter," you say quickly, hopping down off the bed and stepping over to your trunk to get a fresh shirt from the laundry pile, knowing it would need changing. "I've got to shower."

You go to turn away but Fred lunges for you and grabs your arm to stop you from leaving, making you cry out in pain as soon as his fingers make contact with the tender skin. As soon as the shock wears off, he frowns, looking down at your arm before looking up to your face, seeing tears falling down your cheeks.

"Please baby, please just tell me," he says, voice breaking as his own tears well up in his eyes.

"She told you about the veritaserum?" You ask, assuming anyway and Fred nods. "Then you know what you need to know."

"No, I don't," he says quickly, trying to think of ways to stop you leaving without hurting you. "She used an unforgivable curse on you! Gave you truth serum, you cried when I touched your arm and you have bandages on your bedside table, please just tell me what happened!"

"Fine," you say, pulling your arm back. "You want to know? She tried to force it out of me, tried to get me to drink the stupid tea but I wouldn't. When that didn't work she pulled out that little stupid quill and wrote anything she wanted all over me. You wanted to know about the bandages? Fine," you said viciously, clawing at the fastening of your robe. Underneath was your once crisp, white shirt that had a considerable amount of red blood staining the sleeve. You didn't stop undressing, all but ripping the buttons away as you fought to show Fred what was underneath.

Bandages littered your forearms, with blood oozing out the sides. Fred's frozen as he looks at the bandages on your body, sick to his stomach already.

"Did you know Snape is a skilled occlumens? I didn't, I do now. So after she was playing with that sadistic little quill, writing whatever she wanted into my skin, he enters my mind and shows me every single fear I've ever had, every nightmare. But I didn't say a word, not a single fucking word. Do you know what it's like to have visions forced into your own mind of your boyfriend dying in front of you repeatedly, over and over until you start to go mad? All whilst your skin is slashed open just to get you to talk? Only it didn't work, so she dropped the quill and picked up her wand. I've never felt closer to death in my life but still so far away from it. But I wouldn't talk. So she forced veritaserum in my mouth and I couldn't stop it, she got what she wanted no matter what I'd fought for. And the best part? They don't heal, not truly. Nothing I do stops it, like a constant reminder of what happened."

"Princess," Fred chokes out, tears streaming down his cheeks, fighting to hold back his sobs at your words.

"No, not princess," you say sternly, emotions all falling from your face. "Not anymore."

"Please, I want to make this right, anything I can do, I want to support you," he says, nearly begging. "I have to make this right, I can't lose you."

"No."

Your voice is harsh and stern, your face expressionless again. "You believed them so easily, you all did. You believed I could do that to you, without hesitation. You didn't let me explain, never even looked at me because you were so certain that I could have done it. I've been exiled, banished and forgotten by all of you I called friends without a single thought. So you and your stupid brother and the rest of Dumbledore's friggin army can go fuck yourselves, it's not my fight anymore."

Fred flinches as the door slams shut behind you and he's left to sob openly, his devastation consuming him. Eventually when he returns to his own dorm, George says nothing upon seeing his twin's stricken face and his curtains fully closing around the bed.

The next morning, Fred has already left the dorm by the time George wakes up and doesn't see him at all around the common room or the hall, though he's not surprised. But when he doesn't show to his lessons, George worries and goes in search for his twin with increasing worry. Eventually, he finds him in the library, pouring over an array of books from the restricted section, most of them about healing spells and anatomy.

"Freddie?"

When Fred looks up with red rimmed eyes and an intense look in his eyes, it's clear to George that Fred hadn't slept. "Whatever it is, let me help."

One week. It took one week of endlessly pouring over book after book until they finally found options.

It's early morning on a Saturday when Fred creeps down to the common room was before the sun has risen, seeing you hunched over in your chair. Angelina had told him that they'd apologised profusely to you and had accepted you back with open arms back to the dormitory but you'd simply walked away and carried on sleeping by the fire, not yet willing to forgive them for the treatment you'd endured.

"Y/n, y/n, wake up," he says quietly, carefully touching your shoulder, trying to avoid anywhere that he had seen bandaged.

"Freddie?" You ask sleepily and his heart soars with hope at the noise, the familiarity of it abs the softness of your voice so heartwarming.

"I have something to show you, me and George," he says lightly, waiting for you to wake up.

"Told you both to get fucked," you mumble, squashing any hope he had, but he perseveres.

"Just this once prince-y/n, please," he says quietly. You open your eyes, seeing him still dressed in his pyjamas, pleading with his eyes and looking so vulnerable that you relent and agree to whatever he had planned. Throwing back the blanket, you surprise a groan at the stiffness in your neck and diligently follow him back up the stairs towards his dorm, accepting his hand as he guides you. Your hand fits perfectly into his, just as it always had.

"Where's Lee?" You say as you walk into the dorm room, seeing only George who gives you a small but timid smile.

"Bunking with Ron," Fred says somewhat vaguely, gesturing for you to sit on his bed. The room looks exactly as you remember albeit slightly less dishevelled than you'd experienced previously, but you don't mention anything. Fred takes a seat beside you and George moves forward, grabbing a book from the chair beside his bed.

"We don't know if this will work," George says.

"But it's better than nothing," Fred finishes, gingerly reaching out for your hand.

"What?"

"The wounds," George says gently, "Fred told me, we just want to make them better. Might not get rid of them completely but it's worth a shot."

"Found this in an old healing book, it's a counter curse for wound healing by curse," Fred says, taking the book from George to show you. "Figured Umbridge's quill must have been cursed so this might work. Please let us help."

All it takes is a nod from you, albeit slightly hesitant but truthfully there was no one you trusted more than the twins, before at least.

You could hardly look them in the eyes as you pulled away the bandages, the vile words etched into your skin by her personal sadistic quill. You heard George inhale at the deepest cut along your inner right forearm but didn't react, knowing it would be shocking to anyone.

"Take my hand, if it hurts too much all you have to do is squeeze and we'll stop, okay baby?"

Biting down on your lip to stifle your cries, you hold Fred's hand tightly as George begins to cast the counter-curse, each of you watching on with rapt attention and slight amazement as the cuts begin to slowly knit together. It was working.

You whimper as he works over the deepest, the same one Fred had accidentally caught the week before and Fred's hand squeezes yours automatically for support.

"You're doing so well sweetheart, it'll be over soon I promise," he says quietly in your ear, comforting you in anyway he could.

After the last cut is sealed, George immediately drops down to sit onto his bed, his concentration and energy depleted from focusing so hard. You can't believe it as you look down at your arms, no longer seeing blood and only able to see the faintest of marks and redness where the wounds had once been. Only then do tears begin to fall from your eyes as you launch yourself towards Fred, throwing your arms around him in appreciation. He steadies himself after a moment of being caught off guard and holds you tightly against him, shushing you gently as you cry. His arms wrap around you so perfectly, so protectively and his smell comforts you like to no other, exactly as you remember.

"You did so well, so well, it's okay baby," he coos into your ear. You pull apart slowly and immediately walk over to George, pulling him into a hug though it's a lot less intimate.

"Thank you both so much," you sniffle.

"You're welcome," they answer at the same time, making you smile.

"We've missed you," George says after a moment. "I'm so sorry for what you went through and for what I said. I should have known it wasn't your fault, you've been my best friend for so long and I'm so ashamed of myself for how easily I believed her over you, that should never have happened."

"And you know how sorry I am," Fred says, walking over to you and kneeling down until he's directly in front of you.

"You're the best thing that has ever happened to me and I was an idiot for ever thinking it was you. I know things can't ever go back to how they were before, but I love you so much that I can't lose you. Seeing you hurting almost broke me and I know that you might need time or never see me again but you need to know exactly how I still feel about you."

"It's not just you," you say in reply, heaving out a long breathe, "I pushed people away."

"We deserved it," George says.

"Baby," Fred says gently, getting your attention. "I don't know how to fix this or how to make things better, but I'll do anything. I was an idiot, a complete git but I'll spent the rest of my life trying to make it up to you. Please say this isn't ruined."

For the first time since the incident, you allow yourself to feel hopeful that things could get better, that Fred could love you again. Sat surrounded by the two people you loved most in the world, you finally felt the love and protection you'd been needing since that awful night.

"I want that," you say quietly, picking at the blanket under your fingers, "I just want things to just go back to normal." You raise your eyes up to Fred's to see him smiling back at you, clearly pleased with your words.

"Well, let's start with this then," he says with a mischievous smirk, leaning towards you painfully slowly as if he's giving you plenty of time to say no or push him away. His soft lips press against yours gently and you can't help but feel a warmth spread all over your body, almost like you were defrosting and returning back to you're usual self. His hand reaches up to cup the side of your jaw and you're certain you can feel a fear hit your cheek, though it doesn't come from you.

The next morning, you walk hand in hand with Fred into the great hall for breakfast and sit right back at the centre of the table with your friends. You assume Fred or George had threatened them not to say anything as everyone around you acts normal, pretending the previous weeks didn't exist, though one by one they all apologised to you, most notably Ron and Harry. Ginny thought you were badass for everything you'd been through, not relenting even though you'd been tortured into eventually revealing the secret. Hermione had apologised so eloquently and thoroughly that you both ended up crying in the common room as she explained about the jinxed parchment and how she'd held out hope that it hadn't been you.

Each person made it up to you in anyway they could, admitting their mistakes and regrets and though you would probably never forget, you chose to forgive.

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@guavacookie23

@satansdarlin

@smartoneamia

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@thatonepersonwhocantwrite

@heyareyoulistening

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@crazycat-ladys-blog

@yanqiiuver

@winisposts

[wearepaladin]

Just for fun I’m going to write an outline for an Elden Ring story I’ll never have the time or discipline to write in full, but would be fun to think about. Basically, if Elden Ring were a novel and less bound by the classic Soulsborne mechanic of everyone out to kill you all the time and you could theoretically talk to a bit more folk before they’re running at you with fire and cleavers.

So, more under the cut for those of you inclined for a bit of speculative reading.

So I think the most important thing to get out of the way is the nature of the protagonist, who we have playing the Tarnished of No Renown in this story, because while video games are a fun means of crafting your personalized to fight your way to victory in The Lands Between, for a novel a character who has a presence in the pre established narrative would be ideal. To that end, I have speculated the ToNR’s background based on what can be universally deduced about them based on where they were buried and rose from the Dead when Grace brought them back to life.

So, to that end, I critically went over the game starting zone, The Chapel of Anticipation. It was here where we are interred, along with the ashes of two stormhawks, a recently dead finger maiden, and a Grafted Scion waiting to kill us, with the chapel built on a sea stack with a bridge presumably leading to Stormveil Castle. Stormveil, as a reminder, was originally the fortress of a Storm King, a mysterious figure whose defeat by Godfrey/Hoarah Loux in single combat is considered among the First Elden Lord’s greatest achievements. So, for the sake of the story, based on this little bit of information, I am deciding that the contender for Elden Lord will be played by a Storm King resurrected by the Guidance of Grace, awakened in their tomb to find the Finger Maiden who knew that a lost king was interred here, and where a distant Scion of Godfrey, the Grafted Scion, knew where an old enemy may one day rise.

Thus, a newly risen Storm King would have been active before the existence of the Tarnished as they are now, and indeed, ignorant of much of the current history of the Lands Between and the Shattering of the Elden Ring and ensuing wars. Indeed, depending on the timeline, they would even see Marika as the empress of an invading theocracy and not the long established god queen of the setting. It allows for a protagonist who can fulfill the role of audience surrogate by needing to get caught up on everything, but gives them a more personal motivation than simple power: they are empowered by the force that had slain them and live to see the long wrought consequences of their defeat.

Drawing inspiration from the others titled Storm King in Fromsoftware games, and the nature of Stormveil as the largest and most heavily fortified castle in the game, (arguably anyway) I’m imagining the Storm culture as martial but somewhat isolationist since we don’t see much of their influence beyond what scant remains of their legacy can be found in the castle. The Storm King thus did not combat the Golden Order until Godfrey bested them personally.

The protagonist would then have very personal reasons for removing Godrick from Stormveil castle, not to take his great rune but their ancient home. But in the process of doing so, they meet Melina and the Roundtable Hold, opening doors to a greater understanding of what’s been going on and granting motivation to not just retake Stormveil, but to adress the broken state of the world.

The story the largely goes on as it does in the game: most of the major powers that still remain would be even less inclined to parley with the Storm King than they would some Tarnished with no Renown, but there are some key differences. Limgrave’s population would have a monarch of ancient stock to gather those Sane enough to reside in the safely of Stormveil. The world doesn’t remain static and we see the side of lordship as more than being a godkilling machine, but someone who can lead and have people follow.

Godrick, Radahn, and Rykard are still slain as the three would never be able to be talked down, as they are either determined pretender, ill beyond care, or intending to devour the world respectively. Renalla is never fought as her situation never required a violent resolution. Morgott’s situation becomes much more complex, as while still quite hostile, the growing political influence the Storm King would amass in Limgrave, Liurnia and even remnants of the Redmane army swearing allegiance after the death and liberation of General Radahn, would force a more politically intriguing conflict.

I think that the Storm King would learn that the Erdtree is sealed by thorns by either “diplomacy”’(shouting matches) with Morgott or an intrigue plot involving Black Knives at war with eachother, and lead to the events of the DLC as the SK decides they are unwilling to risk freeing Frenzied Flame or having Melina sacrificed, whatever her willingness. He instead follows a third option, and goes the Lands of Shadow, seeking not Miquella, but Messmer. This would be the beginning of the second book in a theoretical trilogy, as the events in SotE would require the space Rand still culminate with the failed apotheosis of Miquella.

However, as the SK would not arrive in the Lands of Shadow alone, but with political authority tying him to Liurnia and other Golden Order factions, Messmer’s army, having awaited eons for word from home, is receptive enough to allow the SK to engage diplomatically with Rellana and eventually Messmer. Messmer learns of the current status of the Lands Between, meets his sister Melina for the first time, and decides to call off the Crusade after the failed Apotheosis of Miquella. Using his abyssal flame, he then takes his sister’s place at the Mountaintop of Giants, bringing Flame of Mesmer to the tree his mother built her empire from.

While this is happening, the Stormking goes through their own personal journey of discovery as with both the actions committed by the Golden Order and the Hornsent in turn, they find that themself asking the hard question of whether their kingdom’s isolationist policies contributed to the pogroms and cycles of violence by inactivity: could so much harm have been avoided if they or their ancestors been less hostile to the greater lands of the world?

The story then concludes as the ancient powers that have long manipulated behind the scenes interject from various angles as Metyr, the Ancient Dragons, The Frenzied Flame and the Rot all instigate their own attempts regain control of the lands between, with various part of the assembled cast facing their respective foes, Ranni and her Allies facing Metyr and the Fingers, Millicent and remnants Miquella’s followers taking control of their destiny at the Haligtree by facing the Goddess of Rot, Melina and Morgott combining their power against the corrosive influence of Shabriri and the Chaos Flame.

All the while Storm King faces first the Dragons at Farum Azula, revealing ancient ties between the dragons and the Stormking that culminate in a duel between them and Placidusax, and then a rematch between Godfrey and The Storm King, culminating in the final battle against the powers hidden in The Erdtree itself

Then, I think, a variant on the Age of Stars ending would occur. Altered to include influence from the Duskborn and Order endings.

[stra-tek]

Random spoilerific reasons to read Star Trek novels, with little to no context:

Ro/Quark is a thing

A Jem'Hadar joins DS9, tries to fit in but eventually snaps and tries to kill everybody

You learn the origins and final fate of the Borg

A thinly-veiled Dr. House clone joins the Voyager crew

Geordi briefly has 2 girlfriends at once (due to different writers not co-ordinating enough, but still)

There's a TOS book that's a musical

There are YA stories about Jake and Nog making mischief on DS9

YA stories about Worf, Geordi, Picard, Beverly, Kirk, Spock and McCoy at SFA

YA series about the Kelvinverse gang (including Gaila!) as cadets, taking on a drug problem at SFA and a very unique Borg scout in San Francisco

We very briefly meet the people who are to Q what the Q are to humanity

Janeway/Chakotay is a thing

Kirk's first mission in command of the Enterprise! Erm, at least twice.

Kirk was married between TOS and TMP

Her name was Lori

In the future, you have yearly marriage contracts that you either update or you don't and I think that's amazing

Trip didn't die! He faked his death to join Section 31 and go undercover as a Romulan

It's not great, tbh

The ENT books get better after the Romulan wars though, it's proper founding of the Federation stuff

We meet Jack Crusher (erm, the OG) when 4 timelines start overlapping and he's a bit unhinged

Teenage Kirk stole a car and his choice was go to jail or join Starfleet

What happened when Voyager got home? Seven broke up with Chakotay like 30 pages in

Kirk gets cloned, and his clone becomes the sub of an evil invincible super genius and its all very gay

George Kirk was Robert April's first officer on the first ever mission of the unnamed starship with the Naval Construction Contract 1701

Robert is a hard-core pacifist and has to turn command over to George whenever it's time to fire weapons

Data becomes fully human for a couple of days and it's really sweet

They never say "wristwatch" or "phone", it's always "wrist chrono" or "personal comm"

There are gays but they don't say that word because it's the 1990's and Rick Berman runs the franchise

Spock has a son in the past with Zarabeth

Everyone in the post-Nemesis era does spy missions all the time non stop, as if Starfleet has abandoned exploring the cosmos for doing Space Mission: Impossible

Bashir does it better than anyone else, he takes on Section 31 from the inside

Remember Control? It's from the novels, except the novels do it SO MUCH BETTER.

Remember how we never found out who Future Guy was? We do.

It's very underwhelming, nobody we know

We find out how the Romulans and Vulcans split

Surak was a Vulcan internet blogger

A Borg Cube eats Pluto

Janeway dies

Janeway gets better

At least one TOS book features a wizard

There's a Star Trek TOS/Here Come the Brides crossover novel

It had cameos from The Doctor (as in, Who), Han Solo, Starbuck and others

Whole book series about Section 31

Whole book series about the Department of Temporal Investigations

One time they do the Bill and Ted thing to escape confinement and it works

Wanna know how Riker and Troi met?

Wanna know what Picard got up to on the Stargazer?

Andorians have 4 sexes and it's very complicated

Data comes back from the dead as Data 2.0, and it was fresh and exciting because it happened long before ST: Picard did it twice.

Lal comes back too and we get father/daughter android stuff! They have a home and everything but keep having to save the universe

One time Mirror Seven is led around on a leash naked on Terok Nor

Geordi becomes captain of the USS Challenger, decides it's not for him because plot, and goes back to engineering on the Enterprise

Kirk is shot on the bridge and dies

Kirk gets better

They watch 3D holos of old Doctor Who episodes in the Enterprise rec room

The Enterprise also has an AI named Moira, which was Zora long before Zora

The TOS crew get together for one last mission. About three times.

There's a Perry Mason book except it's about Kirk's lawyer from that TOS episode

Data 2.0 owns and runs a massive gambling empire on Orion

Spock keeps randomly showing up everywhere in the TNG era

Scotty keeps randomly showing up everywhere in the TNG era

Bones keeps randomly showing up everywhere in the TNG era

You're on Tumblr so you already know about Killing Time

There's a guy named McKenzie Calhoun and he's a total badass and captains a ship of weirdos and misfits

Kirk comes back from the dead, saves the galaxy repeatedly, has an intersex child (who identifies as male) with a Romulan/Klingon hybrid

Kirk beats up Worf

Kirk's child has superpowers

Kirk's child saves the galaxy at age 6

The Kirk stuff is 100% ignored in the other novels

About 50% of the novels are ignored in the other 50%, and the ones that are meant to be in direct continuity with each other aren't always quite

Just like the TV shows and movies, then

Lwaxana Troi meets Q, and it goes as well as you'd expect

Someone tells Data, yes you idiot you had emotions all along and he's like, oh shit you're right

McCoy is left in command of the Enterprise as a joke by Kirk, who is then immediately kidnapped

Ro Laren is captain of Deep Space Nine

Picard/Beverly is a thing, they get married and have a child named Rene. No running away and raising your kid in secret here

Riker and Troi are married, serve on the Titan together with a bunch of adorable weirdos and have a daughter named Tasha

You get to watch all the 24th century characters die horribly in the end along with their entire universe. Holy fuck it's a bleak horror show. Personally, I love it. But if that's not your cup of tea I'd skip the Coda trilogy

[gallifreyanhotfive]

Random Doctor Who Facts You Might Not Know, Part 56

One time when a baby was Cyber-converted, they were given regular Cyber-arms as well as a Cybermat tail. (Novel: Illegal Aliens)

Chewing on jelly babies helps the Doctor think. The Eighth Doctor said that the "tensile strength of a jelly baby offers the perfect resistance." (Audio: World of Damnation)

Speaking of jelly babies, the Eighth Doctor once went missing for days because he was looking for the perfect jelly baby. (Novel: The City of the Dead)

Zoe had the Second Doctor install an orthopaedic bed in her room on the TARDIS. (Novel: The Menagerie)

There is such a phenomenon as temporal tsunamis. (Audio: The Other Side)

TARDIS heartbeats must keep a steady rhythm, so when they are parked, they continue to travel through time at the same speed as their pilot. Otherwise, the TARDIS would be lost to the past (if they were traveling at a slower speed) or disappear into the future (if they were going at a faster speed). (Audio: 1963)

On Gallifrey, marriages mainly serve to strengthen political alliances between the different Great Houses and to maintain the Chapter's power. (Audio: Spirit)

Vassar Dust looks somewhat like snow and is always cold. It also has some telepathic qualities. This dust is a byproduct of time travel. (Novel: Loving the Alien)

Ian once woke up inside a Time Museum as an exhibit. He had been removed from his own time with a time scoop. The curator of the museum - Pendolin - had time scooped Ian with the hope of attracting the Doctor’s attention and making him his prized exhibit, but he did not successfully get the Doctor’s attention. (Audio: The Time Museum)

The Doctor kept a bracelet (that appeared to be made of gold) in a trunk in his TARDIS. After regenerating, the Second Doctor retrieved it, looked at it fondly for a short while, and then returned it. Ben saw that it had odd pictures on it but couldn't make it out. (Novel: The Power of the Daleks)

John Benton, Sarah Jane Smith, and Allison Williams were all involved in the clean-up following the Cyberman invasion from The Tenth Planet. (Novel: The Power of the Daleks)

The Doctor thinks of the entire universe as their foster family after their parents had "decided to opt out of their responsibilities." (Novel: Beltempest)

The First Doctor's left hand was cut off in a sword fight with a Soul Pirate captain. He had to get a new one fashioned for him as it did not grow back. (Short story: A Big Hand for the Doctor)

As revenge for his defeat on the Enlightenment, the Black Guardian altered the established timeline. To defeat them, the Seventh Doctor, Ace, and Benny had to reassemble the Key to Time. The following objects are actually segments of the Key to Time: the First Doctor's TARDIS instruction manual, the Second Doctor's stovepipe hat, one of the swords used when Ace fought the Third Doctor, one of the Fourth Doctor’s jelly babies, a cricket ball used by the Fifth Doctor, and the Sixth Doctor's cat badges. (Comic: Time & Time Again)

The Third Doctor used to visit the zoo frequently. He'd often sit across the tiger, feeling some sort of camaraderie with them. He spent some of his wages upgrading the tiger enclosure, but the tiger's mind had already been broken. They continued walking back and forth as though their enclosure was still small. The Doctor decided to be sure that his mind wouldn't also break in his captivity because one day his TARDIS would be fixed and he couldn't stick in his old habits when that happened. (Audio: Walls of Confinement)

On one such visit to the zoo, the Brigadier had the Doctor babysit his godson. The Doctor didn't keep a close enough eye on the boy, and he ended up in the tiger enclosure. (Audio: Walls of Confinement)

Fitz Kreiner once found an old woman in the TARDIS library. Her name was Emily, and she had been dressed in clothes one might expect a teenager to wear in the 1960s. She was also covered in cobwebs. Fitz brought her to the Eighth Doctor, who recognized her and seemed embarrassed about her presence, but Emily didn't recognize the Doctor. (Novel: Mad Dogs and Englishmen) Though never explicitly clarified, Emily had likely entered the TARDIS as a teenager, got lost, and lived her entire life in the TARDIS. As she didn't recognize the Eighth Doctor, this event would have predated his incarnation. Perhaps she was even one of Susan's classmates.

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[cyberstudious]

✨ 📖 ✏️ studyblr masterpost jam ✏️ 📖 ✨

📌 what is this?

this is a masterpost jam, like a game jam or a hackathon or a writing challenge, but for creating masterposts! the goal is to share knowledge and resources, as well as connect with other cool folks on tumblr! this challenge was born out of the studyblr community, but anyone who loves learning is welcome to participate. each day, share a masterpost following the prompts below and tag your posts with the hashtag #studyblrmasterpostjam so we can all reblog them and share the love <3

🗓️ when is this happening?

the main challenge will run August 12th through August 18th, although you're welcome to participate on your own timeline :)

✨ everyone is encouraged to participate in whatever way is comfortable!

you don't have to be an academic or a professional! tell us about your special interest, a favorite hobby or craft, or something else that you like learning about!

even if you're a beginner, you still have a valuable perspective that's worth sharing (and writing posts for this challenge is a great way to do some research and learn!).

you don't have to do all of the days or share posts on the "right" day! pick and choose your faves if you want, combine things, and take as long as you need to put them together.

you don't have to make super long posts! if you have a single resource or tip to share, please do and we will appreciate it all the same <3

if you don't want to write any posts, you can still participate by reading posts that other people make and reblogging them so we can all learn from each other!

please feel free to interpret the prompts below in your own way and expand upon them! there are so many different topics out there and the questions I've written probably don't make sense for some of them, so take what makes sense and use the rest as inspiration!

✏️ prompts

[monday, august 12th] an intro to your topic or field of study

how would you describe this topic to someone who has never heard of it? what careers are available? what professional organizations/conferences are big? what journals do academics publish in? what are the big questions, goals, or challenges? what are the sub-fields/sub-topics/areas of specialization? what are some resources for learning about the field itself?

2. [tuesday, august 13th] books

textbooks, fiction that relates to the field, inspiring memoirs, biographies, art books, graphic novels, audiobooks… anything that you think is relevant to your topic and helpful!

3. [wednesday, august 14th] free resources

online things! resources that you might be able to get from your library! and and all ways to learn/study/practice that don't require money - feel free to get creative here and come up with some cool ideas beyond just links to websites!

4. [thursday, august 15th] notable figures

who has made important contributions to the field? is there anyone who made big contributions in the past that are now outdated or incorrect? who has done great things but been overlooked because of racism/sexism/ableism/etc.? who is making interesting contributions today? is there anyone in the field that you look up to? this is a great time to do some research if you don't already have some notable figures in mind!

5. [friday, august 16th] study tips

what are your favorite tips and ways to study this topic? are there lots of things you need to memorize or tricky concepts that are hard to understand at first? is there a skill that requires lots of practice? tell us about it and how you approach it!

6. [saturday, august 17th] tools of the trade

do you work with software? lab equipment? art supplies? your favorite pen and notebook? certain analysis frameworks or processes? tell us about them!

7. [sunday, august 18th] beginner's guide

what resources were most helpful when you were a beginner? what are the important concepts/techniques to start with? are there any prerequisite skills? also, include links to your previous masterposts!

remember to tag your posts with #studyblrmasterpostjam! if you want to participate, feel free to reblog this to spread the word. I'll see y'all on August 12th for the first masterpost!

[centrally-unplanned]

Time for a pet peeve take response - let me capture our target below:

[Unpopular Fantasy Opinion Take:] The fantasy genre by-and-large took the wrong takeaway from Tolkien, and has been generally spiraling since as a result. They took his surface-level aesthetics and fantastical elements, and left his engagement with real, historical texts, his philology & his moral seriosity. In a different timeline, subsequent authors would have adopted Tolkien's erudite love of language and mythology and applied it to other cultures & mythologies - not just superficially, but by engaging with the great Chinese novels or the Shahnameh like he did with Beowulf. Even when you *do* see more recent novels "inspired by" other cultures, they are very blatantly just taking the (degraded distillate of the) Western, Tolkien-esque tradition and coating it in a thin veneer of Chinese or Mesoamerican lore.

This is not the first time I have seen this specific take, and it is part of a "fallen literature" genre that is always confusing supply & demand, with a hefty bout of selection bias for good measure.

To get the obvious out of the way, the "lessons" people took from Tolkien are entirely what audiences want to read, and were never going to be any other way. Most people don't wanna read hard, heavy books! Even if they want that sometimes, for every one Gravity's Rainbow they are gonna read a dozen Gone Girl's as a palette-cleansing snack, which means by-the-numbers the latter will dominate. Fantasy did not invent the genre of adventure stories and swashbuckling heroes and hot maidens to woo and mystical mumbo-jumbo; people stapling tried-and-true genre tropes onto elves and orcs once they took off was a given. The "shallow" part was the only part that could have changed; a world where the median fantasy novel is dealing with theological issues could never have been.

And to top this all off, no disrespect to Tolkien at all, but like...he isn't that deep? The "moral seriousness" of the Lord of the Rings is very simple - characters are often cartoonishly evil or blatantly good, the conflicts they face are often black and white, and in particular the moral dilemmas faced by characters boil down to tests of courage more than half the time. What Tolkien does have is his own unique interests? Like in Middle Earth the "act of creation", from art to life, is itself a moral undertaking with metaphysical implications. This is super cool - but it is also again very simple, it is barely even discussed in the novels and his ideas can be summarized in a paragraph. This is all good btw! The novels would not benefit from more complicated morality. But modern books are just as complex, and often more so.

Actually just a little aside here - a lot of people do this thing with Tolkien where they mention his letters and drafts like that is canonical story text? Yeah he wrote like an essay about the theological implications of the various orc origin stories, but he didn't publish that, it is nowhere in the Lord of the Rings and is barely in the Silmarillion. Other authors have notes like those; you just don't read them.

And the "other cultures" stuff is particularly egregious - I'm sorry, are we just not reading many modern stories? You think Spinning Silver isn't pulling great threads from Slavic folklore? You think the Chinese Gays in Mo Dao Zu Shi/The Untamed aren't dropping refs to Daoism and the four classics in between their will-they-won't-they necromancy shenanigans? In response this author would, of course, pivot from their bailey of "no one references other traditions" to the motte of "and if they do it is shallow" with no definition of what qualifies as such, nor again any admittance that audiences care way more about getting the gays than the deep cut cultural refs. The fact that the median person in the west prefers their Dungeons & Dragons campaigns in a default Tolkien-esque setting because the point is to have a comfortable backdrop for ease of play of a combat dice game will just not factor into their analysis.

The elephant in the room for all of this is that foundational texts differ, structurally, from modern texts, because they were made in different environments. The Lord of the Rings probably wouldn't sell well today! The prose is wooden, the characters are flat, it throws random lore it never explains at you, Tom Bombadil is just there as a walking momentum-destroying plot hole, etc. People read it because it was a first in a world that didn't have books committing to this level of world-building & detail in a fantasy environment. And as a new genre, things like his crazy level of language building are appealing, it's all so new and different, something cool to dig into.

But imagine picking up your 185th elves-and-orcs sword & sorcery book in 1998 and reading "ah yes Quenya is just one of two alphabets for the Elven tongue and it is inspired by Finnish-Germanic and I write entire poems in it even though I never finished a cohesive dictionary or grammar system but I do have 15 pages of pronunciation notes"?? You would throw at it at a fucking wall, absolutely insufferable. It was cool the first time, and that is why you learn Elvish, just like you learn Klingon. That was never gonna keep as a zeitgeist - instead just popping up here or there as this or that series takes off.

You have to accept that audiences are in the driver's seat on this one - they have infinite stories to choose from, they are absolutely not being dragged along by willful writers. Which means genres will evolve and change over time - and that is fine.

[nanowrimo]

When Is a Small Press a Good Fit?

When it comes to publishing, many writers will think about big publishers first. However, there are a lot of different publishing options out there to explore. NaNo participant and author, Clara Ward, talks about their experience publishing with a small press and gives you questions to consider while you think through your publishing options!

NaNoWriMo inspired me to write. Signing with a small press gave me the support I needed to publish a book I love. 

I’d published books before—starting with NaNoWriMo sponsor deals in the early days of online publishing—but I never had the right skill set to promote those books. As a result, they never truly found their audience. 

In November of 2020, I poured my heart into a genre-blurring near-future tale of sailing across the Pacific and building a neurodiverse, queer, and possibly magical chosen family. In 2021, I titled it Be the Sea and asked myself: What am I going to do with that?

1. Are you looking for fame or family?

Small presses are as varied as the people who form them. If you read widely, you may already have a treasured book on your shelf from your publisher-to-be. Try asking NaNoWriMo friends who share your interests if they’ve discovered any surprising or emerging sources for great reads. (At the very least, you may find books you’ll love in unexpected places!)

Admittedly, a small press doesn’t have a fortune to spend on paving your path to fame. But I have never felt as seen as when my soon-to-be publisher, E.D.E. Bell at Atthis Arts, wrote back, “I’m really in love with what you are doing and would like to talk about it.” 

2. Do you have the bandwidth for working with others?

Even with the most supportive small press, you may have to push outside your comfort zone. I know authors who love the absolute control and freedom of self-publishing. For a time, I felt very comfortable just posting my NaNoWriMo fanfiction novels on Archive of Our Own. At most, I had one or two beta readers to offer feedback on those works. Whereas E.D.E. told me in one of our earliest conversations that in addition to our three rounds of editing we’d need “a good number of betas” to cover the range of topics we were working on together.

I was delighted! I knew what I’d written was ambitious, and I welcomed all the feedback I could get. But it turns out, each extra person in a process adds new challenges and delays. I had to stretch my empathy as well as my publishing timeline because, to quote E.D.E. again: “It’s a lot of emotion (as well as brain cycles) to go through...” Outside perspectives will only improve your writing if you are willing to work with them, to truly listen and learn.

3. Can you handle the two-way commitment?

No form of publishing is easy. The myth that authors write while others handle business and promotion is not true at the top, and certainly not with small presses. In my experience, working with Atthis Arts was like joining a team or chosen family. Beyond certain paid tasks, such as editing and sensitivity reading, I discovered a community of authors who freely offered coaching before my first public reading, social media boosting, tips for author webpages, and an extra pair of eyes on letters requesting bookshop readings or other events. While not all small presses work the same way, this supportive culture proved to be an excellent fit for me. Naturally, I wanted to give back whenever possible.

Small presses can only succeed with community. This month, as I promote the launch of Be the Sea at bookshops in Mountain View, Davis, and Sacramento, I will be introducing many Californians to my Michigan-based small publisher, Atthis Arts. When I stand up as a panelist at Norwescon in Washington state or at various science, library, or Pride events later in the year, I’ll be promoting more than Be the Sea by Clara Ward. I’ll give back by sharing my appreciation for small presses, the supportive and inclusive practices they can normalize, and the opportunities they open up for future writers and readers. 

Clara Ward lives in Silicon Valley on the border between reality and speculative fiction. Their latest novel, Be the Sea, features a near-future ocean voyage, chosen family, and sea creature perspectives, while delving into our oceans, our selves, and how all futures intertwine. Their short fiction has appeared in Strange Horizons, Decoded Pride, Small Wonders, and as a postcard from Thinking Ink Press. When not using words to teach or tell stories, Clara uses wood, fiber, and glass to make practical or completely impractical objects. More of their words along with crafted creations can be found at: https://clarawardauthor.wordpress.com

Photo by Hümâ H. Yardım on Unsplash

[harzilla]

*slaps hand on table*

Tell me about your Yuusona. Your twst protag. I love seeing people's ideas and concepts. Are they just you? That's awesome! Are they twisted from a Disney character? Sweet! Are they your way to work through your trauma? More power to you!

One of my favorites is @ilmacore 's Maria. Blessed adorable abuelita Yuu.

I have four currently rolling around in my head. Each one is based on a type of genre.

The first is chubby!Yuu, the shoujo/magical girl type. My darling lil chubby gal who is another member of the sunshine team. The best damn support these boys will have. Her nickname from Floyd would be capybara(I originally had it as manatee but capybara fits her more because she's genuinely nice and tries to get along with everybody). I see her wearing a lot of cottage core, florals, etc... soft feminine clothing. Her ending would have her finding a way back home but being able to travel back and forth between Twst and her home world. You can guess which boy(or boys) might have a crush on her based on these pics.

The next one I call punk!Yuu. The one who fits the shonen archetype. Had a shitty life growing up and was a homeless teen. They ended up in Twst after dying from being hit by a car. Most likely to throw hands for pissing them off. Floyd calls them pistol shrimp. Climbed on and smashed the head of an overblot. Threw Jade at Floyd during book 2's investigation. Protective of those they care about. Lots of piercing and punk style clothing. My favorite ship with them is actually Riddle. Very opposites attract situation. But they have a lot in common(Yuu's father was a worse version of Riddle's mother) Yuu teaches Riddle to live life more freely, and Riddle teaches them to be less rebellious. This Yuu stays in Twst when they find out the truth of how they got there because they're genuinely happier then they ever were back home.

The third Yuu is adopted!Yuu. The one from my previous musings. A Yuu that fits the reincarnated! Archetype. This Yuu originally died in the bad ending timeline where Yuu overblots and becomes a calamity class monster who destroys the world. They were given a second chance at life when they finally died in the first timeline. They reincarnated as an infant and was adopted by Crowley. This Yuu is fairly mellow, when asked why they did something the answer is just they felt like it, but is also good at pulling at Crowley's strings to get what they want. They have a preference for loose, casual clothing. Preferring to wear things like oversized t-shirts and hoodies. Their ending is they almost repeat the calamity when their past life memories begin to overtake their current life after all the overblots including Grim's. But the difference is the previous life Yuu has nobody, but this Yuu has their friends, Grim, and Crowley to save them.

The fourth Yuu I call Author!Yuu. They're pretty much a Yuu who gained so much magical power they became the equivalent of a god. Because they were the first anomaly, they don't age at all and have lived thousands of years accumulating magic and knowledge, even out living Malleus. Their life is lonely and they actually don't want to see another person end up like them. Their magic allows them to manipulate the timelines within a certain limitation. They can't rewrite timelines completely, but they figure out a loophole by finding the alternate versions of themselves they think will give the best outcome for the "story" of the world. This Yuu is the one who figured out the precognitive dreams system to help each Yuu out. This version of Yuu exists in a world where ALL the stories of Twst are true. Fanfics, fanart, game, manga, novel, etc... every story is its own world and this Yuu records every one of them within their great library. Every book in the library of their soul is a story somebody has written about the world of Twst.

So, tell me more about your Yuus.

[drchucktingle]

today marks the release of BURY YOUR GAYS which is a story that is very personal to my way. it is about the importance of art and creation and fandom and love. GET IT WHEREVER BOOKS ARE SOLD.

AND NOW id like to take a moment to talk on this book

we are all creators in our own way, but this means different things to different buckaroos. all of these creator trots are valid, but the truth is, some folks may not even THINK about their creations, while for others it might be a matter of survival.

i am the latter. THAT is why this particular book is so special to me. yes there are layers of metaphor and changes of name, but if you want to know MY personal story then read BURY YOUR GAYS. i feel it is most revealing thing i have written because it is about my life as chuck

but THAT is the great thing about ART and HUMANITY and HUMAN CREATION. a story that is SO about me is also SO about thousands of others. a story for buds who have felt overlooked by this timeline but found a home in art, discovering WE CAN BEND WHOLE TIMELINES if we trot together

so to those out there who have supported my way, whether it is at a publishing house or a book event or putting in an order at your local library: THANK YOU. not just for this direct support of your bud chuck, but for this CREATION WE HAVE ALL MADE as a joint work of art

art is more than just what is within the pages of the book, it is also what happens OUTSIDE any frame, and THIS MOMENT RIGHT NOW, TODAY, is one of the most beautiful creations i can imagine. it is a piece that i did not make, because WE made it together. lets trot buckaroos

[linabirb]

how to write characters, voice dramas and mvs for your ocgram! (kind of? sort of? i'm not an expert?)

do you want to make an ocgram? do you have no idea where to start? maybe you don't know how to come up with characters for your ocgram? voice dramas are way too hard to write? how the hell are you even supposed to write mvs??

well hello there! i hope this guide can help you with doing just that!

as someone who has an ocgram (@linagram hi) and is currently trying to get everything prepared for season 3, i also was struggling. a lot. i'm kinda getting better at organizing everything now, but still, all the work you need or supposed to do for ocgram can be overwhelming, especially if you don't really have much prepared at the moment and you're just getting started.

before we proceed, if you're able to make art, edits or any other visuals for your ocgram, i recommend checking out this guide by @tsuwmya, it has a lot of useful info, references and resources. if you can't do any of that, that's fine too! you having fun with creating is more important and if you don't have the ability to create visuals, that's perfectly understandable. this guide is more about the writing part anyway, haha.

let's get started!

(warning for some spoilers for the milgram novels (at least the first one) just in case!)

this guide will be separated into parts so that it's easier to understand and you can find the part that you think is the most difficult one for you.

worldbuilding.

before we start working on characters and voice dramas, let's say you're just starting out. you want to make an ocgram, but you don't even know where to begin!

now, this is probably going to sound a little scary, but what i recommend doing before writing characters, vds and mvs is some worldbuilding. no, no, i'm not telling you to figure out everything about your ocgram lore (but if you want to, feel free to do so! i actually think it's gonna help you a lot in the future), but try to answer these questions first.

"when does your ocgram take place?"

it can be as specific as a certain date or it can be as vague as "some time before/after canongram". canongram lore doesn't really give us much info to work with so you can go wild. but figuring out even something as simple as whether your ocgram takes place before canongram or after can actually help you a lot!

"is your ocgram closer to canongram or novelgram?"

the music project and the novels' settings have their differences and both settings have their strengths. you don't have to write mvs for the novels-like ocgram, though you will still have to write the memory scenes. also, for a novel-like ocgram your characters are expected to be named after some sort of adjective that could describe their personality or be a reference to their crime/backstory (example: "nervous", "gentle", "two-side"), but their names are still supposed to be revealed closer to the end. meanwhile canongram uses the voice dramas, timeline convos and mvs (and apparently earbuds voicelines) to tell you more about the characters. figuring out the "format" of your ocgram like that can help you a lot too.

now, you have figured out these details. great! if you're feeling like writing more about how your ocgram works, let's think about these parts more.

is your ocgram just like the milgram project you've chosen as a "base"? maybe it even has the same jackalope? is the guard still named "es"? maybe there's more than one guard and more or less than ten (or five in case of novelgram, if i remember correctly) prisoners? does the prison still look exactly the same? maybe something has changed over the months or years? all of this depends on your own preferences and what you decide to do with the story. you can make your ocgram as different from canongram or as similar as you like.

again, we don't know much about canongram at the moment, so don't be afraid of coming up with the whole backstory for the prison.

when you feel like your world is ready, it's time to fill it with characters!

characters.

oh boy, the fun begins. i'm not your mom, so you can do anything you want with your ocs, but if you don't have any character concepts in mind and you don't know what to do, here are some tips!

(we're going with the canongram formula here, but you can adjust it as needed)

as you probably already know, the canongram prisoner pairs have some sort of theme. both haruka and yuno's crimes have something to do with children. both fuuta and muu's crimes have something to do with bullying. you see what i mean. figuring out themes for your prisoners could be a nice start if you don't really have any characters in mind. pick themes that sound interesting to you and that you would like to explore more.

let's go with the theme of "luck" for example. how can two (or one, or three, or any number, really) prisoners share the same theme? how can you show that? maybe one of them is really lucky and the other one is extremely unlucky?

okay, but here's the fun part. how can you apply this theme to murder? maybe one of them was able to successfully get away with murder, meanwhile the other one accidentally killed someone because of their bad luck? and this way you can come up with really cool characters even if you didn't have any ideas in mind before that!

okay, so the milgram's whole thing is that all characters are morally gray in some way. and the character's moral "grayness" is a spectrum. for example, it can go from "eh, they shouldn't be here, honestly" white to "okay this one is kinda fucked up" gray to "JAIL. NOW. OH WAIT YOU ALREADY ARE THERE" black. but again, even the sweetest and kindest characters should have their questionable moments and even the scariest and most dangerous ones should have moments that make you feel sorry for them.

let's take some canongram prisoners as an example. we have haruka. an adorable squishy blorbo, everyone's skrunkly, the guy who everybody kins. don't you feel sorry for him? don't you want to give him a hug? oh, he kills animals, by the way. he also killed a young girl. just so you know.

now, we have muu. a spoiled teenage girl who always get the things she wants and is proud of it. a girl who literally said she's okay with haruka killing himself for her. literally has a song called "it's not my fault". cries every time a minor inconvenience happens and whenever someone suggests something to her, she just goes "i don't wanna..". her father is a landlord. except she also got bullied by her own friends, doesn't understand how real friendships and human connections work, still brings haruka food and checks up on him when nobody else does and it's heavily implied she actually does feel guilty for killing rei. yeah.

my own personal formula goes like this: i come up with a character. i write some things about them and then i take a look at their crime and personality and if i feel like they're a bit too sympathetic, i add a little bit of spice so that it isn't so easy to forgive them.

let's take my oc aimi for example!

she's such a cutie, isn't she? she's also a victim of bullying too.. oh, also she has the biggest number of victims out of all my prisoners. she also seems to be very obsessed with the concept of friendship and if you refuse to be her friend, she will not take it well. she will most likely try to kill all other prisoners in season 3 or at least hurt them in some way because she doesn't see them as friends anymore. she's been voted innocent twice. she has way too much power in her hands at the moment.

okay! now, let's take my oc kei!

a pretty guy! seems like the flirty type. oh, by the way, he takes photos of people being tortured and that's how he makes money (not counting his job as. well. a normal photographer). "oh, well, maybe he didn't have a choice-" he did. he literally does it because he wants to. he likes it. he enjoys it more than his boss. he likes seeing people in pain and believes that hurting someone means showing you love them. he physically and emotionally abused his own little brother for years and the poor guy still can't walk and move properly because of it. he has five victims.

but for some reason, he also has these huge scars on his back. he also was shown crying in his second mv. he was shown as someone helpless and someone who ended up in a very dangerous situation because of his victims. so.. is he the real victim here? or is he just trying to look more pitiful?

i think you're already starting to understand what i mean. of course, you have all the freedom to do anything you want with your characters. make them as dangerous or as cute as you like. but if you want them to have this "milgram vibe", i suggest you try to find "balance" between their traits that make them look forgivable and the ones that make them look unforgivable!

we can't forget about the guards though! does your guard have all their memories intact? do they remember their name, their past, etc? maybe they're just like the canon es and they don't remember anything at all? do they have their own jackalope or maybe they do their job without a fluffy little bunny around? what is their role here? are they more of a "self-insert"/"audience surrogate" or are they their own character with a backstory and everything? maybe they're an active type who has very deep relationship dynamics with the prisoners and talks to them a lot even when they're not interrogating them? or maybe they're just a creacher? maybe they just do their job and don't really talk to them? they're just standing there.. menacingly.. all of this is up to you to decide!

of course, the relationship dynamics between the characters are very important! first of all, look at your overall cast, when you're done with them. what kind of relationship do you imagine them having? maybe you see them as a found family? maybe all of them are friends? maybe all of them are kissing passionately in the moonlight? maybe all of them hate each other? maybe they even don't care about each other at all! again, it's all your choice and it depends on what kind of characters you're working with.

if you're stuck and you're not sure where to begin, i think a good start would be taking a look at your prisoner pairs and try to figure out the dynamic between the prisoners from each pair. what are their parallels like? how similar are they? how different? do they like each other because of their similarities/differences or they hate each other because of them?

okay, so when you're done with characters, a much scarier part appears.

plot.

so, what do you write first? is it the voice dramas? maybe mvs?

i think it really depends on a person and what you personally find most comfortable, but from my own experience i actually would advise you to work on the vds and mvs first before writing and posting a character's profile.

you see, it's possible that while you're in the process of writing the voice drama, you will notice that the character's personality is much different from what you had written in their profile and originally had in mind for them. of course, it doesn't mean that it will definitely happen to you, but this happened to a lot of my ocs, haha.

so that this doesn't happen but you also have an idea of how your character is supposed to act, try writing down or simply making a mental note about your oc's main personality traits. maybe they're the most extroverted one? maybe they get tired easily? maybe they flirt with everyone they meet? keep those traits in mind, but also give yourself the freedom to explore their character and make them more deep in the process. maybe while you write the most extroverted prisoner's voice drama, you will realize that they actually don't like other prisoners that much or while you write the sleepy prisoner's voice drama, you will get an idea about them not wanting to face their reality and use sleeping as a method of escapism.

if it helps, i personally work on my ocgram in this order: voice dramas > music videos > character profiles, but of course, you can adjust it to your preference.

i think it should be obvious that you should work on the characters' crimes and backstories before you actually start writing the voice dramas and posting stuff about them. sure, you can make it up as you go, if you're confident enough, but i strongly recommend you have a plan or at least a concept of what your character's crime is supposed to be. it will make everything much easier for you!

about backstories: you don't have to, i don't know, come up with names for every single member of your character's family, but i recommend thinking about your oc's backstory outside of their crime. what was their childhood like? what about their teenage years? do they have any friends? what's their relationship with their family like? all these details can help you understand your character's motives, personality, crime and other stuff. also it's simply fun!

so, let's start with the voice dramas.

voice dramas.

(i've also answered a vd-related question here!)

voice dramas can be very hard to write, so let's think about what makes them hard for you first.

maybe you just don't have any ideas? maybe you don't know what the characters are supposed to talk about?

what personally helps me when i start writing the voice dramas is asking myself this question:

"why are these guys even here?"

probably sounds weird, but if you think about it, it actually makes everything a little easier to understand.

why is the guard here? most likely to interrogate the prisoner.

why is the prisoner here? most likely to answer the guard's questions.

okay, we're getting somewhere.

now, how would your guard interrogate the prisoner? of course, it really depends on your guard's personality. maybe they would try to make the prisoner feel more comfortable? or would they rather threaten them and scare them?

now, let's add the prisoner's personality to this equation. what is your prisoner like? how would they react to the guard's questions? what do they think about the guard? are they scared of them? maybe they want to be friends with them? what do they think about milgram in general?

let's put these personalities in one room now and give them a moment. how will they interact? what will they think about each other?

if you're not sure what your guard is supposed to ask about, you can always use the canon voice dramas for reference, but my personal method is simply thinking about what my guard is most concerned about or interested in. and yes, this goes for the guards who don't care about anything too!

maybe your guard wants to make sure the prisoners are doing okay? in this case, they'd probably want to ask about how they're feeling first. or maybe your guard is more focused on the prisoner's crime. then they'd probably start asking about that right away.

okay, your guard has asked a question! how will the prisoner answer?

depending on your prisoner's crime, personality and backstory, they may be okay with revealing some things, but would never want to talk about something else. maybe they're okay with talking about their murder method, their victim and all, but they will never tell you what their motive is. if you're only getting started with the first season, try to reveal something they're okay with first! then you can talk about the other things in later seasons.

what helps me a lot is separating my prisoners' crimes into parts and sort of.. figuring out which parts should be revealed very early and which ones should be saved for later.

for example, maybe we can reveal the prisoner's murder weapon and method in the first season, their victim's identity in the second one and their motive in the third one.

what also helps me with writing the voice dramas is simply "visualizing" everything and imagining how it would go in a visual novel, anime, actual voice drama, etc. also remember that since it's a voice drama, you're kinda supposed to tell everything through sounds and, well, voices! so for example, if you want to tell the reader that the prisoner is nervous, maybe you can make the guard say "you look nervous" or simply make the prisoner say "i'm kinda nervous".

music videos.

mvs are something everyone does a bit differently. maybe you can actually draw/animate your prisoners' mvs. maybe you can write song lyrics for them. maybe you can simply write their mvs' descriptions. it all depends on your skills and what you're working with. so here i will simply talk about how to come up with an idea for a music video.

firstly, what are you supposed to reveal in your prisoner's mv? is it their murder method? is it their victim's identity? maybe something else? keep that in mind so that it's easier for you to drop hints to that thing.

now, what can we do for the visual part? is there anything you associate with the prisoner? a certain theme, aesthetic, etc? even simple objects can help, think about how many canongram prisoners have an object as their "theme": yuno has balloons, muu has an hourglass, kazui has an apple, etc. now, try to think how you can reveal something about the prisoner through this theme. for example, in yuno's case, balloons are a reference to her pregnancy. milgram loves symbolism, so take advantage of that, haha.

what also helps me a lot is simply listening to music that i associate with that prisoner and kinda coming up with music videos in the process. watching actual music videos can also help when you're looking for inspiration.

also, don't forget that everyone's music videos literally come from their brains. what does your prisoner think about their crime? what do they remember about it? how do they feel about it? do they feel guilty? do they feel like they've done nothing wrong? do they wish to forget it? do they see it as their biggest achievement? it can also help with writing song lyrics, if you're doing that.

if you're writing a mv description and you're not drawing/animating a music video, i would advise you to try to describe as many things as possible, as long as it's important. yes, we all love noticing small details while rewatching the milgram mvs, we all love the tiny things that are important for understanding the character's crime, but sadly, if we can't see it, how else are we supposed to know about it? so yeah, if the color of the curtains is important in your story, you should describe it too.

anddddd i think that's all for now! this is mostly done for people who haven't gotten to the second/third seasons of their ocgrams yet, so stuff like the prisoners' reactions to their verdicts, their punishments, etc, is not here. but you can ask me about it (and if you have any other questions, you can also ask me)!

hopefully this helps someone <3