#then it’s time to reassess if that character actually is the kind of person you’re describing

[timeofjuly]

First off. I had to remake my tumblr because I lost the previous account and I had been away from the Undertale fandom for a while. Your fic is the first one i have read under the trope "anti-harem".

I AM LOVING IT???? IT'S SCRUMPTIOUS, I read it in one sitting and also read the others surrounding that particular one, I AM IN LOVE???? my mind is racing with hcs and excitement and so many conflicting emotions.

Because I will say!!! I am more than usual, almost always taking the girl's side, no matter the context and during that whole read I was so ready to fight 8 men FOR MY WIFE (Electrician). Idc what anyone says, THEY DON'T GET HER LIKE I DO😭 (Quinn probably agrees)

And it makes me TICK in all the right ways reading about a more true neutral/chaotic good aligned Reader, BECAUSE I LOVE COMPLEX GREY CHARACTERS. I resonated SO MUCH when the electrician said "There is no such thing as a good person, I only care about being a better one than I was before" (rough paraphrasing) BECAUSE THAT IS SO TRUE.

It makes it particularly difficult to me to relate to someone with a doormat savior complex instead of someone who has had to crawl out of hell, fight for their place and with themselves as an ultimate expression of self love. To prove to themselves that they deserve a good life and community despite their brain fighting them every step of the way.

I love journeys like that, they always leave my heart full. Like, I need to make this short or I will start yapping about how much I see in reader so many of the things I love in popular mc characterization.

I hope your pillow is always cool, that your makeup alwags turns out symmetrically satisfying, that you get a raise, I hope birds sing to you every morning and that the people you love are always the last ones to pull away in a hug.

This is so kind of you, thank you so much! I’m so glad you’re enjoying RTC, especially since it’s your first anti harem fic! Welcome back to the fandom :)

It makes me so happy that the line the electrician says about being a better person than they were yesterday resonated with you, because it really did for me too. It’s one of the things I love about undertale, too; in every encounter we have in the game, we get to choose to fight, flee, or befriend and show mercy. There are so many opportunities to make that choice, and each choice actually matters. Every good thing you do makes a difference to the outcome of the story. Even if you fuck up, you get another chance to be better.

“It makes it particularly difficult to me to relate to someone with a doormat savior complex instead of someone who has had to crawl out of hell, fight for their place and with themselves as an ultimate expression of self love. To prove to themselves that they deserve a good life and community despite their brain fighting them every step of the way.” I feel the same way and I love this description of the electrician, you’ve phrased this so well.

Thank you so much for taking the time and effort to send me this ask, it means a lot. I’ve been feeling down about rtc lately (I’ve written the next chapter but I just do not like it, so I’m going to reassess and rewrite it) and it makes a big difference to know that the story has had an impact on you.

[cogentranting]

Black Adam has a main character problem. 

Black Adam isn’t bad and I did enjoy watching it but it also isn’t very good. And one of the main problems with it is that it doesn’t seem to know who its protagonist is. Is the story about Black Adam or Adrianna or Amon or Hawkman? (Also there are a few random scenes that think they’re part of a romcom about Atom Smasher). And I think you realistically COULD make this movie center around any one of them and make it work. 

The movie is called Black Adam so he’s the most natural choice for your protagonist, BUT I do think you could make a story that is through the perspective of one the other three and focuses on their perceptions of him and of what heroism is. Of the three Adrianna is I think the weakest choice because she kind of serves as the movie’s voice of reason-- she’s the one who speaks the ideas the movie wants us to know, so she’s kind of in a mentorship role and that makes it difficult for her to be a main character. If Amon is the main character and you focus on him, then it becomes about a kid who loves superheroes and gets to see the legendary hero of his culture come to life suddenly. You build up the bond between him and Black Adam, have Hawkman and Adrianna as opposing voices trying to teach him what a hero should be. More of an emphasis falls on him influencing Black Adam’s motivations: Amon accepts Adrianna’s ideas, and ends up challenging the Justice Society-- it’s presented as the kid who loves superheroes turning to this real life superhero team he gets to meet and saying ‘you talk a great game but you never came to save us. Right now Black Adam is the one who’s willing to actually do something to help us.’ and challenges the Justice Society’s (or really mainly Hawkman’s) ideas about what they do. At the same time, his faith in Black Adam is what causes him to step up and actually take an interest in saving modern Kahndaq. The vaguely father-son dynamic is brought out more and developed. You use the reveal that Black Adam wasn’t the original champion as a moment of Amon being disillusioned with his hero, but ultimately giving him the means to connect emotionally with him and inspire him. (Some vaguely Terminator 2 vibes throughout the whole thing)  If Hawkman is the main character, you focus more on the rivalry and the fear of Black Adam. Black Adam’s motivations need to be stronger from the start (he always has the intention of protecting Khandaq) and his methods also need to be a little bit harsher. Hawkman shapes the perspective so Black Adam almost starts off as an antagonist and we see things more from Hawkman’s point of view so the tone early on is less “yay watch the Rock beat people up” and more “oh no this guy is really powerful who can stop him”. We then watch Carter through his struggles and failures, first trying to beat Black Adam and failing, and then trying to change Black Adam and failing, and then ultimately having to reassess his own views and his own role in all this. Then the reveal about Black Adam’s son comes-- and maybe even save most of the Black Adam backstory for HERE so that the oppression and slavery that he fought against is part of this new reveal-- and Carter is finally able to see who Black Adam is as a person and understand his point of view. And he’s able to get out of the way, swallow his pride and let Black Adam save the day (with Carter assisting him as he does in the actual movie). Also play with the weird slightly dysfunctional nature of the Justice Society and make this new humility from Carter be what they need to finally gel as a team. This version keeps the ideological divide at the forefront and also lets Black Adam be unstoppable with sacrificing tension. Essentially you’re playing out a Batman V Superman concept but where that movie struggled because Batman’s position was hard to sympathize with because the audience KNOWS Superman and knows that he’s good, here Carter’s position would be understandable because you’d be initially viewing Black Adam from an outside perspective. 

But most likely, you want Black Adam as the main character, as he hypothetically is in the movie as it really exists. The real problem with that is that the movie doesn’t give you any means of emotionally connecting with Black Adam or understanding his motivations or internal struggle, until nearly the end, when they reveal the story about his son. The son story is the key to understanding ANYTHING about who the character is as a person, what he wants or why he’s doing what he’s doing. You can’t hold that back because if you take that away all you get is Dwayne Johnson glaring at the camera and killing people. There’s no CHARACTER. So. To fix it, the opening narration needs to NOT be narration. We need to actually see that all happen as the first act of the movie. We need to see Teth-Adam as a slave trying to protect his family, see his son as a champion, see his son die, and then see Teth-Adam lose it and kill everyone in the palace. THEN bring us to the present. From there the movie can play out largely the same with just the existing act 2 trimmed down (and we’re probably looking at a slightly longer movie). You can even still have the reveal to the Justice Society and the others that he’s not the Champion they think he is, except that now the audience is informed of the tension that there’s this case of mistaken identity. But giving us those character scenes with Teth-Adam FIRST recontextualizes most of what goes down in the movie. We know that he’s mourning the death of his son (and you can draw out the relationship with Amon more) We know that he’s not stepping up to fight the way Adrianna and Amon want because he’s not the freedom fighter his son was and because he feels unworthy. And we can more explicitly draw those things out because the movie isn’t going out of its way to hide what Teth-Adam is feeling. Black Adam is essentially unbeatable in this movie and you can do that BUT you then have draw the tension from somewhere else-- his internal struggle (or in the other two versions, the question of whether or not he can be trusted/relied on by Amon and Carter). If the movie is unwilling to let him be physically in any danger, you can’t ALSO hide his internal struggle. We need something to attach to as an audience. Teth-Adam HAS a character arc and interesting internal struggles but the problem with the existing movie is that they intentionally withhold both those things until act 3, effectively removing the main character from his role as protagonist and leaving the movie without anyone to focus on. It’s just things happening without a driving perspective. 

[worstloki]

Okay, this is gettin’ real screwed up here.

I watch a lot of TV. Probably too much. And I’ve seen characters beaten to their knees before, sometimes even with collars. And yeah, there’s usually someone standing over them, and it’s been a woman sometimes. The kind of scene we got in episode 5 of Loki is not new ground.

But here’s the thing. In EVERY OTHER SCENE I can remember like this, the person kneeling is the hero. They’ve been brought down, fully humbled before the sneering villain, and in a few minutes something will happen to get them back on their feet again. It’s usually a tense moment, a “what if they break?” that makes you want the hero to win. You aren’t rooting for, or even liking in some cases, the person standing. You’re cheering for the person on their knees.

This doesn’t seem to be the case with the Loki show. Yes, the viewers may be rooting for Loki, but there’s no hatred for Sif there. She’s not proved herself to be a cold, heartless villain, ruthlessly pounding the hero until all he can do is kneel at her feet.

Except…she did kind of do that. But it isn’t treated as something bad. It’s treated more as something Loki deserved, in my opinion. The show wants us to feel like he deserved to get repeatedly beaten up and told horrible things, just for cutting off a lock of Sif’s hair. I’ll grant, it’s peanuts compared to what happened to him in the mythology. But it’s still bad. Especially since they had him acknowledge it, repeat her cruel words back. They’re playing it off as if Loki is still the villain by himself, and is only good because of other people- Mobius, mostly, but Sif is part of that.

That’s not the way Loki’s character is. In the comics particularly, his biggest arcs are always about reinventing the labels given to him, changing “villain” into something good, something he can use, and doing it by himself. Yes, there’s outside influence, but ultimately Loki is the one who decided to change.

The show is not letting him do that. The show is portraying him as a stubborn jackass who refuses to change until other people show him the light- either with psychological torture presented as therapy, or with beating him up a bunch of times until he gives in. The show and its characters are forcing Loki to become good- they aren’t showing him doing it by himself. He is not becoming one of the good guys, he’s being essentially enslaved by them, and the show is passing it off as somehow all that good influence finally rubbed off on Loki’s cold, villainous heart. That’s why him betraying Mobius was shown as so bad even though Loki barely knew him and had been psychologically tortured by him- Mobius is written as a character who can choose to be good, and Loki is written as a character who must be forced to be good.

And something about an entire show revolving around an independent character being treated as a villain, literally enslaved by the “good guys” (back when the show still wanted us to think the TVA weren’t shady as all hell), beaten to his knees with a collar around his neck until he accepts that he deserves to be alone because he isn’t “good” like everybody else…that doesn’t go down right for me.

The TVA being presented in not just a neutral but often reliable light is something I thought would change once Loki literally called out their propaganda and Sylvie called them fascists, but, for some reason the authoritarian genocidalists are not being presented as a bad thing and it irks me too.

It's especially weird because of the way what Loki claims to have wanted by making choices for people and what Mobius claims the TVA do ARE THE EXACT SAME THINGS, except Loki, until the show, hadn't done that of his own volition and was being tortured during the invasion and is treated terribly for something he didn't even succeed in doing, while the TVA successfully erase events on a mass scale but are presented as having a higher (or at best, - equal) moral ground.

The exact same thing was done in Ragnarok where Loki's "turning point" from a tricksy villainous scoundrel happened because Thor left him frying on the ground and gave him a pep talk filled with lies and general slander about how he could be better - and people see that as good because Thor is framed as a hero, and it's because instead of accepting Loki is a complex character they take what the narrative tells at face value and that is that Loki fights the protagonist(s) so he's bad.

I personally don't like the narrative pushing a character that is canonically an abuse victim and attempted suicide and was tortured right after as someone who needs fixing because he's lusting for power and needs it to gain a sense of control during a retcon which is occurring for the sake of calling him a complete bad guy who needs to change (probably because no actual original character development could be thought of?) after he was just confirmed as queer and colloquially (i assume) called a narcissist because of twisted love.

That he deserves to be alone was presented neutrally as a joke even as he was repeatedly getting beaten to the ground, and then both people he could call friends were removed from his immediate vicinity right after.

Loki isn't being presented as a character that has done a huge mix of good and bad in the movies, he's being presented as an oft incompetent idiot that deserves what he gets because he shouldn't have run away from captors, or he cut Sif's hair, or he killed his mother, or he dared to think he had any importance or could do something good, because the truth is he's an evil lying scourge.

"But maybe," Mobius says, "Maybe he wants to mix it up. Sometimes you get tired of playing the same part. Is that possible? He can change?" And everyone's already forgotten that moments before the mission Mobius said to Loki's face that the TVA has pruned a lot of Loki variants because he's so nice! look! he has hope in him when no one else does! It's also easy to forget the "and hey, if it doesn't work, I'll delete him myself," right after because the guy was smiling through it and the scene is followed by Loki really badly trying to explain the logic of being a trickster who everyone knows is a trickster.

A lot of people payed more attention in Ragnarok than to the other Thor movies so it's not a new retcon and people seem fine with the extremely strange take that 'loki is bad but he can do good sometimes,' because the character is more animated and acts foolish and that's generally more fun for comedy, which is fair for people to prefer imo, people find different things entertaining.

But I do solidly hope the show doesn't go that way though and takes a side with Loki on the narrative stance eventually because I've seen a lot of people who just. miss that the TVA's concept is bad. And those who think they're "reforming" Loki. As if the guy needs anything but a break at this point lmao he only got away from Thanos like 2 days ago please just let him rest for a bit he's a fail villain and it's cringe to have your supposed 1st open queer character get beaten to a pulp by Sif and then put wack sexualizing shots for it too :/

it's like the show itself is trying to sell the angle of "Loki is a villain" and I'm a clown who is still wanting that to be intentional because if it is? It could be amazing and playing with how different parties are framed would be s p e c t a cu l ar and could encourage people to reassess the hero coding in other movies including ones Loki was previously in - but we're reaching the last two episodes and I don't feel like that'll happen.

I feel like even if Loki does reach the end of the show as a transformed person it'll be done leaving the audience with "perhaps you're not so bad after all, Loki," and then also give credit to Mobius or Sylvie or whoever else was involved, simply because as even of yet Loki hasn't taken on a lead role in the show. I'd argue he hasn't really contributed anything worthwhile to plot either. As you've said, he's being shown as someone who needs to change but isn't really motivated to. Aw man they better not make romantic love the reason he wants to change.

[thebluestbluewords]

HEIST HEIST HEIST

I saw this post today and got inspired, SO here is Descendants Could Have Been A Heist Movie, thebluestbluewords take :

(this is very much an outline and not a full fic yet, but I might yet write this someday)

Taking this whole heist movie idea very seriously, this would be (and might yet be if I have the time for it) a fic about how the first Descendants movie would have gone if it had been a heist movie, rather than a fairytale.

The main plot of the movie is no longer about learning to choose good and seeing that kids don’t have to follow in the footsteps of their parents- it’s now a high school political intrigue about stealing a wand.

(don’t worry about the larger themes there- the wand might be stolen for many self-serving reasons that go beyond 'doing what their parents say'. Maybe they’re stealing it to make a larger statement about opening the isle. Or about how treating villains as villains is wrong and they deserve trust because it makes things so much more fun for them in the long run)

(can you tell I haven’t decided on the overall tone of this AU yet lmao)

The story starts when the VKs are being told to get the wand, hand it over, it’ll be easy.

Sure, they say.

Sounds great, they say.

Give us your spellbook and magic mirror and whatever else you’ve got to give, and we absolutely won’t use them to betray you and open the isle on our own terms, they don’t say.

(this story ends before we get to that point, but the implication is there)

The kids arrive in Auradon, as in canon.

Unlike canon, they don’t immediately go for a break-and-enter approach to the museum, because if they’re going to heist this, they’re going to do it right. A good heist takes planning, and patience, and research.

What they do is wait until the weekend, and then inform the school admin that they want to get to know the culture of Auradon.

The museum seems like a great place to start, Evie says earnestly.

We didn’t have anything like it back on the Isle, adds Mal. It would be such a good learning opportunity for us.

And we could see the town. And the candy store. Say the boys.

The school admin caves, because it would be wrong to deny these kids a chance to get to know this history of goodness! They’re just teenagers, and they’ve been doing so well with their first week, and of course they can go into town, do they want a school car to drop them off?

They do not.

The museum is kind of a bust. They spend some time scoping out the security, but they’ve had a whole week to magically-google everything they can about this place, and it’s not much of a surprise that there’s a functionally unbreakable magical alarm system set up around all of the objects.

Time to reassess the plan.

(this is where the political intrigue comes in)

Ben is still a Fundamentally Decent (if slightly boring) guy in this.

Of course, he’s also the one on the line if this whole villainy exchange program goes wrong. It shouldn’t be a surprise that he would come to check up on his flagship students after they have a day out exploring the town.

Oho, Mal thinks. Here’s something they can work with.

Ben is sweet. He’s not terribly interesting, at least at first, but he seems like a guy who genuinely cares about the idea of bringing villain kids over, and can probably be manipulated to their purposes without too much effort.

So the VKs think over their potential plans to get the wand, and decide that yeah, if they can get an in with the future king of Auradon, that’s probably a pretty solid place to start.

Unfortunately, they decide to start this attempt by blatantly flirting.

Audrey is very much a political presence in this fic. She’s not evil by any means, but she is goal oriented and doesn’t necessarily love the idea of VKs coming in and altering her five year plan for herself and her boyfriend.

(I think Aurdey is an interesting character, and I wish she’d been given some better motivations in the first movie beyond ‘mean girl in a high school movie’. So in this fic, where they do still crown the incoming royalty at sixteen, they also believe in setting up children for advantageous marriages. Audrey and Ben have been pushed at each other since they were kids, and yeah, maybe there’s not a lot of actual love between them, but they’re friends and it’s way easier to just date each other and make their parents happy than refuse and risk losing the sway they get with their parents by being the good little obedient golden children who are happy to be put together if it’s what’s best for the future of the realm.)

The point of this is, the VKs send Mal in with her very best flirting, taught to her by Evie in a truly hopeless training montage, and it just-

Fails. Completely.

And now Audrey sort of hates them.

Great.

The other unfortunate piece of this heist is that the relationships between the co-conspirators, the core four, are….somewhat intense. Charged, if you will, with a certain kind of tension.

I’m not saying that Malvie hook up in their pink princess dorm room on the first night and then don’t talk about it for the rest of the story despite blatantly flirting with each other all the time, but yeah actually that might be what I’m saying.

This is the middle of the fic now, and there’s some kind of political drama that leads to the VKs finding out about the coronation.

Maybe it’s teammate bonding, because I think it’s tragically underutilized that Ben and Jay are canonically both sports bros and I want more of that sweet high school sports team drama content.

The point is, they find out about the coronation, and that the wand will be out and about during that day.

Oho, they say. An opportunity.

Building on the sports bros theme, Lonnie gets to be in this story! She’s a cool character and I have a couple of unfinished ideas for her kicking around my fic drive, so she’s going to be here too.

Lonnie finds the VKs in a somewhat compromising state of planning.

Uh, what the fuck is this, she says.

What do you THINK, says Mal, who is not known for keeping her mouth shut.

Looks like...some kind of statement that you’re going to make during the coronation, says Lonnie, who is a nice person and also didn’t hear/see all that much of the planning before she was noticed. (as I’m typing this up I am also remembering the School of Secrets shorts?? Lonnie is absolutely going in this fic as someone who spies on her new friends. It’s almost like canon. She’s the daughter of Mulan. She can sneak when she wants to)

Yes. Exactly. A peaceful political statement, says Evie, who is often a quicker thinker than the others. We are going to… sit at the front in protest. Of how we have been treated. As villains. We deserve the same respect as other students, regardless of who our parents are.

Lonnie is surprisingly on board with this, because honestly, based on some of her costume choices in d1, magical disney utopias seem to be overwhelmingly white for the most part and do not know how to support their international students very well.

(am I still mad about the awful dress she was wearing during the family day scene?? yes.)

So now they have Lonnie on board with their made-up protest plan, and they’ve got Ben and Jay being… actually bros, weirdly enough, and somehow there’s got to be high school political intrigue that I haven’t thought through yet (maybe a group who doesn’t approve of the villainy exchange program is trying to get Ben declared unfit?? Idk. Maybe it’s just different mini kingdoms angling for a good position, and it matters Very Deeply who sits where at the coronation and it’s a whole deal. That one probably works a bit better.) and it’s altogether getting Pretty Far Into Things.

Family day isn’t a big conflict in this AU, because the VKs don’t really care about the whole family gathering and party business without Mal being involved with Ben. They decide to have a chill time hanging out and plotting their heist instead. The wand is going to be taken out before the coronation, but rather than try and grab it in the middle of things, it’s got to be easier to grab it right before or after, while it’s in transport.

They have multiple people who can pick locks. People who can charm guards into letting their guard down for a bit. Ways of getting around even electronic lock systems, given some time.

They hang around the classroom a bit longer after their parent phone call, and get to talking with Fairy Godmother about how maybe, possibly, they could get a real place up at the front during the coronation. It’s a good distraction, and hearing more about the logistics of how things are going to go on the day itself is a perfect segue into asking more about the objects that are used during the coronation. It’s important to understand their new home! No other reason they’d want to know about the history and powers of her wand.

No other reason at all.

They learn that the wand is going into secure storage in Fairy Godmother’s office for the day before the ceremony. Of course, it’s going to be safe enough there. The magical wards at the museum are mostly there in case of emergency, and they’re really more about making sure none of the objects get damaged than they are about theft.

There are no more villains in Auradon, after all.

All things considered, it’s shockingly easy to break into Fairy Godmother’s office the night before the coronation. The wand is in a safe with some magic barriers around it, but Mal has her mother’s spellbook, and Evie has a magic mirror that can look up the answer to pretty much anything they ask, so it’s short work for a pair of magic users who have been practicing their spellwork since they day they left the isle to break the temporary barriers down.

There’s a regular human lock as well, and they give that one to Jay. He’s their lockpicking expert, after all.

And there it is.

Mal grabs the wand. There’s a surge of magical energy up through her hand, burning everywhere she’s touching the silvery metal, but in a way that feels like strength.

And all hell breaks loose.

[princeanxious]

I never saw the au as saying that men with long hair, are less of a man/person. I saw it as a symbol of the repressive upbringing he had, and him cutting it was a way to finally express himself as a person. It related to me growing up in a religiously oppressive home and being able to express myself as an adult. Obviously you're free to do whatever you want with your au but not everyone saw the original idea that way

I hear you! and I think I might’ve been a little more vague than I think made sense because I’m still taking the time to work on it but I’ll try my best to explain my thought process and the full scale of what I’d meant by that, yeah?

I think it’s more about the fact that I had had his hair described more as its long because its purposely untouched ‘by humanity’, and kind of eluding to that being weird or unnatural, and pairing it with the fact that Virgil was raised and expected to serve these gods as their servant, putting him in a dress and leaning towards more negative feminine leads in his backstory, its rather just been.. tactless of me? like, hnng. Funnily enough it had yet to occur to me that giving Virgil long hair could be like, a feminine thing, which wasn’t intentional.(I just, really wanted to draw Virgil with rly heckin long hair) 

And I ended up putting my foot in my mouth by adding in the fact that he was a boy raised by seemingly only feminine figures(again, not intentional and not technically true w/ the au, but so far i have only ever mentioned Virgil’s would-be roll models as women, which, y’know. intentional or not still isn’t painting anything good when it comes to the fact that he was specifically raised to be a servant) and, now that I realize these things, it makes sense on how one might see the way that I’ve given Virgil an oppressive situation with his long hair as specifically a feminized restriction(i think? I don't know a better word for it) and thus giving the impression that feminizing Virgil was another part to his position of being the Pantheon’s Servant.(which, holy fuck, that was *definitely not* intentional)

You’re approach is what I was aiming for representing, and I still plan for to write his experience and growth as a character in that way, focusing on learning how to express himself how he wants, I believe I just handled the setup rather tactlessly, y’know?

Not everyone is gonna think that I meant it that way, yes, I know I didn’t intend to write it that way, but it doesn’t hurt to take a step back and reassess things when someone brings up something you didn’t know about, hadn’t known about or even realized could have been, but now do. 

I’d feel awful if I tried to just brush it aside without taking the time to think about it and realign myself and do that extra step of fixing what I hadn’t intended, because to me that carelessness is not okay. 

And that take is certainly not what I’m aiming for. It may not have occurred to or offended me, but it doesn’t mean it isn’t capable of doing so to someone else. Even if things don’t need change too much with the au to fix that issue, I still think it’s necessary to be transparent about it, y’know?

I just wanted to bring it up to let everyone know what I was thinking now that I was aware of it, bc this take on the au was never intended to be written that way.

I can only really explain how I feel about it in so many words without really knowing how to proceed, bc I so desperately want this au to work, because I dont know if much of my idea actually has to change and if I just have to be alot more tactful? because just saying that I dont mean it that way doesn’t feel like enough

[fedonciadale]

Oh for fuck’s sake! Again with those ageist, misogynistic anons? They make me so angry. What do they think will happen when they grow “old”? Stop reading, stop watching what they love? Stop writing if they are writers? How old do they think writers and directors are, anyway? Aren’t they gross and immature for actually writing their ships?

Look, I’m in my early 20s, I’m young. Even so, I noticed that the way I read, see, and interpret characters, dynamics and stories changes as I grow older and gain life experience. I still like my childhood fandoms, and why not? I love going back there, I adore that childhood feeling (I don’t know how to explain it, but I think you get what I’m saying), and I love realizing how differently I see them now that I’m older. For example, Harry Potter: the way I read it now is vastly different from when I first read it at 11. My approach changed, my understanding of the characters and their motivations deepened, I analyze the story and its meaning with another point of view than that of a child. I actually can’t wait to read Harry Potter again as an older, more mature woman, and as a mother! I bet my perspectives will deepen further, or maybe even change. The more experienced I get, the more insight I’ll gain in regards to the author’s choices. That’s what maturity means in this context!

By their logic, only teenagers should be allowed to write and enjoy fiction about teenagers, people in their 20s should write only for their peers, and so on and so forth. I want them to tell me how that could possibly make any sense.

Or perhaps they expect “old” people to watch and read passively, enjoying only to a certain extent, without caring too much and without shipping characters? Enthusiasm doesn’t vanish with age. Liking characters and dynamics is not inherent to adolescence. What on earth are we talking about?

Sorry for my rant, I just think it’s beyond frustrating that so many people think that, as we grow old, we shouldn’t engage in our passions anymore. I can’t imagine how incredibly annoying it must be for you, as the target of their criticism!

Personally, I love reading your metas, thoughts and fanfics. Your age makes you wise (not saying that every grown-up person is wise, though. Unfortunately, in some cases age adds nothing to one’s intelligence and maturity, but that’s off topic), and you’re certainly not immature for being an active part of a fandom and gushing over a ship.

Hi there!

Thanks for the heads up! Glad you like my stuff! 🤗

Ageism must be the most stupid of isms... I mean age comes for us all.

I suspect that anon actually believes that you stop having fun at a certain age. Wonder what they will do when they have reached my age... Hopefully by that time they look back at their younger self and feel some embarrassment.

And isn't it interesting that men are allowed to gush over football, their games, their handicrafts etc. But women are supposed to be 'mature'. 🤔

And yes, our perspective changes when we get older and when we read something more often. And this is a nice experience! Because hopefully we remember why we liked certain books and characters and still empathise with them.

HP is a good example. I read the books so differently now than the first time. I really thought Dumbledore was a kind old mentor on my first read. And now I think he was a manipulating cold bastard. I still think the character is compelling though. So, in a way I still 'like' him if differently. I still like Harry but I see his flaws more clearly and nowadays I think that the only really nice persons in HP are Luna and Neville. Lol.

I read the ASOIAF books now very differently from how I read them on my first read. My opinion on some of the POVs has changed very much. A reassessment of Tyrion, Sansa, Cersei for example. Some characters are my favs consistently though. I loved Jaime from the beginning and I still love my disaster Lannister. I still love Cat! - which does not mean that I do not see their flaws.

There is a certain magic though to reading a book the first time: sometimes I wish I could go back to my twelve year old self and experience the magic of reading LotR for the first time again, but I digress...

I actually think it is harmful to tell people that they can only read or write something written for them - be it their age group, their gender, their ethnicity - whatever...

Because reading and writing is actually the easiest way to empathise. And we should try to slip into other people's skin. Men should absolutely read Jane Austen and should experience some of the frustration of the expectations of society on women. White people should read about poc and their experiences. Abled people should read about the many difficulties of disabled. If I only read and write about my own bubble that is extremely restricting. We should absolutely stretch our imagination and challenge ourselves.

I just finish by sharing a funny story with you about how age changes perspective. When I was a child I watched a movie with my family and my sister and I absolutely fell in love with the main character. And somehow we didn't come across this film again.... And forgot the title etc. Years later my sister had managed to secure a DVD. We watched the movie, with high anticipation. And well. Let's just say the movie had a very old fashioned idea of women.... Afterwards we looked at each other and I said : OMG? This is such misogynistic crap! A childhood dream destroyed. We laughed so hard. 😂

Thanks for the ask!

[beautifulterriblequeen]

B2:S - Chapter 4

Much of this series will be about the differences and additions in the novel version, and how they contribute to my understanding of story canon. But there will be character appreciation, the odd theory and headcanon, and suchlike as well.

Here be Viren being villainous, Rayla, Claudia, Soren, and Callum, and tons of culture clash themey stuff

and a tw: animal death, Claudia why

Spoilers for Book Two: Sky below.

Viren's scenes in Book Two: Sky are all amazing because they're full of worldbuilding and character building details. I love to study the word choices used from his perspective. They're so tasty. Like how he forced a servant, and also Soren, to carry his messages to the rookery, so that he never had to go himself. I'm really curious why Viren is forcing a servant, whose job is literally to serve, here. He really only has to ask. Maybe he was mean about it on purpose, or maybe he picked a servant who was afraid of birds just to flex on them. Whatever the reason for the word choice, Viren doesn't seem to like servants' jobs, it seems, especially when they take him somewhere with poop on the floor. It makes it all the more ironic that he sweeps Runaan's cell clean himself, then, humbling himself before he finally figures out the mirror.

Viren's secretive, right down to his very carefully chosen words to those around him, but his true thoughts shine through even more clearly in the book than in the show. He knows he's been sneaking and hiding stuff, and he knows that some of those actions would be called treachery. Stealing the king's seal to forge royal documents is up there on the treacherous list, but it's apparently not there alone. Ah, Viren, such a villainous delight. What have you gotten up to?

The way he thinks of and treats Crow Master is ageist and classist, but certain lines also hint that Viren has spent a lot of time memorizing the finer points of proper courtesy, and he expects others to have done the same. There are many reasons someone might put forth such effort: a commoner trying to better himself to be noticed by a kind prince is a nice version. A sociopath learning to fake caring about rich people so he can blend in with them is less nice. Superconveniently, the skills a young, earnest Viren might use to feel worthy of Harrow's attention will serve him just as well when dark magic ravages his empathy and he has to lie to everyone about how dead he is inside in order to keep his position of power. Until he's not lying anymore and he straight up threatens poor Crow Master with death unless he sends illegal mail for him. There's the Viren we know and uhhhhhh

Rayla and the blue rose! It's so fun to see inside her head here. She acted swiftly in the last chapter to save herself from Claudia's sleep spell, but now that she has to lie there, that thorn really hurts! She wishes she maybe had a different plan instead of playing asleep.

I hope Rayla only calls Claudia's voice "awful" because of association. I love Claudia's raspy voice! It's so neat! Rayla immediately recognizes it as Claudia's, from the castle and identifies her as a dark mage, with a clanky-metal warrior beside her. She gets mad at Soren for apparently calling killing a sport, even though that's not what he said at all. Soren's using an unfamiliar, maybe old-fashioned term, and Rayla's taking it very literally. It's like Viren and Runaan are arguing through them. A fun little example of culture clash.

Also digging the fact that Rayla knows what sleeping breathing looks like, as opposed to awake breathing, for the purposes of faking someone out. Did she just. Perch in a tree over Runaan and Ethari as they napped after a picnic and watched them sleep, or did Runaan help her sneak around the Silvergrove to spy on sleeping elves for training purposes? Also, raise your hand if you've faked sleep breathing to fool someone. that's not just me right

Rayla's sass is a constant delight. Whenever she's up against an enemy, she is outwardly fearless and full of witty taunts and comments, and I love her so much. where could she have learned this from I also love that she can't help but flex on Soren about her technique. It seems that her attitude is part "never show fear" and part "humans are liars."

Claudia and Soren were trying to kill Rayla to save the princes from her. But Rayla was also intent on killing both of them right back. And she wasn't ever gonna tell Callum and Ez about that. Woah. First Harrow, now this. That whole "death and secrets" thing really sank in with her, didn't it? Crack voice in the back of my brain: Ethari does know Runaan stabs people, right, he does know that?

Interesting change of detail from show to book: in the show, Claudia overheats Rayla's swords with some green splattery goo from a little glass jar. In the book, uhhh. She grabs a live bird and squishes it to cast the spell. Eew. Really making a point of dark magic's inherent violence today, I see. Got it.

"Rayla, pipe down." Callum still has a ways to go on how to win friends and influence people here. Everyone's shouting, he's interrupted to save Rayla's life (or so he thinks), and when Rayla shouts that his friends tried to kill her, he tells her--and no one else--to pipe down. Followed soon by "but a 'good' elf." Ahgod. He doesn't think he's taking sides, but he's got two humans versus one elf, and he's a human himself, and his underlying biases are showing. He's 14, and he's willing to learn, though--and he really does learn and grow over time. But this version of this scene was just. So. Painfully. Awkward.

I feel like this version was part of a larger theme I'm seeing throughout the first half of the book, emphasizing that Callum comes from years of having a crush on Claudia, and it takes many scenes with Claudia and with Rayla to shift through several gears with each of them in order to facilitate the possibility of breaking with Claudia and then also of falling for Rayla, in a way that feels organic within the structure of the story being told.

Also Callum super has a type and it's Girls Who Will Commit Murder. I don't make the rules.

Rayla's defense just attacks Callum's word choice: "What do you mean, 'but a good elf'? Do you know any bad elves?" And I just. Rayla, honey. You're not in any better of a spot than Callum right now. Your mentor literally stabs people to death. You're both literally assassins. Some humans could accept most elves, but they might draw the line at assassins.

But this tiny clash in the midst of this war, this single exchange of words, is such a great microcosm, the war made personal. It's early enough in their adventure and their growth that they're still sounding a lot like their parents. And that includes Claudia! She demands to know how an elf can be good, and Callum allows that it's possible for good elves to exist, but he has to be the one to say it, not the actual elf behind him. And the actual elf behind him insists that her kind are all good, thank you very much, and implying otherwise skirts very close to "humans are liars."

It's quite a tangle, but having the main characters tangled up like this shows us that as they untangle themselves in their own personal situations, they're learning things about human and elven hearts, about relationships and family, and those things are universal truths which they can use to help them understand other people's troubles, as well as the larger issues involved in the war they're trying to stop.

Callum assessing--and then reassessing--his confidence level. It's adorable, and it serves to show that his first scrambling attempt to make peace, in which he messed up a little but at least no one died--won't be his last. He's not really sure how this is gonna go. Everything is new. But he's dedicated to peace, and he's not giving up. He did just run in between Soren and his target while Soren was holding a sword.

He keeps doing that. Standing in front of people who have their weapons raised in his direction. And he does it with a ridiculous amount of chill. Is this Sarai's influence on him? Considering that Harrow has kept his distance, maybe so! I'd love that.

This chapter ends with some fun relationship drama when Callum gets butterflies in his stomach at being around Claudia again. She tucks a strand of hair behind his ear, and he forgets all about telling her about smashing her primal stone. He instantly worries that Rayla saw her gesture, which of course she did. Callum's nervousness and Rayla's glare feel to me like they're supposed to fit into a tactical box instead of a romantic box, but I can see how it could be interpreted the other way. Callum just intervened in a fight that Rayla completely intended to end by secretly killing Claudia and Soren, so in Rayla's mind, she's probably convinced that Callum intervened to save his girlfriend's life, while he's sure that he just saved Rayla's. She's probably angry because Claudia's gesture is making her think that Callum only seemed to be trying to save Rayla when his true intention was to save Claudia all along.

Dun dun dunnnnnnn.

[fullmoongame]

9 and 13 for all the ROs? ❤️

(btw you don't have anon on if you're unaware)

anon is on now ask me stuff

9 (lonely) and 13 (stressed) from this particular ask game

Sol

Sol is one of those people who's very comfortable in their own skin and prefers their own company. It's a rare thing for him to feel lonely, and so when he does, he absolutely hates it and will do anything to stop feeling like that. There's always chores to be done in the barn and stables (mucking out stalls, cleaning tack, exercising the horses, grooming, fixing fence posts, getting thistle out of the paddock...) and he can work through the feeling by losing himself in doing something physical.

When he's stressed he needs to stop and reassess or else he'll do something impulsive. In the past, Sol has believed that the most direct solution is the best one, but these days he's trying to be like, an adult about stuff. What works best is calling his sister or his parents and talking through what's stressing him out, or failing that, talking to the horses about it. horse girl sol confirmed

Sammy

At this point being lonely is just background noise in Sammy's brain and she barely even notices it anymore. Once in a while she'll get a feeling like being hit in the stomach and realize, oh shit, maybe I should spend more time with people, usually Dirk, because he's fun and they're both openly bi. Sometimes she'll make an effort to be more social and maybe drive out to a dive bar for a few drinks. Usually just being around other people is enough to snap her out of it.

Sammy becomes short tempered and snappy when she's stressed, and her first instinct, at this point more natural than breathing, is reaching for the pack of Pyramids in her pocket. The familiarity of having a smoke, the ritual of it, is soothing in and of itself. Give her ten minutes and she'll return, smelling like smoke, but calm and ready to talk through whatever the stressful thing is.

Blaine

Blaine has spent her whole life surrounded by people- her family, her friends, her school, her community in New York. In Maryville all of that is 700 miles away. She's left feeling kind of unmoored and uncertain. While she's probably the person who is least used to feeling lonely, she's also the one with the best support network. And unlike her hick neighbors, Blaine didn't grow up in a rural community where expressing emotion is a sign of weakness, so she's also in a better place to communicate what she's feeling.

Blaine also has many methods for dealing with stress. She's seen family members burn out due to stressful jobs, so she takes steps to make sure she can avoid that. Her favorites are those adult coloring books and hanging out with her cat, but she also meditates and journals. She is a firm believer in Lo-Fi Beats to Study and Relax To.

Dirk

Dirk is rarely lonely. He's friendly and outgoing and easy to like. Additionally, as the manager of the general store, his job means he's the character that has the most interaction with other people on a regular basis. It's actually more of the opposite- he needs some time to himself once in a while! That said, there's another kind of isolation that comes from being openly trans in Indiana, and he's worse at dealing with that. Hard to fix that kind of loneliness by hanging out with people who lowkey think you're going to hell. Sammy is one of the only other openly queer people around, so usually they can get drunk together and bitch.

Dirk might be the least stressed character actually. He's been dealing with A Lot of Shit since he was a teenager and it takes a lot to faze him nowadays. Usually the main cause of his stress these days is customers being shitty to the teenagers at the store and he gets Excessively Friendly and a little patronizing. "Hello sir, can I help you? :) :) :) Have a nice day :) :) :)"

[trulycertain]

I see you are rewatching Daredevil, and I was curious of what you think of the ableism in the characters themselves (because we all know how bad the show messes up itself). Personally, I find some of the actions of the characters pretty ableist at times (like Foggy asking if Matt, his friend of many many years, was lying about being blind after finding out he's a viglante. Or Karen and Claire asking him about his disability rather intrusively at times).

Oh, this is a really good question! And I also think it’s one I’m not really qualified to answer. But I’ll try, from my perspective. 

I think the characters in DD are meant to be flawed, and you’re right, ableism is absolutely one of those flaws. I feel like in Foggy’s case in particular, we’re meant to know that it’s a cruel thing to do, not a neutral action. The “Are you even really blind?” is when we’re seeing Foggy at his most horrified and hurt and furious, in an absolute crisis situation, and he’s both questioning everything he ever knew and going for a below-the-belt shot. (But it does matter that his mind stuck there so quickly. I think the ableism is in how he can get his head around everything else, nearly, but it takes a good while to work out the whole “Blind? Not?” thing. Not just the logistics, but in how far he’s reassessing how he relates to Matt.) And notice that we get a reaction shot at that point so we can see exactly how much that question hurts Matt. See also: “And to think all these years, I felt sorry for you,” which to me is the worst part of all that, and is the show very intentionally twisting the knife and going, Hey, you’re seeing this guy at his worst. From anyone else, Matt’d maybe smile and nod and then rip ‘em apart in court, but it’s his best friend of years, someone he doesn’t want to hurt, even though you can see him getting hurt and frustrated and wanting desperately to defend himself throughout that conversation.

But yeah, there’s plenty of well-meaning but awkward and, probably for Matt pretty isolating, fumbling in the show. Even putting aside how the guys met at Columbia (I’m gonna take Matt at his word that he’d rather have the honesty and have a laugh than people not knowing what to say round him), you have, yup... Karen and Claire. And Elektra, later on. I think that we’re meant to see Karen’s questions as her being overly, intrusively fascinated with Matt in general, and making it obvious she has a thing for him that can seen from space, but with the nature of her questions and how they contrast with the way the show chooses to matter-of-factly show Matt’s braille labels and display and all his gear, and everything else he does, and not linger or have long-winded audience-surrogate explanations about them... I feel like it’s meant to come off a little weird. Even Foggy raises an eyebrow and a half. And both of them acknowledge that they probably shouldn’t be fascinated by all this, so if push comes to shove, I think the characters would probably call it ableist too. Claire’s questions are sometimes medical, but I think mostly about trying to understand the superpowers, and while I get frustrated at “But what does that... look like?” - nothing, Claire, the answer is probably nothing and it’s going to be a metaphor for his mind’s eye, and trying to put it in sighted terms means you’ll always be scrabbling for answers - I feel like she’s the most matter-of-fact person about this. Though she does have her moments. (”I met a blind man who can see.”)

I’d also argue Matt has some serious internalised stuff going on, though that’d probably take a post on its own to talk about and I’m even less qualified there, and it’s not treated as a character flaw in the same way, because his arc is different to the secondaries’. Anyhow.

I think in general, there’s an interest in examining character flaws throughout DD, and you having to get past them or make peace with them to really jive with the show - Matt’s tendency towards violence to solve a problem, and sometimes putting The Mission ahead of individuals; Karen not being honest with people at times when she needs to, because she’s used to not being believed; Foggy trying desperately to balance his friendship with Matt and his own needs and running the firm... For instance, if you apply real-world logic, the show breaks for you, because vigilantism inherently tends to fall apart in real life. You kind of have to run with it. So on. I think this is meant to parallel the characters themselves trying to make peace with those flaws, and is a way of getting you into their heads. The show is trying to ask you uncomfortable questions at times; it’s just whether it pulls it off. The narrative treats the characters’ instances of ableism as one of these questions, in my opinion. And whether it should - this is where I pause.

This is why I say that, for all that above, I’m not exactly qualified: I’m sighted, and I think the show presumes a sighted audience. (And I bet there’s a ton of stuff I’ve missed.) I feel like the show does treat these instances as ableism, with one problem: it also shows this ableism as a forgivable flaw. And one’s mileage is going to vary hugely on that. There seems to be an assumption none of this will be a dealbreaker. And while it isn’t a dealbreaker for me, I can absolutely see it being for someone else - whether that’s someone who’s sighted but just can’t get past these character flaws, or whether it’s someone who’s actually had to deal with some of this sort of shit, or whether it’s someone who hasn’t had to deal with this shit but fears it. Or you might be dealing with all of that and it might not be a dealbreaker at all. I know a few fans of the show and these characters who aren’t sighted, and they’re legit too. Depends on the person.

[relatablegenzwriter]

heya~ bit weird but do you have any advice for outlining? I always outline but half way through actually writing something I realise I've not thought of something (OTL) Thanks in advance!!

Advice on Outlining

I honestly never thought I’d see the day someone asked me for advice on outlining. When I was about ten and aiming to be the world’s youngest published novelist (lmao look how that turned out), everyone who knew me as a writer also knew that I would never, ever outline before I wrote something. I argued that it sucked all the fun out of writing. I couldn’t let my characters do whatever they wanted if I had to stick to a script. I would have to spend more time planning that I could’ve spent on actually writing my stories. I’d see all the gaps and places where my story was lacking in its plot. I’m not selling this outlining thing well, am I?

As I’ve written more, I’ve also warmed up to the idea of outlining. I’ll again preface this by saying I have never finished a novel, despite having started countless, so I can’t speak to how outlining has helped me throughout a project. But I do have a general sense of what works and what doesn’t, at least for me, so I’ll do what I can.

After some careful thought, here’s my advice on how to outline.

Don’t outline.

At least, not right away. I’ve found that I need to know my story, its characters, its ~vibes~, etc. before I can really make an accurate outline. A common concern with outlines is that you’ll make people do things out of character, or that the story won’t want to go in the direction you tell it to. Test out the waters a little bit first. Write that one scene that’s been in your head–you know which one I’m talking about–and figure out the style, the main characters, the mood, everything you really need to get the feel of your story. I like to write a bunch of beginnings, which can be helpful even if you don’t know where to start your story. Some people like to do character questionnaires so they know who they’re dealing with. Others will have that one scene that they think of when they think of their story, and will write that first to figure out where to go from there. There’s a lot of ways to warm up to the story, so play with a bunch of them and figure out what works for you. The point I’m trying to get across here is that you can’t successfully outline if you don’t know your story well enough. Fortunately, that’s an easy problem to fix.

What’s next?

That depends. If you look up “outlining methods”, you’ll find hundreds of lists, questionnaires, and weird diagrams that look like they came straight out of high school English class. There is no magical way to outline. With that being said, I’ll describe the way that I outline my work, and then add some general tips at the end.

       2. The basics.

Trying to write out every little detail from the beginning will likely overwhelm you and create writer’s block before you’ve even started writing.

don't do that.

Instead, get your basics all in one place: who are your characters? Where is it set? What is the premise? Once you do that, make note of the events that you know will happen. “Lily dies”, “Sam and Evan kiss”, “Aiyana confronts her family”, etc. I sometimes like to fill this out on paper or on a whiteboard like a timeline. Otherwise, making a bulleted list in a digital document also works. The one thing I’d advise is not to make this kind of list on paper, because as you start to insert more events between others, it’ll start to get really crowded.

      3. Fill in the rest!

Start to generate scenes and events that go between the ones you already have. Some things to consider:

what propels the story from point A to point B?

what needs to happen to further your characters’ arcs? (a follow up: do you know how you want your characters to grow throughout this story? what needs to happen in order for them to change?)

what could POSSIBLY happen?

is there a character who’s not doing enough yet who you want to give more attention to? something that’s not highlighted much in your list that you want to focus on more?

And essentially, you’ve made an outline! I know, so few steps. But this is actually going to take a while. This method may not work for you, and you’ll have to find other ones (that I’m not going into detail about because I don’t use them or know much about them). You’ll have to take some time to get to know your story. Step three WILL give you writer’s block, and as always you’ll be able to break through it, but don’t expect this process to be easy. But it is worth it!

And finally…

      4. Change it.

Once you sit down to write your story, chances are you’ll run into a plothole, or something you want to do differently. You asked about this in your question, and all I can say is yes! You’re right! For my oldest WIP, which has been around for almost six years, I can recall four specific outline revisions where I wrote the whole outline again from scratch. (This particular WIP has given me SERIOUS trouble, so take my experience with a grain of salt.) What I can say is that every time you revise your outline, it will get stronger, you’ll know your story better, and you’ll have more opportunity to be creative and revisit your story. I don’t understand why it’s considered the norm to outline once and then move on with a project, when it should be perfectly acceptable to pause your writing, say “that doesn’t look right”, and outline the story again. Your story, especially in the early stages, is fluid! You’ll actually be surprised by how long it remains that way, too. Point is, it’s okay for things to come up in the writing that don’t make sense with the outline, as long as you’re willing to revisit your original plans and reassess. I haven’t seen this approach discussed much if at all, so there’s a very good chance I could simply be a very disorganized writer who hasn’t made much progress on her big projects. But there could also be some legitimacy to this word jumble, so take what you will from it.

      5. Other outlining exercises…

Try to map out individual character arcs as part of your outlining. That way, you can make sure that their development lines up with the events in the story and the development of other characters.

If you’re a visual person, writing plot points on sticky notes and arranging them on a wall is very useful and also makes you feel like This Man. 

Free write (no erasing!), by hand, a summary of your plot–no detailed prose or dialogue, just a straightforward description of what happens. If questions come up, write them into the outline and keep writing. Once you finish you can go back and highlight all the questions you wrote.

Speaking of questions: when one comes up, really dive into it. What I like to do is write the question on top of a piece of paper and make a bulleted list of all the possible answers. Dive deeper into the ones you like, maybe combine a few. You could also do one of those web diagram things (those ones that look like clouds) if you’re the diagram type.

As your outline evolves, reassess why each scene is there. If it’s only purpose is “I like writing it”, maybe it’s time to write it for you and cut it out of the story. (Side note: this still applies to That Scene. You know the one.)

Call someone and explain the plot to them. They don’t necessarily need to be a writer, just someone who’s willing to listen to you relay the plot of a whole story to them. They can give input if they like, but the purpose of this is for you to have to explain your plot to someone else. It’ll be more obvious to you when something doesn’t make sense or belong in the story if you’re explaining it to another person. Especially note any clarifying questions or moments of confusion that they have. If you don’t have a person willing to do this, record yourself talking about it to your phone/camera/tablet/computer.

Don’t be afraid of the dramatic. When you’re first coming up with an outline, you’re exploring ALL possibilities. Even if your answer to “How does Aoife end up at Shauna’s house?” ends up being “She took the bus” instead of “The mailman, who is actually her estranged uncle, kidnapped her from her home and hid her in Shauna’s basement because Shauna and her uncle were having an affair”. You get to be creative, have fun, and even if you take the more realistic route, you’re reaffirming that that’s the direction you want to take.

Best of luck to you!

[theliteraryarchitect]

Hello! x I'm having some trouble with my wip... I'm in the thick of it, third draft, hyped about getting it done, but I keep changing things, and after some serious deliberation, I think what it needs is a major structural overhaul and bare-bones reassessment. I'm worried I'm overreacting, and kind of want to be, and it's a scary thing to contemplate as I've been writing it for sooo long and have others excited as well. Do you have any advice on how to pull it apart well, or not to?

Doing a Structural Overhaul on Your Story

Hi there! I feel for you. I’ve had to do this with a few of my stories and it’s always a discouraging realization. My personal experience has been that if you smell a structural problem, you’re probably right. It’s likely a character/plot issue, which will bring you back to the outlining stage. Here’s what I’d suggest:

Create an outline of the book you’ve actually written. Not the one you were trying to write, but the one you actually wrote.

Assess the outline for structural issues of point of view, character, and plot. For a quick overview of what to look for in a story-level assessment, you can download my Pocket Guide to Self-Editing for Fiction Writers for free on my website.

Decide whether you want to fix what’s broken and rewrite, or outline an entirely new story and start from scratch. Either way, you’ll have rewriting on your hands. Try not to choose the “easy” route, but rather pick the story you’re actually excited about writing. This will make rewriting feel fun rather than like a chore.

Do what you can to destroy your allegiance to what’s already written. Being attached to what you have and refusing to part with it because you’re worried about “wasted time”--even when it’s fundamentally broken--will stall your progress. Be willing to scrap everything if need be.

Hope this helps! Good luck to you :)

[silver-wield]

Nobody asked for this one, but I said I was gonna do it anyway. Barret and Cloud's friendship development.

Don't worry, I'm not gonna make a mile long post. I'm just gonna hit on the key moments, but I think these two deserve a bit of spotlight.

Ok, spoiler warning for ppl who haven’t played – do I still need to do this? Eh ok, (I tag FF7R spoilers as final fantasy 7 remake spoilers) and it’s gonna be reasonably long.

Also, this is one person’s interpretation of the scene, so if you disagree that’s cool and we’ll agree to disagree.

You’re also gonna have to excuse the janky quality on some of the screens, I’m grabbing them from Youtube and it’s frustrating af trying to get the exact moment I want.

Other analyses if anyone’s interested.

Shinra HQ vision scene (Cloti/plot analysis) 

Chapter 3 (Cloti reblog) 

Tifa character analysis 

Aerith Resolution (plot analysis/theory – I should probably update this since I’ve had other ideas since then) 

Train graveyard (not really an analysis, but I got some sweet screenshots of Cloti) 

Clotiscrew tunnel analysis 

Cloti reunion analysis 

The Promise Analysis 

Andrea’s approval (Cloti ask response) 

Leslie analysis (not mine, but a good read) 

Cloti action touching 

Aerti friendship analysis 

Cloti body language chapter 3 

Cloti healthy disagreement 

Cloti post heliboss battle (chapter 15) 

Clerith playground scene 

Cloti body language plate fall 

Now, strap in and enjoy the ride.

I'm not recapping the whole game lol

Chapter 1: Barret isn't impressed one bit with Cloud. Watching back their early interactions and I keep noticing this sad look on Cloud's face when he's excluded. But then, I'm also like “Well you pushed them away first”. But I also wanna hug him.

Yeah, so Barret isn't impressed and he's outright hostile, calling Cloud names and antagonising him. He even shoots at Cloud and then raises his gun to take out a security bot. This man doesn't like Cloud and isn't afraid to show it.

You gotta remember, Barret is 6'5 and built like a brick shit house and has a machine gun on his arm. He's not someone to mess with. Taking that in, Cloud's dismissiveness is pretty impressive. I mean he's almost a foot shorter than Barret, after all, and his sword probably weighs more than him lol

Perhaps by the end of the chapter – after Cloud saves Jessie – Barret might have thawed a tiny bit towards him, but he's still mistrusting and doesn't like him.

Chapter 2 and there's not a lot of interaction between them. Barret does actually agree with Cloud when he says “what's done is done” in reference to the destruction. This shows Barret is pragmatic and not against Cloud himself, just his role. After that, Cloud's alone for the rest of the chapter until the above screen when he leaps into the cargo carriage of the train and Barret says, “You had me worried for a minute.”

He looks caught out when the others all look at him because he's been a total dick to Cloud throughout the mission, but this shows he cares about his team, even if he doesn't like everyone on it. Showing concern for his people is the trait of a leader and if the game were showcased differently we could assume that Barret is our leading man.

“The folks down here don't have the luxury of choice, you know.”

Still in chapter 2 and this is such a great moment between Cloud and Barret! There's no arguing, just Barret giving Cloud a different perspective that's not the badass merc “Idc” one he's showcasing. You can see once the conversation is over that Cloud grows introspective, so Barret's words clearly resonated with him. This looks like another marker on Cloud's chart of going from a douchebag to a decent human being. He thinks about how things are for other people. Later, Marle tells him to consider others feelings, too. To listen. I'm loving all these small moments that come together to build a clearer of picture of Cloud's development.

Barret actually removes his sunglasses – why is he wearing them at night? – to meet Cloud's eye. This is a gesture that shows his sincerity and belief in his words. He's not just blustering for the sake of it. He cares about the people and the planet.

Chapter 3 and we don't see Barret until near the end. He's back to being snappy with Cloud – understandable since he's being a dick going on about money.

(aside: can I just squee at Cloud smiling at Tifa through this whole bit. He's such a dork)

And when we see Barret again he's very professional and courteous. There's no emotion in his tone and his words are very formal. He could be talking to anybody. His head dips as he's speaking, in an effort to lower himself more to Cloud's physical level. On an emotional one, he's making himself non-threatening. This isn’t a confrontation is what he’s putting out.

Cloud doesn't look happy at the dismissal and something we know about him is his desire for acceptance, so this probably hurts, although he acts otherwise.

We're up to chapter 5 and this is a turning point between Cloud and Barret's budding friendship. Barret's in battle dialogue makes it clear he's trying to show off in front of Cloud, who's dismissive still. There's a lot of back and forth between them in the kind of guy banter that suggests they kind of respect each other, but they also just have to put up with each other.

The above screen is the second before Cloud says to Barret that he's better than that in response to his arguing with the Shinra manager. Barret seems surprised Cloud even tries with him, but what's more telling is this expression from Cloud shows he gave it some thought before speaking. He considered the right words to address Barret which shows he's thought about the kind of reaction Barret could have. He took in Barret’s words from chapter 2 and Marle’s from chapter 3. This is called character development!

Chapter and Cloud throws some shade and Barret blusters lol

Tbf Barret's grown a lot less hostile since chapter 1. He's not as combative to Cloud, nor is he maliciously insulting him anymore. They've entered a stage of snarky banter, which we all know is one of the big steps on the road to friendship lol

Clearly Barret being able to see Cloud in action and rely on him in battle – not to mention Tifa's enduring good opinion – are starting to colour his own opinion.

(Tifa actually rears back when Barret waves his arm around in this bit lol)

Barret looking to Cloud for back up here. I mean, they're all in the shit, but this is interesting that he's looking to Cloud for that reassurance they're gonna continue kicking ass. The fact Cloud agrees without even the tiniest disagreement is probably the first time they're genuinely on the same page through their own choice.

Let the friendship begin!

Now, I bet you're thinking I picked this one to showcase cloti, well you're wrong. This is an example of how Barret's mellowed towards Cloud from his chapter 1 hostility to now. Cloud disagrees with him and instead of getting pissed that his leader decision is overruled, he lets it go.This could be a moment of contention between them, but they’ve both grown enough over the game to get to the point that not everything between them is a fight.

Now, maybe Barret's saying this because he thinks Cloud is about to die, but that seems selfish and like he's saying it to make himself feel better after being a douchebag, and for a selfless man like Barret I just don't buy it. He's genuinely regretful of his past actions and this is the point between the two of them that they can start again and actually become proper friends.

There's no time for much of a guy reunion between them when Barret does see Cloud again all the way over in chapter 12 -- that’s a long ass time apart for Barret to think about how he treated Cloud -- and we kind of brush past Barret's feelings because the plate collapse takes priority.

After that, Barret is much nicer to Cloud, trying to get his praise in battle and being a proper support to him. There's still that snarky banter between them, but the hostile edge has gone. We see a culmination of their friendship development during the stairs climbing sequence. Where before their banter had a hard edge and combative nature to it, this is very friendly and full of jokes and warmth. Barret has definitely softened towards Cloud and considers him a real friend. You can't fake that shit.

Conclusion

Yeah, I kinda cut this short and didn't do the latter half of the game, but that's because it's much more clear than this early development. Focusing on the small interactions between them that built a gradual friendship, it took a huge shock to get Barret to reassess his opinion of Cloud and him dropping from the reactor, going missing and then showing up to save the day covered it. It was like he got a reset and from that he dropped his prejudiced preconceived ideas about Cloud and opened up to him more. Because there’s such a huge gap between the time Barret sees Cloud again, it’s easy to miss the middle part of their friendship. The part where it goes from dislike to like. It’s easy to remember Barret hating Cloud and then see them being a team after chapter 12 because those moments stick in your mind more. It’s the transition that gets lost.

I love their development and how they become friends. It's not the kind of friendship that Barret shows with Red. Those two are bros the instant they met. Cloud and Barret's relationship is more complicated because of Cloud's role and identity. It takes Barret a long time to see past that persona, especially when he's only got evidence of that to go on – unlike Tifa. Once he does, he gives Cloud his full support and trust.

I, for one, can’t wait to see how they go forward in Barret’s arc.

[gallickingun]

I hope you don't mind me asking... How did you get followers? I want to start my own blog but I want to make sure I can reach audiences I want to reach. I don't have any friends who know I write, and honestly I'm not sure I'd want them to read my works anyway. I get embarrassed easily. It's much easier for me to talk to someone that I don't have a face for. Does that make sense? Probably not. But how did you start your adventure here?

I want to preface this with follower count can make sense, or it can’t. I’ve made friends with some of the most amazing, most talented writers who have less than a thousand followers. I’ve made friends with amazing, talented writers who have thousands of followers. I genuinely don’t know how to trick the algorithm into listening to you, haha, but just know that numbers don’t equal talent; popularity does not always equal skill. So please, even if you don’t have the high follower count of someone else, don’t let it discourage you from writing! Everyone starts somewhere, and everyone grows differently. 

But, I’ve found that it all depends on who you write for, what you write, and how often you write. 

Who you write for: Bakugou is one of the most popular characters. I truly didn’t know this when I entered the fandom, but it was really what got me started on the upward climb. I’m by no means a big blogger, lol, but I know that writing for Bakugou was what helped me out initially. He was originally the only character who I could write for because he was my favorite and I hadn’t really gotten too far into the show. I think the same goes for other fandoms - if you write for the more popular characters, who have more content in demand because they have more fans, you’re more likely to gain more followers. 

DISCLAIMER: Do not let this keep you from writing for other characters who are less popular, if you prefer to write for them. Content is needed for all characters! I am desperate for some Sugawara content, but he’s not one of the more popular characters that people write for (see: Kuroo, Ushiwaka, Bokuto, Oikawa, Iwa, and Akaashi). If we only focus on the popular characters, the ones that get us the most growth, but those aren’t the characters we love, the content can seem disingenuous, if that makes sense. I got lucky by Bakugou being my favorite. But like, when I try to push out Kaminari content, I find that it’s a real struggle for me because I don’t necessarily vibe with Kaminari as a character. The same goes in reverse. If the minor characters have your heart, but you try to force out content for the popular characters, it can be tough to write and come across like you don’t really want to write it. Write who you want to write! 

What you write: This is a really big deal right now, but I’m just gonna say it lol. NSFW gets more notes. I don’t say that to force you into writing NSFW content - I actually had never read/written NSFW content until this past March, and I’m 22, going on 23. Originally, when I decided to start writing, I wanted to be NSFW-free, but some stuff changed in life and in writing and I chose to make the change.

Also, I’ve found for each fandom, different things are more prevalent. For instance, the BNHA fandom seems to do a lot of AU’s and full length fics, but the Haikyuu!! fandom seems to do more traditional works that follow canon and then the content itself is mostly headcanons and short scenarios. I think you have to find what works for you and write it to the best of your ability. I suck at headcanons, I’ve never really been able to do them and they stress me out. So I stick to full length fics. I know this means I’ll do better in one fandom versus the other, but that doesn’t mean I’m going to start only doing headcanons just because it’s what’s popular. 

DISCLAIMER: This does NOT mean that just because someone wrote 10k words of smut, that it’s better or more involved than your 10k words of fluff/angst/domestic/etc. writing. Unfortunately, there are horn dogs out there who are especially touch starved during quarantine. It doesn’t make anyone better or worse because they choose to write about being naked versus being clothed. Please don’t let this discourage you from writing SFW-only writing, as there are tons of people out there who are just as desperate for some comfort fics about cuddling completely clothed. 

How often you write: When I first started, I had a lot more time on my hands and was able to pump out content much quicker. I grew pretty rapidly in a short period of time because I was able to consistently put out content. Since I’ve gotten more busy and my mental illness has reared it’s ugly head, I’ve not been able to write as much and I can tell my follower count growth had tapered off. But the pace in which you post content generally helps increase your follower count, because people know that you will continuously feed them with the goods! Sometimes it might be good to set a schedule so others know when you’ll be posting - say a new fic every Friday? Or sometimes it can be good to keep your followers engaged with thirst posts (SFW or NSFW), or specific nights where you do events that focus on a certain character or genre. 

DISCLAIMER: DO NOT FORCE YOURSELF TO PUSH OUT CONTENT. Please be aware within your own self what your limits are. Just because one writer can sit at home and push out tons of short scenarios and drabbles during the day, but you can’t, doesn’t mean either of you are doing anything wrong. It just means that one person has a different availability than you. I don’t really do thirst posts a ton in the same respect that others do them, because I know that I’ll want to write a whole fic out of the couple of sentences that my followers might send in. However, there are many others within the fandom that can respond with a few paragraphs that take a few minutes to type out. It doesn’t mean that they’re better than me and I’m a horrible writer, it just means that in this area, they’re more skilled or have more time. 

Also, don’t be afraid to tag people and send out DMs! I promise your writer idols are not nearly as scary as you think they are. And they’re probably just as excited to get a DM from you as you are to talk to them! I was really hesitant to reach out to anyone before, because I never really did much chatting in other fandoms, but the anime fandoms I’ve been apart of have been very kind and welcoming, and helpful! I made some of my closest friends because I tagged them in my works or I joined a server with them in it, or I read their stuff and reached out to them to fangirl over it. Don’t be afraid to reach out, even if you just keep the conversation focused on your writing, it’ll still be worth it in the end! The worst thing that could happen is they don’t reply or the conversation fizzles out. Either way, you will have made a connection, and blasted one another with some serotonin.

Remember to take breaks. Take a hiatus every once and a while! Take some time for yourself to recharge. If this begins to feel like a job, like an obligation, and you feel yourself dragging your feet just to put out content, please step back and reevaluate. This is a hobby, it’s supposed to be fun. Once it stops being fun, take a breather and reassess what you’re doing. Sometimes this means closing requests, sometimes this means opening requests, sometimes this means participating in collab fics, sometimes this means disconnecting entirely. This is just tumblr, in the end, and you should be able to take care of yourself first rather than pinning yourself into a corner to try and post content for the sake of your followers. In the end, everyone wants you to be happy and healthy, so you can put your best foot forward in life and in your hobbies. So please, for the love of everything, take a break every now and then. Disconnect, recharge, and regroup. 

I also had a blog before this one, my main, so I’ve been on tumblr for eight year prior to this. I’m not going to even claim that I begin to understand how this hellsite works, but I will say that I’ve been writing on here for a while now, since way back to my band blog days. Eventually you just write what you want to write, and chat with your followers and your friends, and you’ll grow organically. When you start to pressure yourself over it, it can become like a cloud looming over you, and then when you don’t perform up to your preset standards, it might be a little disappointing. Follower milestones are cool to want to achieve and celebrate, but don’t pour all your focus into them. For the most part, I use milestones for celebration events to give back to my followers, or to set goals for myself like opening commissions! But they don’t determine my worth as a writer, because sometimes the tumblr algorithm is more giving to some rather than others.

Whew, this was a doozy. But I hope it helped! Some of these answers might come off a little crass, but I’m just trying to be honest. Don’t let anything deter you from doing whatever the hell you wanna do.

You wanna write that rarepair? DO IT. You wanna write character x character? DO IT. You wanna write about your Original Characters? DO IT. 

Whatever it is you want to do, do it! And have a helluva time doing it 💕

[ms-demeanor]

I appreciate your positivity posts a lot, but there are a couple things that make me instinctively angry when i see them One, it really frustrates me that i cannot be good at everything. I know it may sound kinda stupid, but i feel jealous when i see people learning skills i know I'll never master cause they arent a priority over other skills im already working on Two, when im angry/frustrated and i see positivity, it only makes me angrier None of this is your fault, just needed to vent a little

(This post requires a table of contents)

Frustration that you can’t be good at everything - A

Frustration with positivity - B

Do I contradict myself? Kinda but not really - C

Ah-ha, but I have fooled us all - D

A

That doesn’t sound stupid at all, it actually sounds exactly like the insta-rage that I get from being bad at something or from hearing “anybody can do X.”

I know that sounds contradictory, considering that I’ve been saying “anybody can learn artistic skills with practice,” but I’ll explain in a sec.

Okay so I’m learning guitar right? Like, with all the hand-pain and dyspraxia and all I’m still giving it a go and it’s taking forever and it’s really frustrating.

It’s more frustrating because I realized I had to do it alone - if I’m practicing around people or a person is sitting next to me while I’m trying to learn a skill or get the fretting of a particular chord down or (especially this one) trying to memorize a sequence of notes and movements it’s. It’s extremely not pretty. It’s apparently very upsetting for the people who are around me when that happens.

I get furious with myself and I get frustrated because goddamnit fucking children can do this thing and I’m an adult and it’s a simple fucking sequence of five movements and I’m just getting it wrong because I’m a useless idiot.

It takes about four minutes with a guitar teacher or jamming with a friend for me to devolve into “attempt sequence > fuck sequence up > apologize > try again but now while more mad at myself > fuck it up worse > apologize > forget beginning of sequence > try really hard not to start calling myself a fucking idiot in front of a friend who really shouldn’t have to handle this.”

And when I do that it feels terrible. It feels bad, feels like my skills have regressed, makes me want to put the instrument down and not pick it up again.

The thing is, I do this with every skill that I’m learning. You should see me when I’m trying to learn a new version of some kind of software. It’s terrible. I’m at my absolute worst and lowest when I’m trying to find the new place Adobe has hidden a menu or what the new command is to format something in Word.

But here’s the deal: I know what this is when I’m doing it. This is emotional dysregulation.

Basically finding out that I have ADHD changed my life and got me to really start examining a lot of my reactions to things and the behavior patterns I’ve lived with for most of my life.

I experience an impulse to be furious when people are more skilled than I am, I AM furious when I feel like my skills aren’t where I think they should be. But neither of those things are actually good for helping me learn to do the thing and I’d much rather learn to do the thing than be angry about not being good enough at it.

I spend a fair amount of time in therapy. I have worked on recognizing when I have the impulse to do something that is going to be unhelpful or reactive and attempting to approach that impulse with other options.

That’s not easy! And it doesn’t come naturally! My first response to a lot of things is still anger or frustration or despair.

But since I *know* that’s my first impulse and I’ve learned enough about my own behavior to understand that my first impulse is frequently the wrong course of action (grounded in panic or whatever) I’ve been working on accepting that my first reaction is typically negative and moving on more quickly to other, more helpful reactions.

(this has been really fantastic for increasing my feelings of agency and control over my own life; acting on your panic response all the time isn’t good for your long term stability)

You know you can’t be good at everything, you know that it takes a long time to acquire skills. That doesn’t make it any less frustrating that you don’t have the skills that you want to have. So it’s understandable that your first reaction to the skills positivity posts would be negative, and it’s understandable if you want to sit in that negativity for a little bit.

It’s also understandable to mourn the skills that you could have had. “If I hadn’t stopped practicing guitar in my teens I could be so much better now.” “If I hadn’t had to get a job with such a long commute I could be drawing daily and I’d be so much farther along.” “If I hadn’t been discouraged by my parents I’d have had so much more practice with music.” “If I hadn’t gotten injured I’d be such a good dancer right now.”

There’s a perfect you that lives in your head and they’ve had all the opportunities you missed and got to keep practicing when you couldn’t and have all the money you don’t and sleep you keep missing. I get wanting to be that person. I get wanting what they want.

But the you in your head isn’t real and it’s sad if you’re ignoring how wonderful the real you is because you’re not perfect in the same ways.

So if you can, I’d recommend trying to see if there’s a positive response you can practice remembering when you get frustrated about your skills.

(for me it’s honestly just saying “the next best time to plant a tree is today” and remembering that I’ve got a long time to learn to do all the things I want to do. It’s not a race, and if I can’t get to something now I can try later.)

You’re great. You’re great and you’re trying hard and if you wouldn’t yell at your friend for not learning a skill or being good at something you shouldn’t yell at yourself either.

B

So when I was like, 17, I wrote a bit of poetry that went like this:

I’m a casual cynicwho prays for optimistsbut it’s hard for me to be onewhen I’m talking with my fists.

I am a very, very negative, pessimistic person. Optimism and positivity irritate the hell out of me.

The frustrating thing about positivity is that it largely feels like criticism. It feels like “if you can’t do X, Y, or Z it’s because you choose not to.”

And I sure as fuck can’t blame people for being negative. I’m negative and the world is shitty and everything is difficult and expensive. I really, really don’t think that people are choosing not to do what they want to do.

So when you hear “you can do it!” it’s a very natural response to go “yeah, easy for you to say, you don’t have a million things preventing you from doing it.”

Part of this is that your brain is a filthy liar and it thinks that skills are easy to acquire. Your brain is going “if anyone can do it and I haven’t it’s because I’m lazy and I suck.”

I would like you to remind your brain that it is a filthy liar.

(I would also like to remind people that negativity that exists to the point that generic positivity posts upset you or make you angry is a symptom of depression)

But the other thing is that you probably DO have a million legitimate things that are keeping you from Doing The Thing and when you’re seeing someone else say “Do the thing!” you’re just seeing the shiny thing, not their million things that were in the way too.

Doing shit is HARD. It’s exhausting. It involves opportunity cost. If I want to make fanart I have do dedicate time to that that gets taken away from somewhere else and you know what sometimes it’s just better for me and more in line with my desires to re-read a 100k slow-burn than it is to make a drawing of the characters.

But it’s also really important to recognize which kinds of positivity actually contain criticism.

My initial statement in the Gru comic was “Talent is bullshit, nurture your skills with practice & make the content you want to see in the world.” This was in reaction to a simply-drawn comic that expressed that you need talent to make fanart and not everybody has talent.

A lot of people have seen that as criticism.

I am. Really, really not attempting to criticize people with these posts.

But also, yeah, being told “woah, hey, just calm down” when you’re already pissed isn’t going to make anyone’s afternoon any better. And there’s not much I can do about that (and I know you don’t want me to, you said you were just venting).

C

“You hate positivity and yet you make positivity posts, interesting.”

So the brand of positivity posts I hate are the “If I can do it anyone can!” posts and here’s why:

Not everyone can be on a Roller Derby team.

Breaking my back and having to quit roller derby made me reassess a lot of my attitudes about the world.

If you point to a specific activity and say “if I can do this anyone can do this” you are wrong. There are a lot of people who aren’t going to be able to do a thing. If you say “If I can lose the babyweight within three weeks of giving birth anyone can” there are a lot of people who can’t do that thing and there is a kind of implicit criticism there. “If I can get over my scoliosis and lift weights anyone can,” is kind of saying that the people with scoliosis who can’t lift weights just aren’t making an effort.

“If I can do this anyone can” is wrong. It ignores the fact that people are all in unique circumstances and have different limitations. No, not anyone can. Not everyone can be on a Roller Derby team.

But what I’m saying in my posts isn’t “anyone can draw” it is “if you practice a skill you will improve at it, so if you want to improve at drawing you need to practice.”

And I’ve been very clear in admitting that not everyone can do this, due to time constraints and low energy and physical limitations.

The one deviation I’ve made from that is to come pretty close to saying “anyone can do art” and again, I consider that a bit different because “art” is a very broad category and I do believe that pretty much anyone can create things that I would consider art, even if that art isn’t traditional visual media. And again, any of those kinds of art would also improve with practice.

D

The joke was on all of us all along, by the way. While I’m being pretty positive about the idea of practice and the fact that it will improve people’s performance at all skill levels there’s a secret:

That Gru post isn’t so much positive about practice as it is *incredibly* negative about the concept of talent.

Talent IS bullshit. There is a variable range of innate abilities that people can have that may jump-start a particular skill but proficiency in that skill is always going to be down to practice, not talent.

Talent was made up as a cover to explain the “brilliance” of people who had armies of laborers supporting them. I bet I’d be able to invent a lot of shit if I didn’t have to do laundry or worry about whether I was going to be able to afford both food and rent next month. Talent is a myth that pairs nicely with great man theory in that it is crap and I want people to understand that sucking at things for a long time is a part of not sucking at things eventually and also that you’re going to get a lot more done working with a group of motivated people than you are if you wait for one “talented genius” to change the world.

[bigskydreaming]

TFW you realize you relate more to a fave character than you ever actually consciously realized, lmao. 

So I was just having a remote therapy session, and we were focusing on just some mental pain management techniques since my stupid metabolism makes most pain meds largely useless and my head has been waging all out warfare on me for the past week and a half, lololol. And we were delving into one of my personal fave rants, which is the fact that so many people - including vaunted medical professionals - just fundamentally don’t seem to get that having a high pain tolerance does not mean you don’t like, FEEL pain unless its really a lot or intense. Its just that you’re hard-wired/trained/geared via stuff like an abusive childhood, lol, to not SHOW or DISPLAY any visible or audible pain cues unless the pain reaches a certain high threshold where its impossible to hold them back.

But particularly over the past four or five years, with my ongoing medical shit, its super obnoxious trying to get your doctors to display a sense of urgency about your condition because they’re just fundamentally not grasping the degree of chronic pain you’re dealing with every day, since, y’know....I can literally be sitting there in the doctor’s chair and conversationally talking about the fact that no, I definitely am currently feeling like, an eight or nine out of ten on the pain scale, please don’t be confused by the fact that I’m literally LOLing as I describe this to you rather than gasping and moaning in a more obvious indication of it. 

Its like, I’m not TRYING to undersell it or anything, its just, when you grow up since the time you’re like five or six years old, knowing damn well that the only appropriate response to someone asking ‘oh am I hurting you’ that won’t earn you MORE pain is a completely casual or cavalier sounding ‘nope, I’m fine, all good here, no problems.’......like, at a certain point in your development, that becomes pretty hard-wired in, like, you can’t shake it just because you consciously WANT to. (Though it is one of the things I’m trying to unlearn and ‘rewire’ in therapy now, via EMDR techniques aimed at like, literally reprogramming my nervous system and how I react to various stimuli. Its.....slow progress, lmao, but I mean there is some progress so its all good).

But point being, when you’re a physically abused kid and your physical abuser doesn’t want to believe or accept that they’re hurting you, and so they tended to just get angrier and MORE dangerous if they thought you were indicating or even just ‘implying’ that they were in fact hurting you.....you get pretty damn good at not showing even the slightest hint of pain or distress unless its literally a level you’ve never experienced before and thus have no practical experience in hiding or distracting yourself from.

But that doesn’t mean you don’t FEEL every bit of it. It doesn’t mean you’ve found a magical off-switch that means you can just mind-over-body yourself from acknowledging or being aware that you are in fact in a shit ton of pain. You just.....have learned the importance of masking it, and found ways to do that by necessity.

Except, even much later in life when you are in a safe place or more control of your situations or surroundings, there’s no easy way to just....stop putting that mask on by default, the second you’re experiencing any type of pain. And so even when dealing with medical professionals, too many of them just don’t GET that their vaunted ‘tell me how much pain you’re in from one to ten’ scale isn’t really the be-all and end-all of pain measurement, because its subjective and arbitrary as HELLLLLLLLL.....and one of the defining parameters for what that pain scale looks like and feels like for YOU, is....your personal history with pain and how you’re ‘comfortable’ displaying evidence of it. (And I know there’s a ton of people and even groups of people who can relate to this for entirely different reasons, I just can only speak to my own of course). 

But its definitely frustrating and invalidating as hell to be in more pain than many people ever experience in their lives, and TRYING to convey that as openly and honestly as you can.....and literally being able to SEE the doubt and dismissal in doctors’ eyes, because all they’re seeing is the visual cues you’re putting out there and which they equate to ‘can’t possibly be in THAT much pain, not if he’s acting this casual about it’.....

And so the frustrating irony is that you end up dismissed as like, a pain ‘lightweight’ who is complaining about an apparent degree of pain that’s barely anything in their ‘professional’ estimation. And thus they’re disinclined to take your requests for heavier or more effective pain medication seriously, or not impressed by your attempts to imbue a greater sense of urgency in their approach to your treatment plan or procedures, etc......when in reality, the only reason you’re showing those cues of not being in that much pain is because you’re MORE used to and familiar with even extremely high degrees of pain than anything a lot of them are accustomed to.

Its invalidating as hell, being treated as though you have no idea what you’re talking about when you say “I am actually in a shit ton of active, ongoing pain, hey thanks, can we maybe do something about this,” when actually, the disconnect comes from you having MORE experience with MORE pain than some of them can even fathom. You just....also have more experience with reasons not to SHOW that pain, if its at all avoidable to any degree whatsoever.

THAT��S what high pain tolerance actually means, and the sheer volume of medical professionals who just flat out don’t get this, or worse, just don’t care or are too proud to reassess their viewpoints on this matter if that carries the implication they don’t actually know as much as they think they do......god, it grates.

(Once, when I was around twenty-three or twenty-four I think, I got caught up in the periphery of a bar fight that resulted in me getting a shard of glass embedded in the back of my forearm. Still have a pretty sizable scar from it. And it absolutely hurt like fuck, but I was conscious as paramedics arrived on scene and when going to the hospital to have it removed and stitched up, and like......kinda cracking jokes about it the whole time because I was uncomfortable as hell and didn’t really know what else to do or how to react, y’know? I mean, I had a few inches of glasses jutting out from the top of my forearm, lol, what the hell are you supposed to do or say about that? There’s not really a protocol, lmao. Problem was, they took one look at me sitting there with this spear of glass sticking out of my arm and making dumb jokes about it like it was no big deal......and they decided this meant I was in shock and kept trying to treat me accordingly. And it was just like.....useless, because lol no I wasn’t in shock, I had none of the physical symptoms of being in shock and benefited from none of their assumptions that I was.....I was just a dude with a shard of glass in his arm that hurt like fuck and I really wanted it out as soon as possible, and I was in full awareness of what had happened and everything I was feeling, I just didn’t know how to convey this in a way that they would believe, because I couldn’t come up with anything to say or do other than laugh about how fucking surreal the whole situation was.)

Anyway, so circling back to the point, or as much of one as I ever have, so today I was just learning and practicing various mental pain management/coping techniques with my therapist and discussing my issues with doctors and the High Pain Tolerance Quandary. Basically like, I would really truly like to know or learn how to display the ‘expected’ physical and visual/audio cues for being a person who is experiencing a ‘4′ on the pain scale, versus a person who is experiencing a ‘7′ or a ‘10′.....so they can stop fucking treating me like I’m only at a 4 when I’m actually at an 8 or 9, just because I look and sound like a person who really is only at a 4 no matter what they actually CLAIM to be feeling.

Course, easier said than done.

But yeah, so as she was coaching me through various techniques and surveying what I was doing with my body and facial expressions and cues, etc, she pointed out something that I had literally never noticed about myself before, even though once she DID point it out I could recognize that its something I’ve been doing for as long as I can remember, well back before I was ten and no doubt stemming from smack dab in the midst of the worst of my childhood abuse.

So, y’know on Teen Wolf, how Scott and Liam and various others are at times shown digging their claws into their palms and drawing blood to ground themselves with the pain? (And ironically, how I was just talking the other week about photo doubling for a similar such scene with gashes in the character’s palms, lmfao). Well, obviously I don’t have claws, and part of why I’d never really paid much attention to when I was doing it is because even my therapist wasn’t comfortable classifying it as a kind of self-harm or anywhere near punitive enough to carry that kind of weight or associations.....

But like, I’ve always kept my fingernails fairly trimmed but not completely. Like, just enough of an edge to them that at times, particularly when I’m in physical pain or distress already, I’ll just like....dig my fingernails into the pad of other fingertips, and use that little familiar spike of pain to not ground myself but rather distract myself from whatever else I was feeling. Like, she wasn’t comfortable calling it a self-punitive technique because as we got into it, it was clear I was never doing it to CAUSE myself pain....rather, its something I only do when I’m already in pain, usually far more pain than anything that brings up.....but by deliberately doing that and creating a focal awareness around it, even just a largely subconscious one......I’ve apparently long been using that to hook my attention up to a very specific, very manageable sensation/focal point of pain that lets me and my ADHD brain relegate whatever other pain I’m feeling (even if its much much worse) to the back of my mind for at least a little while, as I distract myself by focusing on this more obvious and consciously directed bit of lesser pain. 

And a big part of why I probably never noticed I was doing this, we eventually concluded, is because as a kid I probably came up with it as a kind of survival technique specifically BECAUSE it was something I could do to distract myself/manage my pain covertly, without drawing my abuser’s attention to what I was doing either. And by extension, without the fact that I was doing it at all 'betraying’ that I was in pain or trying to manage or cope with painful sensations in the first place. A lot of other pain management techniques, like even just deep, deliberate breaths, tend to be a lot more obvious and noticeable, and thus would have been counter-productive for my specific purposes. No matter how much they helped me manage whatever physical pain I was feeling, they would have at the same time inevitably drawn attention to the fact that I was trying to do that at all in the first place....and thus only invite more pain. 

Merely digging my fingernails into my fingertip pads, not enough to draw blood or make me cry out or anything like that, but rather just to distract myself and deliberately focus me on a source of pain I could deal with and more easily handle, as well as being ‘low in intensity’ enough that focusing on it didn’t bring any other obvious visual or audio pain cues to the forefront.....that I could do without anyone noticing. And thus this is likely why it came to be my go-to move whenever I was in any kind of pain at all, as just a quick and easy way to wrap my head around my physical sensations and shift focus to something more easily dealt with or managed (even if it didn’t actually dismiss or get rid of whatever other pain I’m feeling entirely). And just the low-key nature of it in general likely being a big part of why it became such an unconscious instinct for me until now, something that barely even registered in my conscious mind as I built up/hard-wired instinctive responses that incorporated it without me having to consciously direct myself to do that.

I mean, its still obviously not an ideal response, especially when I’m long past being stuck in any kind of external situations or need to fall back on that and the covert nature of it. So now its another of those things to just be aware of and work on rewiring on an instinctive level, making it a priority for me to focus on consciously using more helpful and positive methods of pain management.

But it was just interesting to me to have it pointed out as something I’ve been doing all this time, let alone being as unaware of doing it as I’ve apparently been. And its not hard to draw obvious parallels to when characters in media I consume do similar things even if for not quite the same reasons or in quite the same ways. So now I’m just kinda contemplating that and wondering how much even just some degree of unconscious awareness that I do that might have made me more alert to when characters or other people do similar things. Made me more attuned to noticing or even fixating on moments when they do things like that, that I related to even on an entirely subconscious level.

*Shrugs* Anyway, that’s all, like, literally not going anywhere with this, was just unwinding and felt like mapping my way through that all contemplatively, because oh no, inexplicable strangeness, therapy puts me in particularly contemplative headspaces, whodathunkit, lmfao. *Shrugs* Just struck me as particularly interesting, so felt like sharing for anyone else who can relate/see similar parallels themselves.

Or just chalk it up to random anecdotal wtf-ery from your friendly (err, mostly. okay sometimes. FINE ideally, let’s go with that) neighborhood over-sharer. 

[narcis-the-monk]

FC5 GFH Tag

tagged by @chyrstis​ thank you soooooooo much!!!!!!!! This was a hell of a lot of fun, and I’m going to eventually do my other deputy as well. I went with Val the first time because I’ve been writing her for a minute now. ^^;; But this honestly helped me figure her out a little more, so thank you again <3

Deputy Valya Vitale

With Fangs for Hire:

     • Boomer: “Hey boy, you’re being a real good dog. I’m sure your folks know that.” / *patting her legs* “Who’s the best boy? Who’s the best dog that rips out peggie throats? That’s right!” *sound of laughter* “It’s you!” / “I fuckin’ love this dog.”      • Peaches: “Never been a cat person, but I’ll make an exception for you.” / “You think catnip works on cougars? I’m looking for some every place we check now.” / “Yes ma’am. You will absolutely get that treat I have for you when we stop next. I know you smell it.”      • Cheeseburger: “This is the best fuckin’ day of my life. I’m fighting with a bear. I think we’ll win.” / “I never knew what I needed in life was to pet a big ol’ grizzly bear. I mean, I’ve been hugged by bears before. Just not this kind. And I love it just as much, if not more.” / “Next time we stop to fish, I’m catching you so much food. Just for being you.”

With other Guns for Hire: Sharky      • “Hey Shark, remember when we got trashed down by the river? Pretty sure this is the spot. Cause I remember you puking there. And there. And me over there. And that’s where I lost my shoe. Hey! There’s my shoe! Small mysteries are solved each day.”      • “Hey buddy, how about if the enemy is say…whatever you’d rank a 3 out of 5 or higher…we don’t set it on fire?”      • “You won’t hear me say this one a lot, so appreciate it. But you were right. Fire was the answer.”      • “You are an absolute mad man and I love the shit out of you, but I need to fight upwind of you from now on. Smoke in my eyes and throat when I’m trying to scream in the face of some asshole that punched me in the tit isn’t what I’d call fantastic. Your aim is so much better now though.”

Grace      • “I’ll give you 20 bucks and my last good beer if you can shoot three peggies in the dick at the next outpost.” *when she’s met with silence* “Guessin’ that’s a no, then.”      • “You have the patience of a saint. I can’t wait even 30 seconds to let my food cool, let alone wait for some asshole to walk out from behind a pole. Fuckin’ amazin’.”

Hurk      • “Watch where you point that thing! And stop laughing, you know I’m not talking about your dick. That’s not an actual threat and we both know it.” *eventually starts laughing with him*      • “I ever tell you how much I love your stories? I never know how they’ll end. I love a good plot twist.”      • “Remember when you, me, and Shark got that moose drunk and we all spent the night in a tree? I’m pretty sure that moose remembers us. He is not a fan.”

Adelaide      • “You keep wonderin’ how they fuck—and that is a point of interest we can revisit later—but I’m wonderin’ how they do every day shit. Like, Jacob’s—does he hunt or does he fish? If he prefers hunting, that tells me big facts about him. They’re both about sittin’ and waiting, right? Schemin’ the right moment to move. One just makes you feel like a big boy, cause you get to hold a gun.  Hey, look at that. This time I left you speechless.”      • “Been considerin’ this for a minute, and if anyone ever asks I’ll deny it up and down and throw you under the bus all in one but…fuck Faith, marry Jacob, and kill Joseph. Last one was hard as fuck.”      • “I need you to just…stop talking for a while. Let’s say 30 minutes. 30 minutes of silence so my brain can finish bleaching itself. Thanks.”

Nick      • “You’re lucky you’ve got guns on that thing, or I’d be giving you a lot more shit about never putting your feet on the ground. I got literally nothin’ else to pick on you with that’s fair.”      • “So how different are planes from cars on a scale of one to ten? I’m just figurin’ out if some shit went wrong and you aren’t near…how fucked are we? Things to think about.”      • “You know, never really liked flyin’. My head’s in the clouds too much for my feet to be too. But I gotta say…you are damn good at it. Almost makes me wanna try. Almost.”

Jess      • “I mean, sure, its satisfying to line up the perfect shot from a mile away and nail it. I’ve been hunting, Jess. I’m just saying, for me personally, I’m a bigger fan of an oar or a baseball bat to the face when I can get it. Makes it personal, and all of this is very fuckin’ personal now.”      • “Look, I don’t like talkin’ about my feelings either, so I’m just gonna hug you.” *stalls after getting the evil eye but hugs quickly* “You are two feet tall and maybe ninety pounds. Like I’m scared of you this close up.”      • “If you were a part of breakfast, you’d be the coffee Jess. Dark and harsh, but great for a wakeup call.”

In Combat      • Seeing an enemy: “I’m on ‘em like flies on shit.” / “You got that one?”      • Sneaking: *mumbled string of ‘fuckfuckfuckfuckfuck’ whenever she moves a long distance* / “Man, fuck this sneaking shit right in the skull.”      • Killing an enemy: “Boo-fuckin-YAH bitch!” / *if you make your shot* “Hellyeah! That’s what I’m talkin’ about!”      • Reviving: “Nope. Not today. Gotta keep you on your feet.” / “Get the fuck up, it’s not the time for a lie down!”      • Hurt: “Well fuck me sideways. I’m alright, keep moving.” / “That’s definitely leavin’ a mark!” / “Oh go fuck yourself!”      • Downed: “Just need a minute here.” / “I think I need a hand up here!” / “Keep goin’, don’t waste time if you don’t got it.” Driving      • If asked to drive: “This may be the best decision you’ve made all day. Buckle up tight.” / “Alright, but seatbelts on or we don’t go anywhere at all.”      • Driving recklessly: “See, this is why I insist on seatbelts!” / “Slow the fuck down or you’ll fuck this car up! I ain’t seen another available ride in a minute!”      • Changing radio stations: “Will you settle on something? Oh, sorry, forgot where I was. Thought everything was normal and Shark was fiddlin’ with the radio again.” / “Cult’s fucked…but I’m okay with their music for the most part.”

Idle      • “Used to have a snake. He was a huge boa constrictor. He liked to kinda just wrap around me like I was a tree. It felt like the best hug there ever was.”      • “Did you know I grew up in Vegas? That place really is a constant party, even away from the strip if you know where to look. It’s not a great thing when you’ve got an addictive personality and prone to efforts of escapism. That’s why I moved out here. It’s pretty, its quiet, and the cost of gas to get anywhere is enough to deter the acquisition of drugs. So did working with Whitehorse. Man’s a saint. Reminds me of my Grandpa Conner—don’t tell him I said that. He’ll think I mean old.”      • “I taught myself how to be a mechanic. Books and experience, and it all started when my old truck broke down when I was 16. Couldn’t afford a mechanic, so I got my grandpa and some tools and learned a lesson that day. Then I had to learn the rest. I still have that old truck. Musta rebuilt that motherfucker from the ground up three times. Only a few things left of the original. But I’m a sentimental fool, and it was a gift.”      • “Callie says an eye for an eye makes the whole world blind. Well, she didn’t say it but she quotes it a lot. But I’m thinking…maybe this time, we all just need to be blind. We need a reason to step back and reassess and neither side is gonna be the first to do it. So I’m skeptically hopeful of our win, but still down with the blind thing.”

Location Specific      • In the Henbane region: “Hey, if we could avoid bliss as often as possible…that would be great. Shit makes me feel like I dropped acid non-consensually.” / “Hmmm…there’s the tinglies in my spine again. Where is that little bitch of a plant? I’m gonna rip it apart.”      • In the Whitetails: “If we get a chance, I'd like to swing by my place. Make sure things are fine. Grab some tools. Get Reggie's ashes, since these fucks don't have respect for dead people, they definitely won’t have respect for dead pets.” / “Man, I miss hiking. Well I mean, technically we’re hiking right now. I mean I miss hiking without the sounds of an actual war. Birds and wind and shit. I miss that. But this is good exercise too.”      • Near any body of water: “Please say maybe this time we’re just out to fish. No? Worth a shot. One of these days.” / “This county has the best fishin’ spots in the world, but the best one’s require a hike and some camping gear to really enjoy.” / “If they hadn’t started dumping bliss in everything, I’d say let’s go for a quick swim. The water here is never as cold as you think it is.”      • Fall’s End: “Mary May runs a tight ship, but she can throw a hell of a party.” / “Pastor Jerome set me up with AA when I first moved to the county. He’s a damn good man, and a great listener.” / “As stupid as it is, I look forward to the Testy Festy every year. Love a good tradition. Sometimes you just need something to look forward to, you know?”

I’m going to tag @deathvalleyqueen​ because I’d like to learn more about your characters, but you may have been tagged before. ^^;;;

Thank you so so much! I don’t think I have many people I can tag that haven’t already been, but consider it an open tag if you see it on your dash. <3