#there needs to be a rule book some where

[dracoangel]

Years ago, when I was creating my canon Inquisitor Alec Trevelyan for Dragon Age Inquisition, I was sent an Anon message saying that since I was a white woman I wasn’t allowed to make make a PoC character nor use a PoC as a facial reference. This was brought up because Alec was technically a inter-racial character (part Marcher, part Antivan) and I use Luke Evans as a facial reference (this was also about the time I changed my Hawke’s FC to Jason Momoa, but that was never brought up?).

I didn’t change anything about those two characters, but it always made me nervous about making any other PoC character or using a PoC face claim in any capacity.

So if you ever wondered why most my characters were white hetero women, thats why. I apparently don’t know the ‘rules’ of fandom and character creation and so to be safe and avoid anyone else coming at me, I stay in my lane. That’s also why the last LGBTQ+ character I created was Alec.

[dykedvonte]

I think it’s so ironic that the Pony Express escapes a lot if not all blame in discussion. I can’t even say I am excused from it but it’s just how hard people circle back to the characters alone without considering the environment they were made to be in.

Why would they design a ship where only two of the rooms lock? Not the bathroom? Not the sleeping quarters? We assume that all the companies in the universe are this shallow and careless to their workers but we explicitly know the Pony Express in extra vile. They are fed processed slop pack they can’t even really cook and the ration of those pack is meager at best. They hired and made people with a plethora of conflicting demeanors and beliefs work together on a mission where cohesion is important if not an outright necessity and punish them for not being happy about it. There’s no social protocols, not chain of command other than Captain’s word/choice and the only way to enforce that is with a literal firearm. They don’t allow them to celebrate freely and even took away leisure activities that would make them less stir crazy. They are only allowed a few hours of sleep despite their being no other real responsibilities or work on the ship, no matter the position or its importance. With any crew, with any level of synergy, this was a powder keg waiting for a spark.

I’m not saying characters that made mistakes didn’t make huge ones, but I think part of the horror is that at least for some (this is targeting Jimathan) those mistakes are partly made by a force of the hand. There’s a running theme of lack of choice and being forced into something and the very nature of how The Pony Express expected them to function plays a big part.

[benevolenterrancy]

Can I ask what was your first impression of TGCF and if it turned out wrong or right?

My first impression of TGCF was "this goof continuously ascends to -- and gets kicked out of -- heaven, this is going to be clown town isn't it?"

And honestly I stand by that one, I think I was completely correct**

(**barring the fact that this goof will then go on to experience ever conceivable horror known to man but honestly I mostly expected it after MDZS)

[goldkirk]

hey this isn’t aimed at anyone in particular but I’m saying it for the record here: if I tell you no, please stop messaging me about fundraisers and mutual aid.

I get enough messages that it’s impossible for me to keep up without devoting at least half an hour each day, when I’m not even on tumblr that long most days. Me having a boundary about this isn’t a moral failing, it’s a lifeboat for me on my own blog.

In my personal life I’m already advocating and donating literally as much as I can spare. This is not me not caring, it’s just me not willing to interact with that on the one place I go online to not interact with irl news and world events for the most part.

I cannot be upset all the time. I cannot be upset everywhere. I cannot use all my emotional and mental energy fielding my own upset from ongoing events. My options are to hold boundaries about this or stop coming online at all.

I’m all for sharing information and signal boosting to reasonable extents, but the scale of it this year is so large and so enduring that it is literally not possible to for me to participate on every account I have. I’ve previously shared links to Gaza eSIM donations and a major hub of verified Go Fund Mes here and elsewhere online. We, the online humans, know how to look those things up ourselves by now. There are many, many people choosing to do advocacy work, and right now, I can’t be one of them.

If you’re extremely upset when I tell you I can’t share/donate right now about a Gaza family or personal fundraiser you ask me to share here, just unfollow and block me. That’s what those buttons are for. Protect your own emotions and energy and get me off your feed instead of staying upset and continuing to engage with online people or content that upsets you.

Please don’t send repeated angry messages based on manufactured purity politics and moral outrage into my messages and inbox when I exercise the right to run my own blog.

[eternitas]

People need to fucking chill and realize that sometimes things they enjoy are not made for them, so they need to stop demanding it suddenly becomes a thing for them

people discovering steven universe in 2023 are always like "this show is really good why the hell were yall so weird about it"

[anistarrose]

Please don't tune out when you get to the non-partisan section of your ballot this November. First off, where state Supreme Court justices are elected, Republicans are trying their darndest to elect candidates who will destroy reproductive freedom, gut voting rights, and do everything in their power to give "contested" elections to Republicans. Contrast Wisconsin electing a justice in 2023 who helped rule two partisan gerrymanders unconstitutional, versus North Carolina electing a conservative majority in 2022, who upheld a racist voter ID law and a partisan gerrymander that liberal justices had previously struck down both of.

Second, local judicial offices will make infinitely more of an impact on your community than a divided state or federal legislature will. District and circuit courts, especially, are where criminalization of homelessness and poverty play out, and where electing a progressive judge with a commitment to criminal justice reform can make an immediate difference in people's lives.

It's a premier example of buying people time, and doing profound-short-term good, while we work to eventually change the system. You might not think there will be any such progressive justices running in your district, but you won't know unless you do your research. (More on "research" in a moment.)

The candidates you elect to your non-partisan city council will determine whether those laws criminalizing homelessness get passed, how many blank checks the police get to surveil and oppress, and whether lifesaving harm reduction programs, like needle exchanges and even fentanyl test strips, are legal in your municipality. Your non-partisan school board might need your vote to fend off Moms for Liberty candidates and their ilk, who want to ban every book with a queer person or acknowledgement of racism in it.

Of course, this begs the question — if these candidates are non-partisan, and often hyper-local, then how do I research them? There's so much less information and press about them, so how do I make an informed decision?

I'm not an expert, myself. But I do think/hope I have enough tips to consist of a useful conclusion to this post:

Plan ahead. If you vote in person, figure out what's on your ballot before you show up and get jumpscared by names you don't know. Find out what's on your ballot beforehand, and bring notes with you when you vote. Your city website should have a sample ballot, and if they drop the ball, go to Ballotpedia.

Ballotpedia in general, speaking of which. Candidates often answer Ballotpedia's interviews, and if you're lucky, you'll also get all the dirt on who's donating to their campaign.

Check endorsements. Usually candidates are very vocal about these on their websites. If local/state progressive leaders and a couple unions (not counting police unions lol) are endorsing a candidate, then that's not the end of my personal research process per se, but it usually speeds things up.

Check the back of the ballot. That's where non-partisan races usually bleed over to. This is the other reason why notes are helpful, because they can confirm you're not missing anything.

I've seen some misconceptions in the reblogs, so an addendum to my point about bringing notes on the candidates: I strongly suggest making those notes a physical list that you bring polling place with you. Many states do allow phones at the polling place, but several states explicitly don't — Nevada, Maryland, and Texas all ban phones, and that may not be an exhaustive list. There may also be states that allow individual city clerks to set policies.

You should also pause and think before you take a photo of your ballot, because even some states that don't ban phones still ban ballot photographs. But whether it's a photo, or just having your phone in general — in an environment as high-risk for voter suppression as the current one, you don't want even a little bit of ambiguity about your conduct. Physical notes are your friends.

[fuckyeahisawthat]

Controversial opinion among Dune book fans maybe, but I loved the changes they made to Chani's character. Making her a fedaykin who is already an experienced fighter before Paul arrives was a brilliant choice. Dune Part Two is a war movie, and this puts her at the center of the action, side by side with Paul, and gives her a much more active role than she has in the book.

We got a hint of where things were going in the beginning of Dune Part One. The first thing we ever know about movie Chani is that she's a fighter. She serves as a voice for the Fremen, telling us the story of their struggle from her point of view. I wrote here about the difference this change makes compared to other adaptations of Dune, what a perspective shift it is to have the world of Arrakis introduced not by an outsider, describing it as a dangerous but valuable colonial prize, but by one of its native inhabitants, who tells us before all else that it's beautiful, her home that she's fighting to liberate. I am so, so glad that the second movie followed up on this characterization.

I never found Chani and Paul's love story in the book particularly convincing, because why would this woman, who already has a prominent and respected place in Fremen society, even give the time of day to her deposed would-be colonizer, let alone fall in love and have children with him? Without a compelling reason for Chani to love Paul, she ends up feeling like a prize to be won, and "indigenous culture personified as a woman to be wooed (or conquered) by the colonizing man" is a trope we've seen and don't need to repeat.

But as soon as you tell me it's a barricade romance I get it. Cool cool cool, I know exactly what this relationship is now and it makes sense. Movie Chani doesn't respect or even particularly like Paul when she first meets him, and she doesn't think he's the fulfillment of any prophecy. She comes to respect him, and eventually love him, through his actions. He's brave--sometimes recklessly so. He fights well. He's willing to stick his neck out on the front lines with the other Fremen fighters. He can (after a little help) hack surviving in the harsh desert environment. He's not too proud to learn from others. He seems to genuinely want to be her equal in a common political struggle. All these qualities make sense as things she values.

Fighting side by side as equals is just about the only way I can see movie Chani falling for Paul. And it fits perfectly with the film's pattern of reversals that Paul's capacity for violence would initially be one of the things Chani likes about him, only for her to be repelled later when she sees what he becomes.

And as for Paul, well, he's had people deferring to him his entire life. Someone who doesn't take any shit from him is probably refreshing. He seems to like people (Duncan, Gurney) who challenge him and engage in a little friendly teasing--and aren't afraid to go a few rounds in the sparring ring.

It's easy to speedrun a romance when you're spending all your time together in mortal danger fighting for a shared political cause. Especially if you then start winning in a war your people have been fighting for decades. Are you kidding me? That is the perfect environment for intense battle camaraderie to turn into romantic love, and lust.

It makes sense that this version of Chani never believes Paul is any kind of messiah. Of course a character like movie Chani wouldn't believe in or trust some outside savior to liberate them. She's been working to liberate her own people for years. The more Paul invokes the messianic myth, the more he starts sounding once again like someone who plans to rule over them, and the more uncomfortable Chani becomes. In this way she becomes a foil to Jessica, the two of them representing the choices Paul is pulled between. It's a great way of externalizing the political and philosophical debates that often happen within characters' heads in the book.

And of course this version of Chani would leave Paul at the end of the film. It's not just the personal, emotional betrayal--although that stings. What common cause does she have with someone who just declared himself emperor and is sending her own people off in a war of conquest against others? Given the important role she plays in Dune Messiah, I am super curious to see how they get her back into the story, but girl was so valid for being willing to just gtfo. Given that she has the last shot of the whole movie, I'm sure she'll be back somehow, and I can't wait to see what they do with her character in any future installments.

[derinwrites]

The Three Commandments

The thing about writing is this: you gotta start in medias res, to hook your readers with action immediately. But readers aren’t invested in people they know nothing about, so start with a framing scene that instead describes the characters and the stakes. But those scenes are boring, so cut straight to the action, after opening with a clever quip, but open in the style of the story, and try not to be too clever in the opener, it looks tacky. One shouldn’t use too many dialogue tags, it’s distracting; but you can use ‘said’ a lot, because ‘said’ is invisible, but don’t use ‘said’ too much because it’s boring and uninformative – make sure to vary your dialogue tags to be as descriptive as possible, except don’t do that because it’s distracting, and instead rely mostly on ‘said’ and only use others when you need them. But don’t use ‘said’ too often; you should avoid dialogue tags as much as you possibly can and indicate speakers through describing their reactions. But don’t do that, it’s distracting.

Having a viewpoint character describe themselves is amateurish, so avoid that. But also be sure to describe your viewpoint character so that the reader can picture them. And include a lot of introspection, so we can see their mindset, but don’t include too much introspection, because it’s boring and takes away from the action and really bogs down the story, but also remember to include plenty of introspection so your character doesn’t feel like a robot. And adverbs are great action descriptors; you should have a lot of them, but don’t use a lot of adverbs; they’re amateurish and bog down the story. And

The reason new writers are bombarded with so much outright contradictory writing advice is that these tips are conditional. It depends on your style, your genre, your audience, your level of skill, and what problems in your writing you’re trying to fix. Which is why, when I’m writing, I tend to focus on what I call my Three Commandments of Writing. These are the overall rules; before accepting any writing advice, I check whether it reinforces one of these rules or not. If not, I ditch it.

1: Thou Shalt Have Something To Say

What’s your book about?

I don’t mean, describe to me the plot. I mean, why should anybody read this? What’s its thesis? What’s its reason for existence, from the reader’s perspective? People write stories for all kinds of reasons, but things like ‘I just wanted to get it out of my head’ are meaningless from a reader perspective. The greatest piece of writing advice I ever received was you putting words on a page does not obligate anybody to read them. So why are the words there? What point are you trying to make?

The purpose of your story can vary wildly. Usually, you’ll be exploring some kind of thesis, especially if you write genre fiction. Curse Words, for example, is an exploration of self-perpetuating power structures and how aiming for short-term stability and safety can cause long-term problems, as well as the responsibilities of an agitator when seeking to do the necessary work of dismantling those power structures. Most of the things in Curse Words eventually fold back into exploring this question. Alternately, you might just have a really cool idea for a society or alien species or something and want to show it off (note: it can be VERY VERY HARD to carry a story on a ‘cool original concept’ by itself. You think your sky society where they fly above the clouds and have no rainfall and have to harvest water from the clouds below is a cool enough idea to carry a story: You’re almost certainly wrong. These cool concept stories work best when they are either very short, or working in conjunction with exploring a theme). You might be writing a mystery series where each story is a standalone mystery and the point is to present a puzzle and solve a fun mystery each book. Maybe you’re just here to make the reader laugh, and will throw in anything you can find that’ll act as framing for better jokes. In some genres, readers know exactly what they want and have gotten it a hundred times before and want that story again but with different character names – maybe you’re writing one of those. (These stories are popular in romance, pulp fantasy, some action genres, and rather a lot of types of fanfiction).

Whatever the main point of your story is, you should know it by the time you finish the first draft, because you simply cannot write the second draft if you don’t know what the point of the story is. (If you write web serials and are publishing the first draft, you’ll need to figure it out a lot faster.)

Once you know what the point of your story is, you can assess all writing decisions through this lens – does this help or hurt the point of my story?

2: Thou Shalt Respect Thy Reader’s Investment

Readers invest a lot in a story. Sometimes it’s money, if they bought your book, but even if your story is free, they invest time, attention, and emotional investment. The vast majority of your job is making that investment worth it. There are two factors to this – lowering the investment, and increasing the payoff. If you can lower your audience’s suspension of disbelief through consistent characterisation, realistic (for your genre – this may deviate from real realism) worldbuilding, and appropriately foreshadowing and forewarning any unexpected rules of your world. You can lower the amount of effort or attention your audience need to put into getting into your story by writing in a clear manner, using an entertaining tone, and relying on cultural touchpoints they understand already instead of pushing them in the deep end into a completely unfamiliar situation. The lower their initial investment, the easier it is to make the payoff worth it.

Two important notes here: one, not all audiences view investment in the same way. Your average reader views time as a major investment, but readers of long fiction (epic fantasies, web serials, et cetera) often view length as part of the payoff. Brandon Sanderson fans don’t grab his latest book and think “Uuuugh, why does it have to be so looong!” Similarly, some people like being thrown in the deep end and having to put a lot of work into figuring out what the fuck is going on with no onboarding. This is one of science fiction’s main tactics for forcibly immersing you in a future world. So the valuation of what counts as too much investment varies drastically between readers.

Two, it’s not always the best idea to minimise the necessary investment at all costs. Generally, engagement with art asks something of us, and that’s part of the appeal. Minimum-effort books do have their appeal and their place, in the same way that idle games or repetitive sitcoms have their appeal and their place, but the memorable stories, the ones that have staying power and provide real value, are the ones that ask something of the reader. If they’re not investing anything, they have no incentive to engage, and you’re just filling in time. This commandment does not exist to tell you to try to ask nothing of your audience – you should be asking something of your audience. It exists to tell you to respect that investment. Know what you’re asking of your audience, and make sure that the ask is less than the payoff.

The other way to respect the investment is of course to focus on a great payoff. Make those characters socially fascinating, make that sacrifice emotionally rending, make the answer to that mystery intellectually fulfilling. If you can make the investment worth it, they’ll enjoy your story. And if you consistently make their investment worth it, you build trust, and they’ll be willing to invest more next time, which means you can ask more of them and give them an even better payoff. Audience trust is a very precious currency and this is how you build it – be worth their time.

But how do you know what your audience does and doesn’t consider an onerous investment? And how do you know what kinds of payoff they’ll find rewarding? Easy – they self-sort. Part of your job is telling your audience what to expect from you as soon as you can, so that if it’s not for them, they’ll leave, and if it is, they’ll invest and appreciate the return. (“Oh but I want as many people reading my story as possible!” No, you don’t. If you want that, you can write paint-by-numbers common denominator mass appeal fic. What you want is the audience who will enjoy your story; everyone else is a waste of time, and is in fact, detrimental to your success, because if they don’t like your story then they’re likely to be bad marketing. You want these people to bounce off and leave before you disappoint them. Don’t try to trick them into staying around.) Your audience should know, very early on, what kind of an experience they’re in for, what the tone will be, the genre and character(s) they’re going to follow, that sort of thing. The first couple of chapters of Time to Orbit: Unknown, for example, are a micro-example of the sorts of mysteries that Aspen will be dealing with for most of the book, as well as a sample of their character voice, the way they approach problems, and enough of their background, world and behaviour for the reader to decide if this sort of story is for them. We also start the story with some mildly graphic medical stuff, enough physics for the reader to determine the ‘hardness’ of the scifi, and about the level of physical risk that Aspen will be putting themselves at for most of the book. This is all important information for a reader to have.

If you are mindful of the investment your readers are making, mindful of the value of the payoff, and honest with them about both from the start so that they can decide whether the story is for them, you can respect their investment and make sure they have a good time.

3: Thou Shalt Not Make Thy World Less Interesting

This one’s really about payoff, but it’s important enough to be its own commandment. It relates primarily to twists, reveals, worldbuilding, and killing off storylines or characters. One mistake that I see new writers make all the time is that they tank the engagement of their story by introducing a cool fun twist that seems so awesome in the moment and then… is a major letdown, because the implications make the world less interesting.

“It was all a dream” twists often fall into this trap. Contrary to popular opinion, I think these twists can be done extremely well. I’ve seen them done extremely well. The vast majority of the time, they’re very bad. They’re bad because they take an interesting world and make it boring. The same is true of poorly thought out, shocking character deaths – when you kill a character, you kill their potential, and if they’re a character worth killing in a high impact way then this is always a huge sacrifice on your part. Is it worth it? Will it make the story more interesting? Similarly, if your bad guy is going to get up and gloat ‘Aha, your quest was all planned by me, I was working in the shadows to get you to acquire the Mystery Object since I could not! You have fallen into my trap! Now give me the Mystery Object!’, is this a more interesting story than if the protagonist’s journey had actually been their own unmanipulated adventure? It makes your bad guy look clever and can be a cool twist, but does it mean that all those times your protagonist escaped the bad guy’s men by the skin of his teeth, he was being allowed to escape? Are they retroactively less interesting now?

Whether these twists work or not will depend on how you’ve constructed the rest of your story. Do they make your world more or less interesting?

If you have the audience’s trust, it’s permissible to make your world temporarily less interesting. You can kill off the cool guy with the awesome plan, or make it so that the Chosen One wasn’t actually the Chosen One, or even have the main character wake up and find out it was all a dream, and let the reader marinate in disappointment for a little while before you pick it up again and turn things around so that actually, that twist does lead to a more interesting story! But you have to pick it up again. Don’t leave them with the version that’s less interesting than the story you tanked for the twist. The general slop of interest must trend upward, and your sacrifices need to all lead into the more interesting world. Otherwise, your readers will be disappointed, and their experience will be tainted.

Whenever I’m looking at a new piece of writing advice, I view it through these three rules. Is this plot still delivering on the book’s purpose, or have I gone off the rails somewhere and just stared writing random stuff? Does making this character ‘more relateable’ help or hinder that goal? Does this argument with the protagonists’ mother tell the reader anything or lead to any useful payoff; is it respectful of their time? Will starting in medias res give the audience an accurate view of the story and help them decide whether to invest? Does this big twist that challenges all the assumptions we’ve made so far imply a world that is more or less interesting than the world previously implied?

Hopefully these can help you, too.

[captainfantasticalright]

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

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

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

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

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

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

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

On collaborating together:

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

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

Terry shortly mentions,

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

Neil says,

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

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

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

More about the writing process:

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

The book was under way.

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

From the introduction to William the Antichrist:

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

It felt like a story with legs.

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

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

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

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

But the spirit of Just William was never far away.

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

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

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

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

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

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

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

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

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

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

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

[ms-demeanor]

Hello,Do you have any tips for recovering from internet brain rot? It's like my patience has dried up and if there's a huge amount of text (even about topics I'm very interested in) that I have to read, I get annoyed and just don't interact with the material at all.

I have multiple tips!

TL;DR (Because of course I generated a wall of text): Take a break from the internet, create a schedule for getting yourself used to reading longer texts, take breaks while reading, and perhaps reconsider how you interact with The Internet and the world in general.

Here are the basic "to reduce the brain rot just don't interact" tips:

Take a break. Give yourself time off from The Internet (for these purposes The Internet is the social media industrial complex; clickbait news, recommended videos, social media sites, etc. You don't have to totally check out of email or your local news site, just get away from the huge time sucks). I'd say to take at least one day a week where you're online for less than an hour a day, and to maybe work up to doing a week-long break from whatever the main agents of rot are.

Once you've identified the main agents of rot, give yourself a time limit or set up rules for yourself. I don't let myself look at social media in bed, for instance; no staying up late on my phone, no scrolling before I get up and start my day. I don't give myself a strict time limit anymore, but for a while there I was very firm about "you only get to go online 4 hours a day" with myself.

Don't comment (or at least only share the things you really want to share). If you feel the need to argue, or if you feel pressured into sharing something, don't. Step back, maybe even open the post in a new tab or send it to yourself, and come back later. If you've been thinking about it and have decided it IS something you care enough to talk about, share it. If you look at the tab and feel stressed out or still feel reactive, close the tab and walk away.

Go out and interact with the real world in a non-work capacity for a few hours a week; take walks or go shopping or go out and take pictures of insects. Touch grass so that The Internet is not the only thing you're doing with your downtime.

Here are the "work on reading longer texts specifically" tips:

Set a reading goal for yourself. Maybe you want to read one New Yorker article a week, maybe you want to read all the way through news articles, maybe you want to read novels like you used to in high school. Figure out what your actual goal is and articulate that goal to yourself.

Set up a practice schedule and gradually increase the amount of time you're reading. Don't go from short tumblr posts to a novella, go from short tumblr posts to slightly longer news articles, then to slightly longer essays, then to a novella. You can do this in literal paragraphs if you want to - maybe your goal for your first day is to read five paragraphs in a row, and the second day is seven, and the third day is ten, etc, until you are comfortably reading for longer amounts of time without counting paragraphs. (Try this with books from gutenberg.org; read a classic you haven't read a few paragraphs at a time and if you find yourself going over your paragraph count, let yourself run with it. If you finish a book, good for you, find another one and start again.)

Set up a maintenance schedule. If your goal is to read longer news pieces, try to read a longer piece every week and try to read to the end of every news article you open. If your goal is to read novels or longer nonfiction, try to read a book a month (maybe setting aside dedicated time each week to read, maybe Thursday evenings are book time now). If you find yourself falling back into old habits, take a break from The Internet and do some more rigorous practice for a while.

If you find yourself getting frustrated while you are reading you can also take a break! Read until you get frustrated and then *instead of switching to a different page or closing the article* close your eyes or look out the window or away from the screen for thirty seconds (count 'em! count out the time in your head) and then continue reading. You can also take a longer pause and sit and think about why you're getting frustrated. Is it the subject matter? Is it just looking at this text for longer than a couple minutes (if you are experiencing FOMO because you're reading for another few minutes instead of scrolling, the harder tips at the bottom are going to be important to you)? Are you comfortable? Are you reading this text to procrastinate from something and the procrastination is making you nervous? Are you trying to read to the bottom of your dash and reading a long post is taking up more time than you want while scrolling? Are you bored? Genuinely and very seriously: are your eyes straining and does your head hurt (if this is the case when is the last time you had your eyes checked or your glasses prescription updated)?

Here are the much harder "examine yourself and reassess your reactions to things" tips:

Work on re-training your attention span.

Identify something that you enjoy and find deeply engaging, and schedule some dedicated time for that thing. Set a literal timer (it can be a short amount of time at first) and sit down and do the thing without switching to a different website or opening up an app on your phone. This can be re-reading or watching a couple episodes of a show you like or listening to your favorite album while you sit down and draw. What's important is to spend a longer time focusing on doing something you DO like before attempting to spend a longer time focusing on something you DON'T like.

When you're starting on things you DON'T like, start with things you mildly don't like, or that feel tedious but aren't actually unpleasant. One way I do this is by transcribing poetry; I look up poems that I connect to and I transcribe them into a notebook that I have for that purpose. I enjoy having the finished product, but I don't enjoy the process, so it takes some effort to stick with it. Maybe there is a boring book you have been trying to get through, maybe you need to detail your car, maybe you've been trying to take up embroidery - these are good things to make yourself pay attention to (having music or a podcast on can help, but avoid watching videos or opening social apps)

When you're okay at that kind of thing (doing something not actively unpleasant) work on your attention span for things you ACTIVELY don't like. I don't think you should be a masochist about this, but you should work on being okay with doing unpleasant things for a sustained period of time. All of us have to do unpleasant stuff sometimes, and it's better to be able to pay attention to it for an hour at a time than it is to put it off forever.

This leads into the next Big Tip which is:

Work on being less reactive

Find something that you dislike; I'm going to use conservative talk radio as my example.

Expose yourself to the disliked thing for short periods of time (under ten minutes, maybe under five minutes).

Work on moderating your emotions during the time spent exposed to the disliked thing. If it makes you angry, work on intellectualizing the anger without becoming agitated by it. If it makes you sad, work on accepting that sadness without letting it drag down your mood. This isn't precisely about becoming numb to stimuli, but it is about being more in control of how your emotional reactions impact you.

Analyze the disliked thing. Why does it make you angry? Is that on purpose by the creator of the thing? Would it make someone else angry in the same way? How would you explain the anger to a neutral third party?

Consider responding instead of reacting. Let's say you're seeing a lot of very sad and upsetting things online and it's making you sad and upsetting you. You re-share these things because you don't feel like there's anything else you can do or you get angry when you see people sharing incorrect information, perhaps you argue with people about this. Now try looking at the upsetting things through the lens of point number four. This has upset you; how has it upset you? And once you've thought about how it upset you and have articulated that to yourself, find out what you can DO. I cannot make conservative talk radio go off the air, but I can support the groups harmed by conservative talk radio; thus there is no point in me getting upset and angry about conservative talk radio when I could be helping the people they target instead.

And that gets us to the last big tip which is:

Ask yourself if you are spending your time in a way that is enjoyable and edifying.

We all have limited time in our days and limited time in our lives. If you are finding yourself frequently frustrated online, it's a good time to consider whether you want to be spending so much time online.

If you feel like The Internet has become a rat race in which you can't read more than a few paragraphs without getting frustrated, there's a good chance that not only are you spending too much time on The Internet, but you're also spending it on doing things that you don't particularly like.

A realization like yours, Anon, that you are getting frustrated with any longer texts, can actually be really helpful because it provides a good opportunity to look at what you're engaging with and consider the questions:

Is this something I enjoy?

Do I feel good when I do this thing?

And that's a great way to figure out how to get rid of things that are leading to your background frustration. Maybe that looks like paring down the list of blogs you follow, maybe that looks like unsubscribing from some youtubers and podcasts, maybe that looks like uninstalling apps, maybe that looks like blocking a whole bunch of people and terms on your socials.

I don't think that everything we do has to help us grow as a person or expand our consciousness or anything like that, but I do think it's important to prioritize doing things that you like and doing things that you feel good about.

Like, I'm not doing something *wrong* if I spend an afternoon on Youtube watching drama channels every once in a while, but if I come out of a few afternoons of watching youtube drama channels feeling restless and anxious and like I wasted my time - even if I enjoyed myself while I was watching - it's probably a good idea for me to take a break from drama channels and see if there's something I can do instead that will make me feel better.

ALSO, A NOTE:

You are an animal that requires significant enrichment in your enclosure.

Think about tigers. Tigers in captivity are going to be excited to get high-value treats for any reason. They will eat and enjoy the treats. But if a tiger in captivity is only given the treats and never given any other form of activity to engage with, it is not going to be a happy tiger. If you start putting their treats in a pumpkin or a puzzle feeder or giving them toys to play with, that is going to be a much happier tiger.

Please give your brain things to play with that are more than just treats (though it does need some treats!). Make yourself a happy tiger. Your brain need a puzzle feeder, not a treat button.

[she-who-fights-and-writes]

“Show, Don’t Tell”…But This Time Someone Explains It

If you’ve ever been on the hunt for writing advice, you've definitely seen the phrase “Show, Don’t Tell.”

Writeblr coughs up these three words on the daily; it’s often considered the “Golden Rule” of writing. However, many posts don't provide an in-depth explanation about what this "Golden Rule" means (This is most likely to save time, and under the assumption that viewers are already informed).

More dangerously, some posts fail to explain that “Show, Don’t Tell” occasionally doesn’t apply in certain contexts, toeing a dangerous line by issuing a blanket statement to every writing situation. 

The thing to take away from this is: “Show, Don’t Tell” is an essential tool for more immersive writing, but don't feel like a bad writer if you can’t make it work in every scenario (or if you can’t get the hang of it!)

1. What Does "Show, Don't Tell" Even Mean?

“Show, Don’t Tell” is a writing technique in which the narrative or a character’s feelings are related through sensory details rather than exposition. Instead of telling the reader what is happening, the reader infers what is happening due to the clues they’ve been shown.

EXAMPLE 1:

Telling: The room was very cold. Showing: She shivered as she stepped into the room, her breath steaming in the air.

EXAMPLE 2:

Telling: He was furious. Showing: He grabbed the nearest book and hurled it against the wall, his teeth bared and his eyes blazing.

EXAMPLE 3 ("SHOW, DON'T TELL" DOESN'T HAVE TO MEAN "WRITE A LOT MORE")

Telling: The room hadn't been lived in for a very long time. Showing: She shoved the door open with a spray of dust.

Although the “showing” sentences don’t explicitly state how the characters felt, you as the reader use context clues to form an interpretation; it provides information in an indirect way, rather than a direct one.

Because of this, “Show, Don’t Tell” is an incredibly immersive way to write; readers formulate conclusions alongside the characters, as if they were experiencing the story for themselves instead of spectating. 

As you have probably guessed, “showing” can require a lot more words (as well as patience and effort). It’s a skill that has to be practiced and improved, so don’t feel discouraged if you have trouble getting it on the first try!

2. How Do I Use “Show, Don’t Tell” ?

There are no foolproof parameters about where you “show” and not “tell" or vice versa; it’s more of a writing habit that you develop rather than something that you selectively decide to employ.

In actuality, most stories are a blend of both showing and telling, and more experienced writers instinctively switch between one and another to cater to their narrative needs. You need to find a good balance of both in order to create a narrative that is both immersive and engaging.

i. Help When Your Writing Feels Bare-Bones/Soulless/Boring

Your writing is just not what you’ve pictured in your head, no matter how much you do it over. Conversations are stilted. The characters are flat. The sentences don’t flow as well as they do in the books you've read. What’s missing?

It’s possibly because you’ve been “telling” your audience everything and not “showing”! If a reader's mind is not exercised (i.e. they're being "spoon-fed" all of the details), your writing may feel boring or uninspired!

Instead of saying that a room was old and dingy, maybe describe the peeling wallpaper. The cobwebs in the corners. The smell of dust and old mothballs. Write down what you see in your mind's eye, and allow your audience to formulate their own interpretations from that. (Scroll for a more in-depth explanation on HOW to develop this skill!)

ii. Add More Depth and Emotion to Your Scenes

Because "Show, Don't Tell" is a more immersive way of writing, a reader is going to feel the narrative beats of your story a lot more deeply when this rule is utilized.

Describing how a character has fallen to their knees sobbing and tearing our their hair is going to strike a reader's heart more than saying: "They were devastated."

Describing blood trickling through a character's fingers and staining their clothes will seem more dire than saying: "They were gravely wounded."

iii. Understand that Sometimes Telling Can Fit Your Story Better

Telling can be a great way to show your characters' personalities, especially when it comes to first-person or narrator-driven stories. Below, I've listed a few examples; however, this list isn't exclusive or comprehensive!

Initial Impressions and Character Opinions

If a character describes someone's outfit as "gaudy" or a room as "absolutely disgusting," it can pack more of a punch about their initial impression, rather than describing the way that they react (and can save you some words!). In addition, it can provide some interesting juxtaposition (i.e. when a character describes a dog as "hideous" despite telling their friend it looks cute).

2. Tone and Reader Opinions

Piggybacking off of the first point, you can "tell, not show" when you want to be certain about how a reader is supposed to feel about something. "Showing" revolves around readers drawing their own conclusions, so if you want to make sure that every reader draws the same conclusion, "telling" can be more useful! For example, if you describe a character's outfit as being a turquoise jacket with zebra-patterned pants, some readers may be like "Ok yeah a 2010 Justice-core girlie is slaying!" But if you want the outfit to come across as badly arranged, using a "telling" word like "ridiculous" or "gaudy" can help set the stage.

3. Pacing

"Show, don't tell" can often take more words; after all, describing a character's reaction is more complicated than stating how they're feeling. If your story calls for readers to be focused more on the action than the details, such as a fight or chase scene, sometimes "telling" can serve you better than "showing." A lot of writers have dedicated themselves to the rule "tell action, show emotion," but don't feel like you have to restrict yourself to one or the other.

iv. ABOVE ALL ELSE: Getting Words on the Page is More Important!

If you’re stuck on a section of your story and just can’t find it in yourself to write poetic, flowing prose, getting words on the paper is more important than writing something that’s “good.” If you want to be able to come back and fix it later, put your writing in brackets that you can Ctrl + F later.

Keeping your momentum is the hardest part of writing. Don't sacrifice your inspiration in favor of following rules!

3. How Can I Get Better at “Show, Don’t Tell”?

i. Use the Five Senses, and Immerse Yourself!

Imagine you’re the protagonist, standing in the scene that you have just created. Think of the setting. What are things about the space that you’d notice, if you were the one in your character’s shoes?

Smell? Hear? See? Touch? Taste?

Sight and sound are the senses that writers most often use, but don’t discount the importance of smell and taste! Smell is the most evocative sense, triggering memories and emotions the moment someone walks into the room and has registered what is going on inside—don’t take it for granted. And even if your character isn’t eating, there are some things that can be “tasted” in the air.

EXAMPLE:

TELLING: She walked into the room and felt disgusted. It smelled, and it was dirty and slightly creepy. She wished she could leave. SHOWING: She shuffled into the room, wrinkling her nose as she stepped over a suspicious stain on the carpet. The blankets on the bed were moth-bitten and yellowed, and the flowery wallpaper had peeled in places to reveal a layer of blood-red paint beneath…like torn cuticles. The stench of cigarettes and mildew permeated the air. “How long are we staying here again?” she asked, flinching as the door squealed shut. 

The “showing” excerpt gives more of an idea about how the room looks, and how the protagonist perceives it. However, something briefer may be more suited for writers who are not looking to break the momentum in their story. (I.e. if the character was CHASED into this room and doesn’t have time to take in the details.)

ii. Study Movies and TV Shows: Think like a Storyteller, Not Just a Writer

Movies and TV shows quite literally HAVE TO "show, and not tell." This is because there is often no inner monologue or narrator telling the viewers what's happening. As a filmmaker, you need to use your limited time wisely, and make sure that the audience is engaged.

Think about how boring it would be if a movie consisted solely of a character monologuing about what they think and feel, rather than having the actor ACT what they feel.

(Tangent, but there’s also been controversy that this exposition/“telling” mindset in current screenwriting marks a downfall of media literacy. Examples include the new Percy Jackson and Avatar: The Last Airbender remakes that have been criticized for info-dumping dialogue instead of “showing.”)

If you find it easy to envision things in your head, imagine how your scene would look in a movie. What is the lighting like? What are the subtle expressions flitting across the actors' faces, letting you know just how they're feeling? Is there any droning background noise that sets the tone-- like traffic outside, rain, or an air conditioner?

How do the actors convey things that can't be experienced through a screen, like smell and taste?

Write exactly what you see in your mind's eye, instead of explaining it with a degree of separation to your readers.

iii. Listen to Music

I find that because music evokes emotion, it helps you write with more passion—feelings instead of facts! It’s also slightly distracting, so if you’re writing while caught up in the music, it might free you from the rigid boundaries you’ve put in place for yourself.

Here’s a link to my master list of instrumental writing playlists!

iv. Practice, Practice, Practice! And Take Inspiration from Others!

“Show Don’t Tell” is the core of an immersive scene, and requires tons of writing skills cultivated through repeated exposure. Like I said before, more experienced writers instinctively switch between showing and telling as they write— but it’s a muscle that needs to be constantly exercised!

If I haven’t written in a while and need to get back into the flow of things, I take a look at a writing prompt, and try cultivating a scene that is as immersive as possible! Working on your “Show, Don’t Tell” skills by practicing writing short, fun one-shots can be much less restrictive than a lengthier work.

In addition, get some inspiration and study from reading the works of others, whether it be a fanfiction or published novel!

If you need some extra help, feel free to check out my Master List of Writing Tips and Advice, which features links to all of my best posts, each of them categorized !

Hope this helped, and happy writing!

[sunderwight]

SV fic where Luo Bingge discovers that Shen Jiu had a long-lost half-brother or something, and subsequently decides that he's going to infiltrate the minor sect which this "Shen Yuan" belongs to in order to get close to him and then indulge in revenge fantasy 2.0 when it inevitably turns out that Shen Yuan is like Shen Jiu (i.e. a horrible abusive scum teacher).

So Bingge uses some magical object or technique or other, makes himself look like a scrawny 12-14 year old, then puts himself in Shen Yuan's path in hopes of convincing the man to take him on as a disciple. The idea being that after Shen Yuan abuses him, Bingge will be justified in reenacting his Shen Qingqiu Revenge Arc again and maybe finally feeling some closure about the whole thing.

Yes, this is a very deranged plan. No, no one is going to tell the emperor of the three realms that. Bingge also wants it to be clear that this has nothing whatsoever to do with his recent escapade in an alternate universe, except that he was inspired to find Shen Jiu's relative as a consequence of that. But he's absolutely sure that this guy is going to turn out just as rotten as his brother, given the opportunity. That is definitely the only reason he is doing this!

Flash forward about four years. Bingge's retainers are begging on their knees for him to actually come back and do some administrative work. The harem is running itself at this point and they're all very terrified of the situation with Liu Mingyan and Sha Hualing (i.e. ruling with lesbian iron fists) and whatever the heck Ning Yingying is up to (no one is certain but it's something). The outer provinces are rebelling. Mobei Jun's somehow found another weird human surnamed Shang to cavort with, except this one is basically running admin for the entire northern kingdom now and no one's even sure if they're fucking or if it's some kind of mind control situation or what.

Bingge is annoyed. He doesn't have a good explanation for why a bunch of demon lords would be showing up on the doorstep of Tiny Cultivation Sect to beg him for anything. They're going to spoil his cover! And they're interrupting his schedule! It's already four o'clock and he hasn't started on Shizun's dinner yet! Shoo! Get lost!

Anyway, eventually some of his demon followers get desperate and dramatically kidnap him. Shen Yuan is horrified and grieved when it seems that his precious disciple, so like white lotus Luo Binghe from the novel, has been captured by demons. He tries to track the assailants down, but they've covered their tracks too well. In the end, there's only one path left to him to pursue: taking this matter to the protagonist!

Yes, the protagonist! Because the thing is, Shen Yuan noticed the similarities between his disciple and the book character he so admired. Not only that, but he did manage to glimpse Bingge one time from afar. It wasn't anywhere near to a real interaction, but it was enough for him to notice the strong resemblance between the protagonist and the mistreated little lamb who showed up at his doorstep. A resemblance for which there can only be one explanation:

Shen Yuan's disciple is one of Binghe's kids!

Yes, he had it figured out since fairly early on. Not only was there a resemblance, and not only were their dispositions quite similar, but also the boy showed a lot of signs of some demonic heritage. Shen Yuan was just working up to broaching the subject, partly because he had been trying to avoid any direct or even indirect interactions with the emperor, and partly because he... became somewhat reluctant to part ways with his student. Sue him! He got attached! And anyway, he knew how missing child plots usually went. There was probably someone in the harem who was out for his disciple's blood, and it wouldn't be safe to send him back into that mess until he was strong enough to look after himself.

But as is inevitable, the plot seems to have reclaimed Shen Yuan's student all on its own.

He just... needs to make sure that it isn't a tragic outcome. It seems it falls on him to make the emperor aware of his son's survival, and subsequent peril, and help launch a rescue!

Which also means approaching Luo Binghe in person, which he knows is very risky indeed, due to his connection to the infamous Shen Qingqiu! He'd been avoiding the protagonist at all costs for that exact reason.

But if it's his only hope of rescuing his disciple, he will simply have to take the risk, and hope that enough time has passed that Luo Binghe doesn't read too much into a shared surname and a passing resemblance. Or that restoring the emperor's long-lost son to him will be worth seem lenience for the crime of being connected to Shen Qingqiu. Maybe if he's lucky, he will even be allowed to continue visiting his disciple! (Ha, yeah right! More likely, Luo Binghe's going to take his head for hiding his own kid from him for so long!)

Anyway, cue Luo Bingge running around swapping between his Emperor and Disciple forms, dramatically trying to orchestrate a situation where he can fake the emperor's death and go back to the sect with Shizun as his disciple, or something, only for it all to blow up in his face because Shen Yuan keeps flinging himself between Bingge and potentially fatal threats that could plausibly kill him???

[thoughtssvt]

first times with nanami kento

cw : hand holding, kissing, oral, blow jobs, cunnilingus, vaginal fingering, vaginal penetration, creampie, aftercare, gender neutral reader with AFAB terminology in reference to genitals

formatted in a half headcanon half fic style

nanami kento is a gentleman.

nanami kento is the type to be direct with things he wants. he’d wait outside of your place of work so he could walk you home. asking you to wait a moment as you stepped on ahead of him just so he could ask you if it was alright to hold your hand.

nanami kento didn’t steal kisses. his eyes would linger on your face as his heart swelled and skipped a beat. his fingers would dance over your knuckles, “may i kiss you?” he’d ask just above a whisper, only moving to cup your face in his hands when you squeaked a yes. he’d always asked for kisses every time after that. “you don’t have to ask every time,” you giggled nonchalantly like you were teasing him with no real bite to it. his ashen brows would furrow. “of course i do.” he’d wave his hand in dismissal as you stuttered an explanation. “with me you will get used to it,” and you did.

nanami kento seemed to be playing by the rules of some unspoken book. he was a gentleman but after countless dates that always began with permission to hold your hand and ended with a gentle kiss you were beginning to wonder if he was even attracted to you.

you’d come up with a plan to take things to the next step. you’d invited him in, refusing to let the date end with a parting kiss in the frame of your front door. you’d kept the pleasantries before the two of you ended up on your living room couch. “is it alright if i kiss you?” he asked like you heard countless times before and like all the other times you said yes. this time you sat a little closer, this time you rested your hand on his thigh. “i want to… do something tonight,” you’d said with pink tinted cheeks to which kento had listened intently. “well, go on,” he said gently, the corner of his lips tugging into a smirk that sent fire flooding into your gut. he’d taken your hand in his, motioning you to stand, setting a pillow down in front of him before leading you between his legs.

nanami kento was big.

you’d just about cursed, screaming in your head how he should’ve warned you about how big he was before you got between his legs, but he was patient. he cupped your face in his palm as you kissed down his shaft, his breath hitching as you licked a steady stripe from the base of his cock right to the tip. he lent you a stable hand at the nape of your neck and for a moment you were worried that he would push you down further, make you take more of his length. it had you rubbing your thighs together, your core growing wet, but you couldn’t really decide if you were disappointed or not when he made no effort to stretch your mouth. as you bobbed your head up and down you’d realized that he was reminding you that he was there with you in the moment. you didn’t need to take more than you could handle if you didn’t want to. with your nerves at ease a newfound excitement grew in your chest. you reveled in the sounds he made. the soft huffs and “fucks” especially the, “you’re doing so good for me, taking me so good it’s driving me crazy.”

you’d looked up at him with half lidded eyes, both of you panting softly. it was his turn to please you.

nanami kento gave you one simple instruction. “lay back and feel good.”

he caged you between his body and the bed, lips intertwining with yours in a heated kiss. humming deep in his chest as he trailed them down your body. just for that moment while his tongue was busy circling your nipples he’d let you look away from him, throw your arm across your eyes because you don’t know if you’ve ever felt something this good.

“keep your eyes on me,” he whispered from where he laid between your bare legs. “watch me,” he rasped as he planted soft kisses along your inner thigh, each getting closer and closer to your heat. you couldn’t help the whine that escaped you as your eyes met and he leaned in to rest his tongue on the growing wet spot of your underwear. he paused for a second, his eyes fluttered closed, the softest moan buzzing through his lips as he savored his first taste of you.

“can you lift your hips for me?” he asked when he was done teasing and you could no longer discern your wetness from his saliva. your hips snapped up almost embarrassingly quick. it was then that you realized what little he’d done had already turned your legs to jelly, your thighs shaking as he pulled the fabric off you so painstakingly slow, though not without a word of praise for how good you did.

nanami kento liked to take his time, you’d realized. he pressed his tongue firmly against your sex, leisurely mapping out each fold, softly hushing you as you bucked your hips when he’d gotten just close enough to your clit but not quite there. he’ll get there, he reassured you. licks then became open mouthed kisses, contented hums soon following as he sunk lower to your weeping hole. he tasted it on his hips first before dipping a relaxed muscle against your entrance. he moaned. much louder than any of his previous sounds.

nanami kento liked to take his time, but that didn’t mean that he could always hold himself back. one taste of you from the source had him in a daze. he couldn’t help himself from moving up to lave at your clit, coaxing more of your sweetness out and onto the sheets below you. you were suspended in a deliciously torturous rhythm of gentle sucks against your bud and his tongue fucking into your slick entrance. he intertwined your hand with his as your shot down toward him when the pleasure became too much, resting your clasped hands on your hips as he continued to eat.

nanami kento was greedy, but that would come some other time. one of these days he’ll spend a whole work day between your legs, a thumb rubbing circles onto your clit so he’d have an endless supply of your nectar. for now he had something else in mind. he opened you up on his fingers, tongue swirling spirals around your sensitive button. when you came he refused to slow his movements until your legs twitched uncontrollably and your moans just about turned into whimpers of pain. he pulled away slowly, licking his lips clean before slipping his fingers out of you, taking his time to lick each digit clean wanting to get as much of you as he could get.

“i’d like to do that again, but i’m assuming you only have one more in you,” he whispered in your ear with a smug grin and he was right. all you wanted now was to be filled with him.

he propped himself up on his left forearm, placing it in the space between your head and your shoulder as he gathered your slick onto his cock, sliding between your folds, letting your body prepare for his intrusion. he’d kept a close eye on you as he pushed in, letting out a shaky breath as the head of his cock popped in. his free hand found its place on the other side of your head as he slipped in inch by inch, immediately stopping at the slightest sign of discomfort.

he forced himself to stop the growl that rumbled within him when he reached the hilt, stopping to wait for your comfort. you were milking him as your body adjusted to his size. he was torn, unable to decide whether he should look away from you to calm his instincts or keep his eyes on you because he didn’t want to miss a single second of this moment. he chose the latter.

his movements were gentle when you assured him that you were okay and that he could move. he’d started with minute rolls of his hips, then short shifts of his hips out and in until all the discomfort dissipated from your face and your whimpers turned into enticing moans. he’d rested his weight onto his forearms, clasping his hands under your head as he craned his neck down to press his lips against yours, his hips moving in sync with your body, thrusts picking up the pace when he knew your moans yearned for more.

nanami kento trusted you when you stuttered for him to cum inside. he’d give you anything you wanted, especially this. he licked the pad of his thumb, bringing it down to toy with your clit as he kept the pace of his thrusts. he fucked you through your orgasm, slowing when his own hit and he began filling you with warm spurts. he snapped his hips with every upstroke making sure to fill you like you wanted. he only pulled out when he began to feel his erection flagging, cooing a shush as you gasped softly, overstimulation uncaring of the fact that he was pulling out and had no further plans of continuing.

you barely noticed his momentary absence until he was between your legs again with a warm wash cloth gently cleaning you up. he massaged your sore hips, letting your legs naturally straighten as the muscles relaxed. he wiped down the rest of your body with another cloth, draping a soft blanket over both of your bodies when he was done. he wrapped an arm around your waist, pulling you into him. he slowly introduced the conversation of what you liked and what you didn’t like– one list dramatically shorter than the other. the air around you comfortable, soft giggles making your shoulders bounce as your legs tangled together.

you’d confessed that you were beginning to think that he wasn’t attracted to you, which he vehemently denied despite your assurance that you now knew that wasn’t the case. you’d figured out that nanami kento was a gentleman. he wouldn’t dare do anything that would make you uncomfortable, but once he was given the opportunity he would show you just how much he desired you.

A/N : ooo this is the first nsfw piece i'm posting on here how exciting. I hope you enjoyed!

nanami hc pt. 1 | nanami x reader masterlist

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[actiniumwrites]

𝐂𝐑𝐔𝐒𝐇

synopsis: wriothesley finds out you have a crush on someone and somehow manages to guess it’s on literally everyone but himself

characters: wriothesley x gn!reader

wc: 1.4k

warnings: fluff, a tiny pinch of angst and insecurity, my poor attempt at humor, slight miscommunication, friends to lovers, coworkers to lovers, swearing, first time writing for wriothesley so he might be ooc

notes: i almost made this angst to fluff but then decided i need to stop adding angst into literally everything i write (even though there’s like a tiny pinch of angst in here too 🙄). anyway, wriothesley is a lot harder to write than i thought he would be so i apologize if he seems ooc here

“Heard you gotta crush on someone,” Wriothesley teases as he walks into his office where you sit on one of his couches. You don’t even hear him walk in, too engaged in the book you were reading to pass time until you had to go through hundreds of inmate records to find something Neuvillette had requested.

His declaration is so sudden it almost makes you spit out the tea you had stolen from him.

Your eyes go wide as you stare at where he moves to lean against the front of his desk, arms crossed and waiting for an answer with that stupid smirk of his, “Hey now, that tea is expensive, so don’t go wasting it, okay?”

“Who told you about that?” you press for answers, a hint of anger in your voice as you ignore his previous statement about the tea. He had plenty to spare anyway.

Wriothesley’s smirk widens a bit, “So it is true.”

Damn him.

You don’t even bother trying to make an excuse, knowing your best friend all too well. He’d pick apart your words like weeds in a garden, finding meaning in them that you hadn’t even intended.

“And what if it is true?” you cross your arms defensively, glaring at him from across the room.

“At least tell me who it is,” he says as he rests his palms on the wooden desk behind him. When you don’t give in to his pleading, he playfully scoffs, “Oh c’mon, I’m your best friend! It’s kinda an obligation for you to tell me these things.”

You turn away, fixating your gaze on a nearby wall adorned with some weird painting he had hung awhile back, “Oh yeah? Since when? Last I checked there aren’t any rule books for being friends with someone. I don’t have to tell you a damn thing.”

“It’s Neuvillette, isn’t it?” he smiles knowingly. Perhaps that was why you were always the one receiving tasks from the Chief Justice instead of him — a guess at best, but enough evidence to convince him Neuvillette was the one.

No, you idiot. It’s you.

You snap your head back toward him, “What? No! I don’t like Neuvillette…not like that, at least. He’s nice and all, but I don’t think I’d be able to date the guy.”

“Damn, I really thought I had that one,” Wriothesley mumbles in defeat, pushing himself off the desk and instead moving to walk around the room as he thinks. It scares you. The fact that he’s so particular with facts and little details that it’s only a matter of time before he collects all the pieces to the puzzle and figures out he’s the one you like. What would he say when that happens? “Too nice, huh? So you like someone a little colder, then.”

Damn it, he got you again!

You don’t answer him.

“Not even going to try to deny it?”

“No,” you grumble to yourself, slumping further into the couch, “you’re only going to dig further anyway.”

He gives a satisfied hum, “Right, so it’s Clorinde then. I mean c’mon, we don’t get a lot of visitors, so it has to be her. She fits the description too.”

You exhaustedly sigh and swipe a hand over your face dramatically, done with his antics, “It’s not her either. And there is no ‘description.’”

He perks up in a way that makes you way too uncomfortable, “Navia?”

“No, I’ve never even met her aside from like one time two years ago,” you refute, sliding further down on the couch to fully lie down and shut your eyes, “I don’t get why you’re so excited over this.”

Wriothesley thinks for a moment before squinting his eyes, “Don’t tell me you have a crush on a prisoner?”

You teasingly peek an eye open while leaning back to look at him, “And if I did?”

“You better not,” he warns, pointing a stern finger at you like you were a prisoner and not his coworker.

You laugh to yourself at his sudden change of mood, “Relax, I was only joking!”

“Not funny,” he says unamused, prepared to pull out the prison’s rule book and slap it over your head if you did, “I’m really runnin’ out of people here.”

“Yeah, okay,” you say sarcastically, resisting the urge to roll your eyes, “thousands of people live in Fontaine. You’ll figure it out eventually.”

You really hope he doesn’t.

The following ten minutes consist of Wriothesley irritatingly pacing around the room and mumbling all sorts of names to himself. Some of which you recognized, others you had never even heard of before. And, despite all of your countless no’s to his guesses, he never gives up. Nor does he realize the answer is right in front of him.

“Just give it up already,” you finally interrupt as he stops in front of you.

A heavy sigh falls from Wriothesley’s lips as he collapses onto the couch, narrowly missing where your legs were outstretched. Defeatedly, he lays his head against the back of the sofa, shutting his eyes as he thinks a little harder. “Oh my god,” he says suddenly, head shooting up to look at you, “…don’t tell me.”

No way. Did he figure it out?

Your breath captures in your throat as his eyes flicker back and forth between your own, searching for some sort of truth. He knows. Your best friend knows that you have feelings for him — and not just the platonic kind.

His brows furrow and his face morphs into one of disgust. It makes your heart drop; the way he’s looking at you.

He doesn’t feel the same way.

“I can’t believe it,” he clicks his tongue in disgust, crossing his arms and turning his attention away from you, “you like Furina.”

Your jaw drops to the floor and suddenly you don’t feel bad anymore, “I actually can’t believe you just said that. Archons, I think you need to visit Sigewinne. I mean, seriously! Furina? Of all people!”

He grins and shrugs carelessly, “I don’t know? She was the last person I could think of.”

“Something is seriously wrong with you.”

“Clearly not so wrong that I couldn’t figure out that the person you actually like is me.”

“Oh please, I don’t even—wait, what? You knew?!”

A boisterous laugh erupts suddenly as you stare at him with wide eyes. You sit up on the couch quickly, slapping his shoulder as he continues to laugh, “Sorry, sorry!”

You don’t find it amusing, “I—when did you figure it out?”

His laugh eventually subsides into a drawn out sigh and his blue eyes soften a bit as they gaze into your own, “I’m not an idiot, you know? I wouldn’t be running this place if I was.”

“Right,” you mumble awkwardly, averting your gaze from his, “so, um, were you just doing all that to lighten the mood so you could let me down easily or…?”

“Or…what?” Wriothesley mocks you, a playful smirk pulling at his lips.

You roll your eyes with a scoff, “don’t make me say it.”

He spares you, luckily. It’s unlike him, but he doesn’t care to joke with you any longer when the subject is so serious, “Yes, I feel the same way. Is that what you wanted to hear?”

“No, I totally wanted to hear you say you hate me and want me dead,” you say sarcastically, trying to fight a smile.

“I’m being serious, I really do like you,” Wriothesley presses, ignoring the way you’re becoming awkward from the nervousness floating in the air.

You finally exhale the breath you had been guarding in your chest, relieved that this didn’t go as horribly as you once thought it would.

The alarm sounding for dinner goes off after and you both stand from your places on the couch, “So what do we do now that that’s out of the way?”

Wriothesley falls into step next to you, holding the doors to his office open to let you out first, “We have our first date in the cafeteria, of course.”

Your face drops and you stop in your tracks to glare at him, “That better be a joke.”

He laughs it off quickly, not thinking you’d take it so seriously. Eagerly, he grabs your hand tightly in his as he pulls you to the exit of the Fortress, “Relax, I’m just teasing you! You deserve only the best, after all.”

“You are so annoying.”

“Only for you, sweetheart.”

[homunculus-argument]

One of the most fun character concepts that I've had that I've never been able to fit into anything is The Most Appropriate Socialite Lady. Nobody dislikes her, but she is, indeed, very Appropriate, always seeming to do everything precisely to social etiquette, even according to social rules that nobody else knew were a thing. If there is a protocol to how to behave or respond in any given situation, no matter how obscure or how long ago it was that this was written down in some Refined Society Etiquette Book, she'll know it. So she is a bit old-fashioned sometimes, but not in a regressive way.

Every time there's a situation where nobody actually knows what the right way to respond would be, they quietly glance at her, because either she knows exactly how to handle this, or if the situation truly is without precedent, her educated guess of what should be done must be the right one. Someone might even write it down for a future etiquette book, of how This Most Polite Well-Mannered Lady responded to this awkward situation.

She doesn't judge people, and is never rude about people breaking Good Manner Rules on purpose (as pointing out someone doing so would be impolite), but the way she seems genuinely surprised and confused whenever someone breaks the protocol that nobody else might even been aware of makes people feel self-conscious or awkward sometimes. And she politely pretends to not notice that. She is very kind, very sweet, but also extremely Appropriate.

So even if this isn't a Victorian style gentlemanly "fine ladies are fragile and must be sheltered from the world"-style society by default, people still feel the need to behave well and be on their best formal behaviour around her, not out of fear of judgement but because she genuinely is that way and nobody wants to upset her. And if someone who doesn't give a shit about protocols upsets her on purpose by deliberately doing something that's fucking rude, they'll be discreetly moved to a different location before getting the shit beat out of them because fuck you for upsetting her.

The thing is, she's actually just autistic as hell. She originally started reading up on social etiquette as a way of masking, but it became a special interest for her, and she isn't just thrilled to teach you how to properly fold a napkin to help you better fit in to the Refined Society, but because she fucking loves infodumping. She's not trying to set herself apart, gatekeep, judge others or show off how she's better than you (like many others of her background would), she just genuinely enjoys having explicitly and clearly written rules and instructions on how to behave in society.

Also the tactful and graceful way in which she doesn't pay notice to veiled insults, or people accidentally saying something insulting to her, isn't always an act. A lot of the time she genuinely just does not notice.

[ellecdc]

It's always Grumpy! Regulus who is soft just for reader, but what about about Sunshine!reader who is grumpy just for him 🥺

I broke one of my cardinal rules for this fic; I made the reader *pauses for dramatic affect*.... a Lupin ✊😔 this was such a cute idea though hahaha I love sunshine reader trying so hard to be a grump [also struggling a litttttllllleeeee bit with some writers block so please let me know if anything feels awkward - idk how to feel about my writing right now!]

Regulus Black x Lupin!reader who is the sunshine to his clouds [922 words]

p1 // p2

CW: talking about wringing someone's neck out, siblings

Remus was interrupted from his reading by his boyfriend psst-ing across a few tables in an attempt to garner your attention.

“Hey! Trouble!” He whisper-shouted, causing you to look up with an arched eyebrow, though you still had your ever present smile adorning your face.

“Blink twice if you need help, okay?” Sirius continued, earning him a good natured roll of your eyes.

“I’m fine, Pads; there’s no need to worry.” You responded at regular volume, causing Sirius to look around suspiciously as if he didn’t trust the very few patrons of this section of the library - none of which were paying the three of you any mind - with this information. 

“Listen, I love my brother as much as the next person, but- I mean, really? A Black? Surely you can do better.” Sirius informed you solemnly.

“Sirius…are you saying that my brother can do better, too?”

Sirius nodded quickly, apparently happy that you were finally getting it. “Yes! That’s why I sunk my claws into him early, he can’t escape me now; we basically live together and share all of our friends.”

Remus lowered his book to give his boyfriend a sideways glance, whilst you just continued beaming at him. 

Though he didn’t necessarily approve of the way Sirius was going about his questioning, Remus couldn’t help but sort of agree with Sirius. Not that you could do better, per se, but that the pairing of you - the youngest Lupin - and Regulus - the youngest Black - made absolutely no sense. 

Remus was happy for you, both of you, really! He wasn’t the kind of older brother that was rearing to fight any and all of your potential suitors; he wanted you to be happy, and if it was Regulus Black who made you happy, then he was more than happy for it.

But that didn’t mean he understood it.

Were he and Sirius quite different from one another? Sure. 

Where Sirius was all hard edges and brashness, Remus was careful and exuded gentleness. Where Sirius was black clothes and flashy smiles, Remus was oversized jumpers and quiet remarks. Where Sirius was collected and suave, Remus was awkward and understated.

But for all that was completely opposite between the two of them, they had nearly just as much in common. 

They both loved the same kind of music, they both loved pranking, they both loved a good house party, and they both loved their younger siblings. 

But one would be hard pressed to find any similarity between the two of you. 

Regulus was all quiet stoicism with a moody persona, while you were eager and effervescent. Regulus was snide and, well, kind of rude, while you were generous and compassionate. Regulus was gloomy, while you were all sun.

Remus wasn’t sure you even had a negative bone in your body; you’d been disturbingly sweet growing up (as a big brother, he was always looking for reasons to despise you only to come up empty) and he couldn’t imagine how someone as bitter as Regulus could find his way in your orbit, nor you into his.

Yet with this, Regulus came hustling into the library muttering something under his breath as he let his bag fall to the table with a loud thunk.

Sirius and Remus shared a concerned and slightly uneasy look, while you seemed to sit up impossibly straighter; Remus was certain that if you were a dog that your tail would be wagging. 

“He is such a git.” Regulus hissed as his arse finally hit the seat, and your mouth opened comically as you leaned over the table as if vying for a secret.

“Who!?” You asked earnestly, your warm eyes searching Regulus’ cool ones for any clues. 

“Sodding McLaggen! Thinks he’s Merlin’s gift to the entire wizarding world or something.”

“Bastard.” You muttered in camaraderie, and both Remus and Sirius reared their heads back at the use of such language coming from their kind and sweet little sister (and sister-in-law, as Sirius already calls you).

“I could’ve wrung his neck out, I swear.” Regulus continued as he pulled his books out of his bag and you quickly made room on your table for him to spread his homework out too. 

“What was stopping you?” You asked him, and Remus and Sirius both looked at each other with furrowed brows as if saying “are you hearing this!?” 

“I didn’t think you’d be particularly happy should I miss our study date in order to attend detention with the likes of Potter.” He muttered, ensuring the sneer James’ surname as if it were a dirty word.

Your eyes flit over to Remus and Sirius and they could see the laughter in them as you tried to keep your lips in their dutiful downturned-ness. 

“Well, it would have been a noble reason I suppose.” 

Regulus made a sound somewhere between a hum of acknowledgement and a groan as he ran a hand through his hair.

“Don’t worry, Reg; I’m sure McLaggen will be a wanker again tomorrow. You can wring his neck out then.” You assured him whilst looking down at your book, but as you lifted your hand to turn a page, Regulus’ hand quickly enveloped yours and brought it to his lips. 

“Je t’aime, mon étoile.” He murmured into your knuckles, and your grumpy persona was gone so quickly that Remus wondered if it was ever there to begin with, and you were left instead with a (far more natural) beaming smile. 

Sirius made a theatrical gagging sound, but Remus couldn’t help but smile; perhaps the two of you made more sense than he thought.