#tips on writing sequels

[3hks]

hi, I'm writing a book right now and I know it will take more than 2 books. I'm one third of the way finished with the first book but I already know that the second book will introduce another cast of characters. I really want to write about those characters and want to start on the sequel more than the first book. Do you have any tips or advice?

Hello! Thank you so much for asking! I'll be honest; I haven't received many questions about this topic, but here is my advice! For starters, I personally would wait until I finished the first book. However, you mentioned that there is another cast and if the second book works as a standalone, I wouldn't be against starting it early.

When it comes to writing sequels, it's important to have a good idea of how all the books will come together and the arcs that connect them! Since it's the second book you're talking about, I'd consider it incredibly important to at least have the ending of the first book down so you know where to build on.

If you don't already have all your ideas for the sequel down, I suggest working on them as an alternative to actually starting it, for there can really be no sequel if the first book remains unfinished.

Overall, I love that you're planning to introduce new characters in the later books--it makes the story feel fresher. Building onto that, it's important to introduce new aspects, such as character dynamics, settings, higher stakes, or conflicts, from book to book! My final piece of advice is to try to incorporate foreshadowing and such. This is because when writing a sequel, you have more time and room to revisit any foreshadowing in future books. This connection will intrigue and hook your readers, leaving them wanting more from your series!

Let me know if this helped!

Happy writing~

3hks :)

[physalian]

8 Signs your Sequel Needs Work

Sequels, and followup seasons to TV shows, can be very tricky to get right. Most of the time, especially with the onslaught of sequels, remakes, and remake-quels over the past… 15 years? There’s a few stand-outs for sure. I hear Dune Part 2 stuck the landing. Everyone who likes John Wick also likes those sequels. Spiderverse 2 also stuck the landing.

These are less tips and more fundamental pieces of your story that may or may not factor in because every work is different, and this is coming from an audience’s perspective. Maybe some of these will be the flaws you just couldn’t put your finger on before. And, of course, these are all my opinions, for sequels and later seasons that just didn’t work for me.

1. Your vague lore becomes a gimmick

The Force, this mysterious entity that needs no further explanation… is now quantifiable with midichlorians.

In The 100, the little chip that contains the “reincarnation” of the Commanders is now the central plot to their season 6 “invasion of the bodysnatchers” villains.

In The Vampire Diaries, the existence of the “emotion switch” is explicitly disputed as even existing in the earlier seasons, then becomes a very real and physical plot point one can toggle on and off.

I love hard magic systems. I love soft magic systems, too. These two are not evolutions of each other and doing so will ruin your magic system. People fell in love with the hard magic because they liked the rules, the rules made sense, and everything you wrote fit within those rules. Don’t get wacky and suddenly start inventing new rules that break your old ones.

People fell in love with the soft magic because it needed no rules, the magic made sense without overtaking the story or creating plot holes for why it didn’t just save the day. Don’t give your audience everything they never needed to know and impose limitations that didn’t need to be there.

Solving the mystery will never be as satisfying as whatever the reader came up with in their mind. Satisfaction is the death of desire.

2. The established theme becomes un-established

I talked about this point already in this post about theme so the abridged version here: If your story has major themes you’ve set out to explore, like “the dichotomy of good and evil” and you abandon that theme either for a contradictory one, or no theme at all, your sequel will feel less polished and meaningful than its predecessor, because the new story doesn’t have as much (if anything) to say, while the original did.

Jurassic Park is a fantastic, stellar example. First movie is about the folly of human arrogance and the inherent disaster and hubris in thinking one can control forces of nature for superficial gains. The sequels, and then sequel series, never returns to this theme (and also stops remembering that dinosaurs are animals, not generic movie monsters). JP wasn’t just scary because ahhh big scary reptiles. JP was scary because the story is an easily preventable tragedy, and yes the dinosaurs are eating people, but the people only have other people to blame. Dinosaurs are just hungry, frightened animals.

Or, the most obvious example in Pixar’s history: Cars to Cars 2.

3. You focus on the wrong elements based on ‘fan feedback’

We love fans. Fans make us money. Fans do not know what they want out of a sequel. Fans will never know what they want out of a sequel, nor will studios know how to interpret those wants. Ask Star Wars. Heck, ask the last 8 books out of the Percy Jackson universe.

Going back to Cars 2 (and why I loathe the concept of comedic relief characters, truly), Disney saw dollar signs with how popular Mater was, so, logically, they gave fans more Mater. They gave us more car gimmicks, they expanded the lore that no one asked for. They did try to give us new pretty racing venues and new cool characters. The writers really did try, but some random Suit decided a car spy thriller was better and this is what we got.

The elements your sequel focuses on could be points 1 or 2, based on reception. If your audience universally hates a character for legitimate reasons, maybe listen, but if your audience is at war with itself over superficial BS like whether or not she’s a female character, or POC, ignore them and write the character you set out to write. Maybe their arc wasn’t finished yet, and they had a really cool story that never got told.

This could be side-characters, or a specific location/pocket of worldbuilding that really resonated, a romantic subplot, whatever. Point is, careening off your plan without considering the consequences doesn’t usually end well.

4. You don’t focus on the ‘right’ elements

I don’t think anyone out there will happily sit down and enjoy the entirety of Thor: The Dark World.  The only reasons I would watch that movie now are because a couple of the jokes are funny, and the whole bit in the middle with Thor and Loki. Why wasn’t this the whole movie? No one cares about the lore, but people really loved Loki, especially when there wasn’t much about him in the MCU at the time, and taking a villain fresh off his big hit with the first Avengers and throwing him in a reluctant “enemy of my enemy” plot for this entire movie would have been amazing.

Loki also refuses to stay dead because he’s too popular, thus we get a cyclical and frustrating arc where he only has development when the producers demand so they can make maximum profit off his character, but back then, in phase 2 world, the mystery around Loki was what made him so compelling and the drama around those two on screen was really good! They bounced so well off each other, they both had very different strengths and perspectives, both had real grievances to air, and in that movie, they *both* lost their mother. It’s not even that it’s a bad sequel, it’s just a plain bad movie.

The movie exists to keep establishing the Infinity Stones with the red one and I can’t remember what the red one does at this point, but it could have so easily done both. The powers that be should have known their strongest elements were Thor and Loki and their relationship, and run with it.

This isn’t “give into the demands of fans who want more Loki” it’s being smart enough to look at your own work and suss out what you think the most intriguing elements are and which have the most room and potential to grow (and also test audiences and beta readers to tell you the ugly truth). Sequels should feel more like natural continuations of the original story, not shameless cash grabs.

5. You walk back character development for ~drama~

As in, characters who got together at the end of book 1 suddenly start fighting because the “will they/won’t they” was the juiciest dynamic of their relationship and you don’t know how to write a compelling, happy couple. Or a character who overcame their snobbery, cowardice, grizzled nature, or phobia suddenly has it again because, again, that was the most compelling part of their character and you don’t know who they are without it.

To be honest, yeah, the buildup of a relationship does tend to be more entertaining in media, but that’s also because solid, respectful, healthy relationships in media are a rarity. Season 1 of Outlander remains the best, in part because of the rapid growth of the main love interest’s relationship. Every season after, they’re already married, already together, and occasionally dealing with baby shenanigans, and it’s them against the world and, yeah, I got bored.

There’s just so much you can do with a freshly established relationship: Those two are a *team* now. The drama and intrigue no longer comes from them against each other, it’s them together against a new antagonist and their different approaches to solving a problem. They can and should still have distinct personalities and perspectives on whatever story you throw them into.

6. It’s the same exact story, just Bigger

I have been sitting on a “how to scale power” post for months now because I’m still not sure on reception but here’s a little bit on what I mean.

Original: Oh no, the big bad guy wants to destroy New York

Sequel: Oh no, the big bad guy wants to destroy the planet

Threequel: Oh no, the big bad guy wants to destroy the galaxy

You knew it wasn’t going to happen the first time, you absolutely know it won’t happen on a bigger scale. Usually, when this happens, plot holes abound. You end up deleting or forgetting about characters’ convenient powers and abilities, deleting or forgetting about established relationships and new ground gained with side characters and entities, and deleting or forgetting about stakes, themes, and actually growing your characters like this isn’t the exact same story, just Bigger.

How many Bond movies are there? Thirty-something? I know some are very, very good and some are not at all good. They’re all Bond movies. People keep watching them because they’re formulaic, but there’s also been seven Bond actors and the movies aren’t one long, continuous, self-referential story about this poor, poor man who has the worst luck in the universe. These sequels aren’t “this but bigger” it’s usually “this, but different”, which is almost always better.

“This, but different now” will demand a different skillset from your hero, different rules to play by, different expectations, and different stakes. It does not just demand your hero learn to punch harder.

Example: Lord Shen from Kung Fu Panda 2 does have more influence than Tai Lung, yes. He’s got a whole city and his backstory is further-reaching, but he’s objectively worse in close combat—so he doesn’t fistfight Po. He has cannons, very dangerous cannons, cannons designed to be so strong that kung fu doesn’t matter. Thus, he’s not necessarily “bigger” he’s just “different” and his whole story demands new perspective.

The differences between Empire Strikes Back and Return of the Jedi are numerous, but the latter relies on “but bigger” and the former went in a whole new direction, while still staying faithful to the themes of the original.

7. It undermines the original by awakening a new problem too soon

I’ve already complained about the mere existence of Heroes of Olympus elsewhere because everything Luke fought and died for only bought that world about a month of peace before the gods came and ripped it all away for More Story.

I’ve also complained that the Star Wars Sequels were always going to spit in the face of a character’s six-movie legacy to bring balance to the Force by just going… nah. Ancient prophecy? Only bought us about 30 years of peace.

Whether it’s too soon, or it’s too closely related to the original, your audience is going to feel a little put-off when they realize how inconsequential this sequel makes the original, particularly in TV shows that run too many seasons and can’t keep upping the ante, like Supernatural.

Kung Fu Panda once again because these two movies are amazing. Shen is completely unrelated to Tai Lung. He’s not threatening the Valley of Peace or Shifu or Oogway or anything the heroes fought for in the original. He’s brand new.

My yearning to see these two on screen together to just watch them verbally spat over both being bratty children disappointed by their parents is unquantifiable. This movie is a damn near perfect sequel. Somebody write me fanfic with these two throwing hands over their drastically different perspectives on kung fu.

8. It’s so divorced from the original that it can barely even be called a sequel

Otherwise known as seasons 5 and 6 of Lost. Otherwise known as: This show was on a sci-fi trajectory and something catastrophic happened to cause a dramatic hairpin turn off that path and into pseudo-biblical territory. Why did it all end in a church? I’m not joking, they did actually abandon The Plan while in a mach 1 nosedive.

I also have a post I’ve been sitting on about how to handle faith in fiction, so I’ll say this: The premise of Lost was the trials and escapades of a group of 48 strangers trying to survive and find rescue off a mysterious island with some creepy, sciency shenanigans going on once they discover that the island isn’t actually uninhabited.

Season 6 is about finding “candidates” to replace the island’s Discount Jesus who serves as the ambassador-protector of the island, who is also immortal until he’s not, and the island becomes a kind of purgatory where they all actually did die in the crash and were just waiting to… die again and go to heaven. Spoiler Alert.

This is also otherwise known as: Oh sh*t, Warner Bros wants more Supernatural? But we wrapped it up so nicely with Sam and Adam in the box with Lucifer. I tried to watch one of those YouTube compilations of Cas’ funny moments because I haven’t seen every episode, and the misery on these actors’ faces as the compilation advanced through the seasons, all the joy and wit sucked from their performances, was just tragic.

I get it. Writers can’t control when the Powers That Be demand More Story so they can run their workhorse into the ground until it stops bleeding money, but if you aren’t controlled by said powers, either take it all back to basics, like Cars 3, or just stop.

—

Sometimes taking your established characters and throwing them into a completely unrecognizable story works, but those unrecongizable stories work that much harder to at least keep the characters' development and progression satisfying and familiar. See this post about timeskips that take generational gaps between the original and the sequel, and still deliver on a satisfying continuation.

TLDR: Sequels are hard and it’s never just one detail that makes them difficult to pull off. They will always be compared to their predecessors, always with the expectations to be as good as or surpass the original, when the original had no such competition. There’s also audience expectations for how they think the story, lore, and relationships should progress. Most faults of sequels, in my opinion, lie in straying too far from the fundamentals of the original without understanding why those fundamentals were so important to the original’s success.

[creativepromptsforwriting]

What is... a sequel hook?

A sequel hook is an ending that is not a definite ending, like a happy ending or an "everybody dies" ending. It leaves room for a possible next part of the story to unfold.

While still giving the reader some closure, the sequel hook leaves some plot points unresolved. In some cases these are subtle things, like a question that wasn't really answered or a side character that has an interesting journey ahead of them that the audience wouldn't find out more about in this one story. But that leaves the option for the author to see if there is some interest and then write a sequel to answer the question or to follow that side character and make them the star.

In some cases these hooks are anything but subtle and basically tell the audience that there will be more, that this story is not finished. And the writer actual does leave the story unfinished.

But if the story now never gets a sequel then this could ruin an otherwise interesting story.

[insipid-drivel]

Horses: Since There Seems To Be An Even Wider Knowledge Gap Than I Anticipated

...And actually find it really exciting that I have a reason to expand and address some comments and questions from my first post!

This is a sequel/addition to my original post, "Horses: Since There Seems To be A Knowledge Gap". I want to address more horse-related knowledge gaps, common misinformation and mistakes made by well-meaning and very skilled creators that wouldn't know otherwise unless they worked with horses directly. You should not have to work hands-on with horses to learn some of this stuff, but the fact remains that horse facts and riding knowledge is often underdiscussed and usually only shared by other people that work with/around horses. A lot of this information should be within easier reach for writers and artists, too!

Before I begin, I'd like to thank all of you that politely reached out in the comments, tags, and my DMs/asks with your thoughtful additions to details I forgot/left out/hadn't even considered, and your brave questions posed to me personally that I was more than happy to answer. I'm truly thankful to all of you who contributed with a positive energy, or that had the courage to reach out to me - the OP - with questions my first post didn't manage to help you with. I will never punish, shame, or otherwise mistreat anyone who comes to me with an earnest question or correction in good faith, anonymous or not. If you're polite to me, I will be polite to you. I will try my hardest to answer questions I may not have much experience with, but I will still do my best to research the answers so you don't have to, and tag/cite/refer you to people, books, or other knowledge sources that have more answers and experience than I do if I can't.

So, what more is there to know about writing and portraying horses? I'll just get started off the top of my head with some of the most frequent additions other tumblr horse folk have been hollerin' at me about, and with good reason, because you guys were right to point out what you did and really got me thinking!

-Spurs: My Second Take. In my original post, I voiced my personal distaste for the use of spurs in riding. Spurs, for those who don't know, were traditionally made as sharp metal pinwheels that attached to the back of riding boots for enhanced communication between the rider and the horse, much like how riding crops are used. I, personally, have had a lot of bad experiences seeing riders misuse spurs to hurt horses that I cared for as a stable hand and genuinely loved, and so I've been very shut down about the topic of spurs for many years.

Several people spoke up in defense of spurs as riding and communication tools, and I honestly believe that you guys were very on-point and made some great arguments: Spurs are only as harmful to horses as the intent the rider has in applying them, and I didn't have enough updated information about the different types of spurs that can be used nowadays that are not designed to be sharp or uncomfortable for the horse! I always grew up around traditional Cowboy-style spurs, which are sharp, stabby, star-shaped wheels, and can wound a horse and draw blood if used too aggressively. Tragically, most inexperienced and newer riders will use spurs too forcefully and wind up hurting the horse, and it's largely because new riders are inherently scared of riding, and over-rely on tools like spurs and crops rather than trust the horse to know what it's doing and be intelligent enough to know how to care for a human rider's safety.

Now, I've since learned that there are spurs with rubber wheels, blunted tips like those on the ends of safety-fencing foils, round metal bumpers instead of spurs at all, and even spurs that sport rotating metal balls that just feel (to the horse) like someone rolling a large ball-point pen over their sides, and more! So, to those of you that spoke up in tags and comments, thank you for doing so in a way that got me to open my own mind and check myself and my bad memories. You guys taught me something really cool and valuable that genuinely changed my perspective and opinions, and that's a really good thing!

-A Group Of Zombies/Unarmed Humans Can Take Down A Healthy Adult Horse. This is specifically aimed at The Walking Dead, but... yeah, you know the second episode when Rick rides a horse into the zombie-overrun Atlanta and the only way he's able to survive is when the zombies are distracted taking down and eating his obviously-jello-and-rubber horse?

Yeah, no. That is not how it would happen. At all. I think any biologists in the audience would back me up on that.

See, horses are prey animals, and they are herbivores. We're often used to thinking of herbivorous prey animals as shy, retiring, vulnerable animals that will simply keel over and die of fright when cornered by a predator. In reality, the opposite is often the case! Predatory animals tend to be much more shy, and much more cautious with their physical safety and wellbeing than prey animals tend to be, and that's usually because predators need to be able to remain uninjured and able-bodied enough to hunt again later, or else they and their babies may starve to death. Prey animals, especially herbivores, have evolved to deal with being hunted, and inherently don't need to be quite as healthy and able-bodied as a predator in order to avoid starving in the wild. Grass and leaves don't run away or try to fight back (unless it's like, poison oak or something), so an herbivore can generally recover from more environmental beatings than a predator typically can.

When cornered, horses very often only understand one thing: Murder. That's why you need horse whisperers and stable hands that know how to "gentle" a panicked horse as essential personnel at boarding and teaching ranches. While a horse can absolutely love and adore even the smallest of children and never harm them (at least intentionally - accidents happen), they can and absolutely will kill in order to defend themselves if running isn't an option. Horses can kick with up to 2,000lbs/907kg of force with their back legs. That's enough to break bones, shatter skulls, insta-kill grown men, and if you're kicked in the chest? Cause spontaneous cardiac arrest. Horses kick so hard and so fast they can literally make your heart stop from the speed and force of the impact alone: not from tissue damage. Horses will also paw and stomp with their front hooves until the Threatening Thing is effectively a mincemeat pancake, bite hard enough to take off fingers and hands, and can even cat-jump into the air off all four hooves in order to kick outward with all four legs at once. Spanish cavalry officers traditionally trained their horses to cat-jump on command in order to prevent them and their horse from being surrounded by footsoldiers in battle.

Horses will also use their body weight to roll, crush, scrape, and flatten anything or anyone that they don't want holding onto them. They will use environmental objects like trees, fences, or the corners of buildings to scrape unwanted hangers-on off into bloody smears (my mom's horse actually did this to a guy twice and he wound up in the ER with severe lacerations, bruises, splinters, and worse). Basically: a horse will use its entire body and the weight that comes with it as well as the entire world around it to fucking OBLITERATE anything they see as an unavoidable threat to their safety.

Without heavy-duty ropes, weapons, or tools, a group of adult, living, human men the size of football (the fake kind) linebackers wouldn't be able to successfully wrestle a fully-grown, panicked horse to the ground, much less a bunch of undead, mostly-decomposing zombies that only know how to bite and scratch. The horse Rick is riding on looks like it's probably a Quarterhorse, too. Quarterhorses are very sturdy, moderately-sized breeds that are also the iconic Cowboy Horse. They're tough, they're brave, they're hearty, and if they snap, they can and will kill both other animals and humans.

A horse's skin is so thick and tough that it's virtually impossible for a human to successfully bite or scratch hard enough to puncture through their outer dermal layers. As stable hands, a regular tool we use for getting mud out of a horse's hair is a literal metal wire brush that can rip open our skin if we try to use them, but the horses lean into them without even a hint of damage to their skin from doing so. There may be some tiny welts and a little bit of blood if a human tries to claw and bite at a horse, but horses do far worse to each other when they're just playing! Our fingernails and jaw muscles just aren't strong enough to do much damage to a healthy horse's skin.

-Horses aren't domestic animals.

...Yes they are. But just like other domestic animals, there can be wild populations of them that have had little or no human contact or intervention. Genetically speaking, however, horses are indeed domesticated. They're large domestic animals , but they are very much domesticated. Humans have been working alongside horses for at least 6,000 years. Domestic cats have only been domesticated for about 10,000 years. Truly wild horses in herds today, sadly, are pretty much 100% descended from domesticated horses. The recently-reintroduced-to-the-wild Przewalski's Horse is probably the closest genetic link to the original wild horses native to what are now modern Mongolia and Kazakhstan. Even the revered American Mustang is the product of domestication and planned breeding practices by both white colonists and Indigenous Americans over thousands of years, but Indigenous Americans were capable of maintaining a healthy balance between their personal horses and the essential need for herds of wild horses for the environment, too. White colonists did not understand this and intentionally stripped the North American frontier of its herds of wild horses, and are the primary reason the Mustang is only recently reappearing in wild herds in North America.

Sheep are domestic animals. Cows are domestic animals. Goats are domestic animals. Just because an animal has hooves and doesn't usually live in your house with you does not mean it isn't domesticated: You've just never had to live in an environment where they're essential to daily life or considered welcome companions, so they seem more like wild animals than cats and dogs. Hundreds of years ago, before modern building techniques created houses that could stay sustainably warm year-round, it was very normal for families to bring in cattle as large as horses and cows into their homes and sleep in the same rooms together for security and warmth, dookie and all (horse and cow poop doesn't smell as rank as dog or cat poo; they're herbivores, so it just doesn't smell as foul, and happens to make very good fuel for the fire). We don't do that anymore for health and safety reasons, and so horses, among other farmyard and "rural" domestic animals have become increasingly alienated from most people's psyches as being animals just as capable of being pets as your dog or cat.

-You can calculate how long a horse can run or work every day. This one is largely in response to some well-meaning questions I got from anons that seemed to want me to give them precise hourly work rates and mileage horses can tolerate. I was frustrated by questions like this, because it's a really cool subject to discuss, but not an easy question to answer. Horses are not machines, and "horsepower" is a unit of measurement derived from horses - not applied to them. "Horsepower" is a term used in machinery like tractors and cars. The total horsepower of your average horse is... well, 1, because that's how many horses a single horse can be without getting into some Welcome To Night Vale shit, which I'd love to do, but is a bit too far off topic for this particular post.

A horse's capacity to work or travel is heavily determined by outside factors, as well as organic factors in regards to the individual horse. How old is the horse? How heavy is it? How heavy is the rider? Is it also carrying cargo, like armor and camping supplies? Is it working on a farm and pulling a plow? If so, what quality is the soil? Has it been plowed before? Does the farmer own more than one horse? Is it hot outside? Is the horse going up and downhill? Is it fly season? Is the ground rocky? Are there burrowing animals in the area? Is there clay in the soil? Did it rain recently? How well-kept are the roads? Are there roads to use? What time of year is it- Aaaaaaah!

Ultimately, the answer is: A horse can work as long as it's willing to, and as long as its owner/handler judges is safe for the horse. A horse may be able to pull an old-fashioned plow through well-tilled soil for most of a cool morning before needing a break to cool down, eat, and rehydrate. It takes the judgment of the person commanding the horse when to call for a break or a full-stop to working for that horse by observing how tired it is (is it panting? Sweating? Slowing down? Are there any signs of strain in the hooves or legs?) or if it's in any way injured or in pain. The same applies with traveling long distances: It's up to the rider's judgment and how forgiving the environment is on the horse's body. In some cases, a riding horse may not be able to be ridden safely if the road is too treacherous or uneven for the horse to handle balancing its own weight and the rider's. In those cases, it's better for the rider to get off the horse and gently lead them through the bad terrain until it smooths out.

Also... horses can just... choose to quit. Some are quite sassy or very clear about their boundaries, and if they don't feel motivated or get too bored, they won't cooperate at all. The only way to deal with this is by letting them go do their own thing in the paddock until they decide they wanna cooperate again. Abusive people my try to whip or spur a horse into working past its limits, but humane people just let the guys take a break.

-Two adult people can ride on the same horse for a long time. GOD NO. PLEASE GOD NO. DO NOT DO THIS. PLEASE DO NOT EVER, EVER DO THIS.

Horses can only safely carry a maximum of about 30% of their total body weight on their backs without risking severe spinal damage, if not a broken spine altogether. A Thoroughbred - the iconic racing horse - typically maxes out at about 1,000lbs total in weight as an adult. Thoroughbreds are fairly tall compared to other fast, hot-blooded horses, like Arabians. That means that, at best, a perfectly healthy, not-too-old, not-too-young Thoroughbred horse would not be able to carry a total weight of more than about 450lbs, including the weight of its saddle and other tack, supplies carried by the rider, armor or other gear worn by the rider, and the impacts of gravity and the shocks of the rider's weight on the horse's back when it's moving at any speed. In the vast majority of cases, two adults cannot safely ride on the same horse for more than a very short distance before the horse enters the danger-zone for suffering severe and permanent spinal damage that can result in euthanasia. An adult carrying a baby or toddler is different, but two adults? Please don't. Please. Even if you're getting married and the owner of the super-huge pretty draft horse you're renting to take a gallant shared ride with your spouse with for pictures that reassures you it's fine, do not do it. Please just rent a carriage or pay extra for two horses. Please.

-A paddock with grass is all a horse needs to meet its nutritional needs. If that were true, horses would still be kept as pets more commonly around the world than they actually are. Unfortunately, to really thrive in the wild, horses need hundreds, if not thousands, of hectares of territory they can freely travel around in, while most paddocks are rarely larger than 10-20 acres when you're not talking about generational wealth or land. One of the reasons domestically-raised horses are almost entirely dependent on humans for food is due to the restricted spaces they're kept in. Grass only produces nutrition when the soil itself is fertile, and we humans don't necessarily have the natural ability to sense when soil is too nutrient-deprived for the plant life growing from it to be enough to provide just one horse with the vitamins and minerals they need on a daily basis to be healthy.

Another fact largely lost to history is that, back when most families had to farm to survive, farmers would store green leaves from various healthy and tasty trees and bushes in the boughs of other trees within their cattle paddocks and fields. By doing this, it kept large amounts of pests like rats from infesting the leaves, and keeping the cut branches and leaves stored within other leafy trees actually kept the greens fresher much longer than if they were stored on the ground or in a storage room. Horses would then graze from the leaves in the trees above their heads as well as the grass.

Stable hands and private owners keep rigorous dietary routines tailored to the needs of each individual horse. We're usually up and feeding the horses by dawn at the latest. The horses are usually given a few scoops of oats (not too much, because oats bloat up when they absorb liquid, and too much of that can give a horse colic), carrots and other vegetables for extra vitamins, salt licks (which are infused with extra minerals like a giant multivitamin), and even vitamin tablets/powder that goes straight into their dinner hay or alfalfa. Vets are essential for evaluating a horse's specific nutritional needs, so horses can actually get "prescriptions" for specific ingredients in their regular meals given to us from licensed large animal veterinarians, and not just a wealthy owner's best guess.

-Horses can throw up. Nope! It's not even physically possible for a horse to spit up food! That's part of why stable hands and owners have to be so careful in maintaining a regular, stable, healthy diet for their horses and keep their pastures and paddocks checked for toxic substances like poisonous plants that a horse may not know is toxic, or notice in the grass it's munching on.

Because they have such long necks and tall legs, horses need special muscles in their upper GI tracts in order to graze and drink water without constantly choking and fighting gravity. By having an esophagus that's one-way-only, as well as a muscle that clamps their stomachs shut at the top called a French Tie, horses hold down anything they swallow, even if it's enough to kill them.

-Horses are the best farm animals for a pre-industrial setting. Goodness no! Not at all! In fact, horses didn't start really replacing oxen on farms until the dawn of Draft Horses in the Victorian Era in the West. While many Eastern countries still retain the use of oxen for farming, Western European farmers fell prey to what we all dread: Peer pressure.

When Draft Horses started to appear in the scene in formal horse fancier associations, they were readily advertised as being excellent replacements for oxen (neutered male cows; so, a bull that has no balls). Oxen can be very stubborn, yet affectionate animals, and newer farmers often struggle more with handling oxen compared to horses. The Victorian Era saw a small boom in private farms, and so there became an increasing demand for "easy" farm cattle for newbie farmers to employ.

The other factor that played into horses replacing oxen in Western farming was clout. Horses are more expensive than oxen and generally seen as more prestigious to own. So, farmers often wound up "upgrading" from oxen to horses when their financial means allowed them to. The problem was that, in order to do the same amount of farm work with horses, you need more horses to replace exhausted or injured horses throughout each working day compared to how many more oxen you need to swap out throughout a day of heavy labor. But, nonetheless, horses took over for being "more trainable" and "more intelligent" than oxen (admittedly, oxen can be trickier to work with, but that does NOT mean that horses do a better job at hard field labor), and the Western oxen training industry has almost completely gone extinct.

Really, oxen do a lot better at extremely heavy jobs like tilling and plowing soil for growing crops and hauling large, heavy weights. Because oxen have cloven (two) hooves, they're a lot better at gripping the terrain and avoiding injury to their feet when they're working hard at awkward angles or on rough terrain. Oxen also pack on a lot more muscle and fat around their entire bodies, and so they have fewer vulnerable zones that can become irreparably damaged from exerting a lot of muscle power. Horses, only having a single hoof, can be rendered completely incapable of working or even running just from fracturing a hoof or stepping on a sharp object, like a nail.

-Any leg injury means instant euthanasia. No! No, no, no! There are lots of ways to treat a variety of injuries and illnesses that present in a horse's leg or foot. Especially nowadays, thanks to advances in all forms of prosthetics and 3D printing, horses are euthanized less and less for increasingly severe leg injuries courtesy of prosthetics and mobility aids! Some advances have been made so far that a horse that loses the lower portion of its leg can live a healthy life with a prosthetic!

Don't believe me?

Even in history, there have been treatments for leg and foot ailments for horses used before any talk of euthanasia is brought up. Remember: horses are often beloved service animals to people, today and a thousand years ago! Would you jump straight to euthanizing not only your best friend, but your primary mode of transport, as well as your extraordinarily-expensive ESA?

It's only in cases of severe breaks in a leg bone that injury-related euthanasia is discussed for a horse. Smaller fractures and hoof damage can actually be treated and healed, especially with modern veterinary science, and some fractures can be so successfully treated that a horse can return to riding and competing after recovering!

-Bits are cruel.

Look. There's one person that raked me over the coals in the replies for being ignorant in espousing bits as essential parts of a horse's bridle. I know who you are, and honestly, I feel the compassion you have for the animals... but you're still sipping a little much from PETA's kool-aid and did not convince me over to your side.

Yes, there are bridles that do not require bits to control a horse's head and communicate with it. Yes, there are riders that prefer them, and there are horses that can only be ridden with them due to bad experiences with bit-training or past dental problems. No, it's not cool to tut your fucking finger at me and call me ignorant when I assert that it's a very normal, standard part of tacking up and riding a horse, and the worst a bit can do is pinch the corner of a horse's lip or tongue if you are a jerk with your rein-etiquette. There are bits, just like I observed with spurs, that are specifically designed not to hurt or cause any distress to the horse, so if the person that dumped on me in the last post reads this one: Calm the fuck down and go take yourself on a walk along with your horse. Have an apple. You've clearly been in your stall too long.

As I was saying: Yes, there are different kinds of bits that are specifically designed not to harm a horse. Sometimes horses with smaller mouths or wrinklier lips (it's a thing) can have a hard time with specific bits due many of them sporting hinges where they wrap around out of the horse's mouth and connect to the bridle. This can be easily addressed by switching to a different kind of bit that's less harsh and more flexible for the sake of a horse's comfort, or getting rid of a bit altogether and swapping to bitless bridles. Ironically, I've met horses that actually stim with their bridles; they play with the bits with their tongues when they're excited before an event, kinda like they're grinding their teeth.

And yes, some horses can still have bad sensory issues with bits, and can need bitless bridles, and that's okay! The important thing about bridles in general is that they're the primary way a rider can communicate with the horse's head and show them where they want to go. As with riding, horses tend to go in the direction their heads are facing; they don't usually walk while looking sideways, but rather stand still to look sideways before turning back to the direction they want to go in to walk or run. A lot of riders are taught the phrase, "Head like a princess, hips like a whore," as a reminder to keep their hips loose and moving with the horse, but their heads focusing on where they want the horse to go, rather than looking at the scenery. Most riders, even those that are very experienced, can get distracted and accidentally put a little too much pressure on the horse's bridle and side in the direction of where they're looking, and that causes the horse to go off course, too.

-Horseshoes are incredibly painful and must be replaced only when absolutely necessary. Not at all! A horse's hoof is basically like a gigantic fingernail. While the inner core of the hoof, which is typically concave with a V shape in the middle and needs cleaning by stable hands on a regular basis to keep gunk, debris, and dangerous stuff like nails out of their feet is vulnerable to pain and injury, the rest of the hoof is literally a giant fingernail! A ferrier specializes at grooming a horse's hooves and trimming them so they don't overgrow (which can happen if they spend a lot of time on soft surfaces like grass), and many ferriers also specialize at setting and replacing horseshoes. A horseshoe specifically sits around the outer edge of a horse's hoof - specifically where a hoof is least sensitive and most likely to split or become damaged while riding and lead to infection and pain later - where the horse has no nerve endings. The nails that go into the horseshoe to hold it in place are actually very short and narrow at the tips, and only go into the solid nail a couple of inches into that same nerveless outer edge. The shortest horseshoe nails I've seen used are only 1.5 inches, or 4cm, and the largest around 2 inches, or 5cm and the worst a horse feels when a shoe is being set or replaced is a dull thudding from the tapping of the small hammer used to set the nails. A horse can literally go right back to business after their shoes are fitted, although a ferrier may recommend having them spend some quiet time in their stall for a couple of hours to really make sure the shoes are set properly and the horse is comfortable if something like a trip caused the original shoe to come off (the technical term is "casting a shoe").

My evening meds are kicking in, so I'll stop this very, very long sequel here.

As before, feel free to send me asks with more questions. I'm sure there are even more things I'm too sleepy to remember right now, and this post is running incredibly long.

[reashot]

Spoiler for my next RWBY fanfic project:

(We all know it's going to be Jaune so don't ask who's it supposed to be.)

Sorry if it seems long because I have to do some little world building (I lied. I have to create RWBY from scratch because the lore are non-sensical & made no sense.) Because I want to provide my reader better quality story telling.

Some changes I made is as follows:

- Grimm are stronger now. The heroes will have to work harder to even beat a beowulf. With a few special one able to gain self awareness and have some "slight" reality altering power. Think the witches from Madoka magica franchise.

- Of course with the Grimm getting stronger. So does the Huntsman. With someone like Qrow or pretty much any Huntsman older than the main cast no longer be a pushover.

- Rank System for the Huntsman.

- More (named) students at Beacon.

- Huntsman are treated like a Rock stars.

- There will not just be four relics but hundreds of them. Each with varying degrees of power. And most are monopolized by the state.

- Don't know what to do with the maidens though. Any suggestions?

- Grimm no longer feed on negative human emotion. Biggest reason for the removal is that it contradict the Faunus Racism subplot. And I don't know about you but I think racism is one heck of a negative emotion. (They still want people dead though)

- Faunus Racism subplot will be handled much better.

- Salem still can't be killed but she can be sealed. With her needing to be sealed every few decades or so.

- Grimm will appear less frequently and only starts appearing more and more when the seal around Salem starts to weaken.

- There will be a cult dedicated to bring back Salem and serves as the primary antagonist.

- Of course everybody favorite part of prequel trilogy. Politics. But it mostly be in the background until it isn't & the heroes are then forced to make a choice.

- There are other group beside the Huntsman fighting Grimms and they hate their guts.

- The event of Ice Queendom is mostly canon and even part of the Grimm Eclipse. Because I needed something to pad out the world building.

& there's more but I would like to keep some a secret for now.

And yes many character's story will be expanded or in a few case rewritten. Adam especially will be rewritten to better reflect the freedom fighter he supposed to represent. He's angry at the world but not an a-hole.

And that's about it I'm already halfway in and I will post the 5k fanfic soon as a form of early preview.

[ahb-writes]

Writing Problem: The Story Is Too Thin

Problem: The Story Is Too Thin

Solution: Does the story lack balance?

Purposeful narrative structure. Effective characterization. Meaningful conflict (and meaningful consequences). Immersive description. Authentic character dynamics. A good story needs all of this and more. But it's okay to be stronger, or more experienced, in crafting one area of storytelling than in others. It's okay for one's attention to drift during the initial drafting phase.

If you know your strengths, then you can lean on them to bolster your storytelling where it counts. If you know your weaknesses or limitations, then you can avoid what frustrates you and maneuver toward what excites you. But take the time to identify what facet of your craft needs work and be open to exploring your weaknesses with further experience, research, and insight.

Writing Resources:

100 Character Development Questions to Inspire Deeper Arcs (Now Novel)

How to Write a Sequel That Satisfies: Simple Guide (Now Novel)

Best Story Writing Websites in 2022 (Now Novel)

10 Signs Your Plot is Weak (and How to Fix it) (September C. Fawkes)

Defining and Developing Your Author Voice (September C. Fawkes; ahbwrites)

How to Pace a Story (Writing Questions Answered)

Description: 5 Times When You Should (and 4 Times When You Shouldn't) Rely on Description (ahbwrites)

How to Focus on One Story (Alyssa Hollingsworth)

❯ ❯ Adapted from the writing masterpost series: 19 Things That Are Wrong With Your Novel (and How to Fix Them)

[phoenixiancrystallist]

You know, I should probably have written the Susurrus/First Tanta AU before I wrote the epilogue, but I did not. Gonna share that epilogue, though, because I enjoy what I've done and I want to share :)

Cuff murmured in his sleep, a sleep that was apparently fitful and riddled with nightmares. Frey debated waking him up, but before she could get far in that thought, he gasped a name and she felt his consciousness return with a start.

"Astra!"

"Hey," Frey said to catch his attention and help pull him out of that nightmare. "It's just us here. You good?"

"Good...? I... Was I asleep?" Cuff asked. Frey guessed she hadn't given him enough time to come back to Athia. There was a lingering feeling of panic in his voice, probably the last shreds of whatever dream he'd been having.

"You had a nightmare."

"Did I? I wasn't even aware that I could dream."

"Really? Huh. Learn something new every day." Frey considered waiting for him to finish coming out of that nightmare, but she knew if she waited too long he'd clam up and she'd never get an answer. So: "Who's Astra?"

"I, I don't... I don't know. I don't remember. She was... important to me, once. My whole world, it... revolved around her, I think." He hissed, a pain in his voice that Frey couldn't figure out. There wasn't anything around to hurt him. "Ah, what is this emptiness...?"

Oh. That kind of pain. Was Cuff in love once? Man, that must have been a long time ago, if he'd forgotten who she was. And, somehow, just knowing he had loved someone made Frey regret asking. Like she'd pried into something private she had no business sticking her nose in.

"Never mind," Cuff said before Frey could figure out if she wanted to say anything. He sounded back to his usual sharp attitude, and made a sound like he was clearing a throat he didn't even have. "How close are we to Rheddah?"

"See for yourself," Frey offered, her eyes fixed on the horizon where she could see the leading edge of land. It looked nothing like the Visorian coast they'd set out from. Nothing like Praenost, Avoalet, or Junoon, either. Athia was bordered by jagged and rocky cliffs, and beaches of black sand that Cuff said were the result of the land Breaking.

Rheddah looked a thousand times worse. Even from here, miles from shore, Frey could see Break glowing against the setting sun. Black, twisted strands and spires rose into the air, clawed at the sky and shredded the clouds passing overhead to ribbons.

She counted at least three structures that looked horribly like the Tree of Offering.

"Are those what I think they are?" Cuff asked, something caught between awe and horror in his voice.

"I really, really hope not," Frey admitted. "I don't think I can handle three more of you."

"There's only one me, Frey," Cuff scoffed. But he hesitated, and his next words wavered with doubt. "I think."

[supa-nova]

Not every story needs a prequel, sequel and a side series in the same universe.

Sometimes one book is enough.

[authorkarajorgensen]

On Writing Sequels

This week's blog is one on craft! While most people agonize over book 2, I prefer it over one. Read this week's blog to find out why.

I know a lot of writers writhe in angst over writing sequels or second books in a series, but I think I’m in the minority here as I actually much prefer writing sequels to the initial book. In this week’s blog, I hope I can help you to make writing sequels a little easier in the future. As per my usual writing caveat, what works for one writer doesn’t work for another, so take all writing advice…

[mckitterick]

"sequel scenes" are important for good pacing - when a plot is nothing but action, the characters never get a chance to recover, ponder, build their relationships, and learn from what's happened

"filler" scenes, chapters, and episodes are necessary for character growth and development as well as narrative structure, otherwise everything that happens can feel rushed and unearned, and it's difficult to care about the characters and what happens to them

genuinely one of the worst things that’s happened to television in the last few years (exacerbated by streaming services) is death of Filler. going from 20 episodes to 8 because “we didn’t really need that episode where the main characters went to the beach right? it had no long lasting effect” but we DID!!! we needed to see how they act without the Big Bad Plot and to establish the dynamics between the characters and lay in the sun (do they forget sunscreen? how do they react to a thieving seagull? do they get buried in the sand or do they do the burying?). the plot isn’t everything. the action doesn’t hit as hard without the quiet moments. give us character development and our little scenes back

[ancientroyalblood]

How to Write a Series: Planning and Execution

Writing a series requires more than just a compelling first story. It takes thoughtful planning, character development, and a strong sense of direction to keep readers invested book after book. Whether you’re dreaming up an epic fantasy, a mystery saga, or a sci-fi adventure, crafting a series allows you to create a larger, more immersive world. But it also presents unique challenges that single…

[storiesgoeveron]

How to best set up a novel for a sequel?

Craft a novel with sequel potential by introducing unresolved conflicts, evolving characters, and enigmatic elements. #writingtips #tips #amwriting #sequel #howto #blogpost #blogging #blogger

Crafting a novel with a sequel in mind is a strategic endeavor that involves not only telling a captivating story but also laying the groundwork for what comes next. Here’s a more detailed exploration of the tips mentioned: Plant Seeds of Conflict Introduce conflicts that remain unresolved by the end of the first book. These can be lingering tensions, unresolved disputes, or hints at larger…

[physalian]

So you want to turn your one-off book into a series…

As a writer who decided only after publishing book 1 of a trilogy, to then make it a 4 book saga, here are my thoughts on series planning, or at least the insomnia-driven process I went through to reach this decision:

Firstly—I prefer to write multi-book stories with the structure like Lord of the Rings over something like Harry Potter. As in, it’s one long story with various hurdles to overcome split into multiple books, instead of each book being much more self-contained, with a reliable time skip, like years of schooling.

With that in mind, the very first thought I have is this: What are the new threats going to be? I don’t think about my heroes or any subplots or new characters. Priority one is my antagonistic forces: Do I have enough to each carry their own book?

A hero is only as compelling as their conflict, after all.

In my sci-fi WIP, I had 6 main characters and five books planned, and I based it off the structure of the OG Teen Titans cartoon—Everybody gets their own season and while not every episode is about them, the main threat is theirs first, with the rest of the team backing them up. The threat was always a twofer, both an external threat and an internal conflict that they had to overcome in their book. For example I had a character who “lead” book 2, and the external threat was Bad Guys from a different team member’s war, dragging her home into it. The internal threat was her “suffer in silence” tendency and extreme self-reliance, which becomes too much for her to handle when her powerhouse teammate is out of commission physically and unable to help her emotionally.

ENNS doesn’t have an ensemble cast and was not meant to. In this style, if it’s one long story, I’d need three major incidents in books 1-3 that all led up to a final conflict in book 4, all building off each other. I needed essentially two whole “Helms Deeps” for books 2 and 3. Not just in terms of story but literal conflict, as I write high fantasy and not having a big climactic battle for a whole book would flop. But now I need two of them, and I struggle with action scenes.

And without spoiling myself, I have them vaguely defined. For me, at least, so long as I have my little compass pointing toward my “North” of “this is the thing that every major scene should be dealing with in some capacity” it doesn’t matter what path I take to get there, I’ll figure it out. Heavily outlining only ever leaves me with plenty of outline but no book.

For me, once I have my main threat, I then have my main theme. Example for ENNS being that book 1’s main theme/question was “What makes a monster?”

Have yet to narrow it down and split the original 3 themes now into 4, but one I intend on exploring is “Can vampires change?”

Doing this, having your big picture at least in a foggy idea, helps with cohesion across multiple books, and within the same story. If you keep your theme in the back of your mind and relate as many character arcs and mini conflicts back to it as possible, it’ll really start to look like you know what you’re doing.

Otherwise you end up with a bunch of loose ends and dangling plot threads that get abandoned, or characters that feel out of place as their arc has nothing to do with the rest of the story, it’s just here because they had to do something to participate.

So if you want to see now book 1 of 4, check out Eternal Night of the Northern Sky on Amazon.

[georgelthomas]

Scenes and Sequels???

Scenes and Sequels??? - A more rounded way of writing a scene? #writing #amwriting #writerslife #scenes #writingascene #WritingCommunity

I had always thought that a scene was a scene; that you write what happens, who is involved and how they feel. Pretty standard stuff really. But then I read about sequels, and my mind went boom! For years I had always been one of those people who just liked to write until they had finished, a pantser I suppose and I never really gave much thought to scenes. I just wrote the story. But I decided…

[val-made-a-mistake]

❝PUSHING THE LIMITS.❞

(not my gif)

summary: eddie might fuck you good, but venom pushes your limits.

warnings: SMUT SMUT SMUT, nasty ass smut, surprised-myself-while-writing-it kind of smut, sorta dubcon towards the end, oral sex f and m receiving, sticky tendrils and tentacles and appendages and such, bondage using v's tendrils, hair pulling, spanking, double penetration, eddie spitting in reader's mouth, eddie slaps reader's cheek a lil bit in the beginning, overstimulation central, names like "good girl", "sweet angel", "sweet girl", "beautiful girl"... don't wanna hype myself up too much, but i think y'all are gonna be eating good while reading this one. monsterfucking. i am definitely not getting into heaven, so make my sacrifice worth it and grab some popcorn!

word count: 2k

a/n: if you've ever wanted me to write a sequel for fics like "take the reins" and "don't pretend", this is for you. i can't believe this is my official return to fic writing LMAO, but we're pretending like i never left! (yes i know i posted my last fic in april.) i hope you enjoy, please give me some feedback for this one!

//////

“Gooooood fuckin’ girl.”

You struggled to hide your wince as Eddie harshly slapped your cheek again: you were on your knees, your face raised to look at him as he knelt over you, directing your face in whatever way he wanted it to go. Some parts sweet, some parts rough - whether it was pulling your hair until your cunt twinged with need, or spitting in your mouth when it got too dry for him to fuck, or how fucking good his cock felt when it was shoved into your mouth, you took all of it enthusiastically. 

You hadn’t heard Venom’s commentary in a while, but at least Eddie seemed to be enjoying himself.

“That’s great, honey,” Eddie gasped as he slipped the tip of his cock in your mouth again: you sucked on it dutifully, slathering your spit over his already glistening length, but throughout all of it, your eyes were locked on his face.

He was almost out of breath just from watching you. “Jeez, that’s fuckin’ nasty…”

Overachieving, you responded by taking his whole length into your mouth until the tip of his cock slammed into your uvula and you were forced to gag.

You meant to stay there, but Eddie’s hand was buried in your hair very suddenly, tugging you backward: he evidently hadn’t been expecting that.

“Easy, honey,” he told you. “It’s not every day I got a girl jumping all over me, y’know.”

You sat back on the bed and stuck out your tongue for him, grinning widely. “Sorry.”

Inside his head, Venom scoffed.

PUSSY.

“N-no, don’t be sorry for anything,” Eddie managed to say to you as he allowed his cock into your mouth again, determined to keep Venom at bay inside his thoughts. “Feels so fucking good, just like that…”

Sucking him off until he came had to be the plan, you figured, so you kept going, keeping your tongue flat along his length as he fucked your mouth. His cock was so goddamn thick, and your tongue kept brushing along a prominent vein as you went. The best part was his hand, firm in your hair, ensuring he was using you in whatever way he wanted.

Meanwhile, Venom’s voice was a reassuring purr in Eddie’s ear.

SHE LOOKS SO GOOD LIKE THIS, EDDIE.

So it came as a bit of a surprise when Eddie decided he wanted to move: he was off of you in an instant, but he was grabbing your leg, indicating he wanted you to move with him.

His voice was soft, almost sweet, keeping you wet. “Up, honey, c’mon.”

Breathless, your heart pounding now that there wasn’t a hand in your hair anymore, you got off your knees and, following his direction, rolled over on the bed.

“Shit,” Eddie commented appreciatively, just before he spanked you harshly. “Pop that up for me, honey.”

Grinning sheepishly, you buried your face in the pillow and lifted your stinging ass in the air for him.

“Fuck,” he gasped as the palm of his hand brushed over your pussy - yeah, you already knew you were dripping, and the humiliation of it made you flush. “You always get this wet just having a dick in your mouth?”

“It’s just you,” you mumbled weakly, which earned your another spank.

“Just me, huh?” Eddie replied, mockingly, making your face burn. “Not V? You’re telling me this pretty pussy’s dripping just because of me?”

You opened your mouth to respond, but he’d spanked you directly on your pussy this time, making you moan weakly.

“Fuck,” you gasped, burying your face in the pillows. You had a feeling that Venom would’ve teased you endlessly if you moaned for him, and you weren’t sure if you could handle it when your pussy was already this wet, but God, you’d never been more tempted.

Inside his head, Venom was sounding impressed, but he hadn’t revealed himself yet.

KEEP GOING, EDDIE. YOU WILL BREAK HER.

Keeping your head in the pillow, you spread your legs wider for him, trying to expose as much of your pussy as you could. Spurred on by Venom’s praise, Eddie grinned.

“Fucking glistening,” he laughed, running a finger delicately along your drenched pussy, sending sensitive nerves haywire. “What a pussy. I mean, Jesus…”

He leaned forward to press a gentle kiss to your damp inner thigh, and that simple, two-second touch had your mind speeding out of control with obscenities. No doubt about it, spreading your holes like this turned you on: you could feel your slick running down your inner thighs, and if your brain wasn’t jammed, you would’ve been begging for Eddie for Venom to come out, to finally fuck you.

Breathless with anticipation, you grabbed a fistful of pillows instead and waited patiently, keeping still.

Inside his head, Venom was chomping at the bit, too.

WHEN WILL YOU LET ME OUT, EDDIE?

Just give me a few more minutes, Eddie’s thoughts responded, a bit urgently.

He opted to pretend as though nothing had happened, keeping his control over you.

“Spread your legs more, baby. I want to see how turned on I made you.”

Moaning weakly, you did as he said, spreading your legs to reveal your glistening wet mess of a pussy: you had yet to touch yourself, or do anything to stop the spread of heat in your most sensitive spot, but you felt like if he didn’t touch you soon, you were going to go into cardiac arrest.

You closed your eyes and listen to him move closer.

Eddie’s hands were warm around your thighs, and you could feel him kiss both of your inner thighs - dear god, he’s about to kill you - before he kissed your clit, enveloping it with warmth. 

Everywhere. Oh God.

You gasped weakly. “Oh, Eddie…”

Again, Venom’s voice was a reassuring purr in Eddie’s ear.

YOU ARE UNRAVELLING HER, EDDIE. KEEP GOING.

“That feel good?” he whispered, kissing you softly again.

Well, fucking obviously: you were clutching the pillows above you with all your might, doing your best not to squirm in pleasure. “Eddie, please…”

You were so fucked out you couldn’t finish that sentence, but Eddie knew what it meant, and Venom did too.

LET ME OUT, EDDIE. YOU KNOW SHE WANTS IT.

“You need V, honey?” Eddie whispered from between your legs: he sensed from the growing warmth in his abdomen that he wouldn’t have control over his body for much longer, so he was determined to savour it for as long as he could.

You nodded weakly, flushed with pleasure - Eddie’s tongue may have been a natural, non-monstrous length, but it was pressed to your clit nonetheless, and it would’ve made anybody come after long enough. “Give him to me.”

That did it: Venom came out with a flourish, enveloping Eddie’s body entirely in black goo until he wasn’t Eddie anymore, but tendrilled and sticky and terrifying and one hundred percent Venom.

You almost came at the sight of him. “Oh, V…”

Venom’s tongue protruded from his mouth, licking clean his impressive row of fangs. His milky white eyes might’ve caused others to cower, but you stared directly into them, breathless. It was fascinating, really, how quickly Eddie had disappeared.

Venom’s voice was a deep purr, deeper than anything you’d ever heard.

DID YOU MISS ME, SWEET ANGEL?

“I did, V,” you gasped as a glittering black tendril snuck up your leg, “God, I - I want you so bad.”

Venom cocked his head to the side, watching you intently, like a predator watching its prey.

I TELL EDDIE THAT ALL THE TIME.

You gasped as the appendage finally breached your cunt, pulsating and sticky, giving you exactly the feeling of fullness you wanted. “Oh, Venom…”

The pillow you were clinging onto was gone in a second, replaced by two tendrils pinning your arms onto the bed. Before you knew it, two other tentacles were wrapping around your ankles, fully restricting your ability to move, and there you were, trapped on the bed as Venom was leering above you, his cock sliding in and out of you.

His pace was relatively slow, but you soaked up every pulsing inch succeeded inside of you, and every now and again, he’d make the tendril twist, bringing you closer to the edge every time.

I DON’T EVER THINK I’VE SEEN YOU THIS WET, SWEET ANGEL.

I don’t think I’ve ever been this wet, your thoughts responded incredulously, but all that came out was a choked, “Ngh!”

You were coming, you knew it, and it still hit you like a fucking freight train: the orgasm rushed through you as blood thundered to your brain, euphoria crashing over you at maximum intensity. Everything welling up inside of you just burst, and nothing had ever been so lovely.

You went deaf for a moment as the only thing you could hear was your heart absolutely pounding and the shrill ringing in your ears, but you knew you were gasping for breath, completely overtaken by this orgasm. You’d never tell Eddie, but it was Venom who knew how to pull orgasms from you like this, and only Venom, his glittering black cock absolutely destroying you from the inside out.

Of course, it was then Venom suddenly decided to slam his cock into you at full force, overstimulating you beautifully.

The confidence in his voice never wavered.

I KNOW YOU CAN TAKE IT, BEAUTIFUL GIRL. I HAVE SEEN YOU TAKE IT.

“Oh, Venom,” you were gasping over and over, but you couldn’t fully hear yourself over the ringing in your ears and the sounds of Venom’s glittering black tendril sliding in and out of your drenched, abused pussy, filling you up to the maximum. “Fuck, fuck, fuck!”

He did the pulsating, twisting thing inside of you once again, and your eyes nearly rolled back into your head: when he was pinning you down like this, you had nothing to hold onto, it was just you, the cock inside of you, and the threat of this monstrous creature swallowing you whole. “Oh my god, Venom!”

HOW DO YOU FEEL ABOUT EDDIE SEEING THIS, SWEET GIRL?

“Oh, fuck, Venom…” you moaned from underneath him, incoherent now as his cock pistoned in and out of you. You were blathering, but the message was clear: don’t fucking stop!

Venom was smug, now.

HOW DO YOU FEEL KNOWING I CAN TAKE YOU BETTER THAN EDDIE EVER COULD?

“You’re better than Eddie,” you mumbled incoherently as Venom ramped up speed, “Loads better than Eddie, I just - oh fuck - holy shit, V, keep going!”

WILL YOU COME FOR ME, SWEET ANGEL?

Yes, I will, your thoughts responded immediately, but actions spoke louder than words: your second orgasm ripped through you as your legs shook, you were pushed to the point of insanity. This one really took you by surprise compared to the first, but you revelled in it, your vision flashing with white as Venom fucked into you. You could feel your body sinking into the bed despite the restraints, spent, and you almost thought it was over, but–

Venom, of course, didn’t care.

COME FOR ME AGAIN, BEAUTIFUL GIRL.

“V,” you whispered weakly, your entire body damp with sweat from your last orgasm, “I - I don’t think I can, I just came.”

Above you, Venom absolutely snarled, and his tongue slithered down to force your legs even further apart.

WHEN I SAY COME, YOU COME!

A second, bigger tendril sank into your ass this time, and you gasped: you were filled, completely and utterly filled, and God, you’d be lying if it didn’t feel so fucking wonderful.

“I - I’m gonna come,” you blathered, blinking hard as the realization set in: you were about to come faster than you’d ever come in your life. “I - I’m gonna come, V, holy - oh my god-”

The words I’m coming were lost in your throat, but it didn’t matter: in a matter of seconds, you’d came for a third time, and the euphoria this time around was still there, yet with a bitter and harsh edge. Your body was exhausted, but your pussy was drenched, and all Venom knew was to keep fucking going, so–

You were gasping, half-deaf with your vision flashing with white, trying to make peace with the reality that Venom was going to fuck you until you passed out.

[shadowwingtronix]

BW's Daily Article Link> How To Deal With Sequels

BW's Daily Article Link> How To Deal With Sequels

“They’re making a sequel to Gerry?” Sequels and prequels are quite the rage. If the first movie was good, seeing how they got there must be better. You liked the characters before? Well, here they are again on a new adventure…whether it makes sense or not. Therein is the biggest issue with sequels. Isn’t their story done? Do we need to see that backstory in action? This just the first thing…