#we've lost too many characters

[ddagent]

Here we go! Fam S4!

First of all, who is still letting Ed go to space? Also, it is so fucking weird without seeing Margo in Mission Control.

Also going to need an AU where S3 defector Sergei becomes director of NASA. For lots of reasons but I just want him to bond with Aleida.

[sillyfudgemonkeys]

Me: I don't like Sci-fi, space operas, or fantasy. Me: *sees fanart of some characters* Oh these look cool. I wonder why their arm looks like that. Why is that one person dressed in skull attire? I keep seeing these guys everywhere, let's get the book on Audible what could possibly go wrong? Book: *Sci-fi fantasy novel in space* Me:

[cluescorner]

We need to bring back Gun Batman immediately where the FUCK is he

titans of tomorrow

aftermath:

[writersblockedx]

A Rekindled Kind of Love

Pairing - Spencer Reid x Fem!Reader Summary - Spencer and Y/n hadn't talked since the Summer before college and then he sees her name as the only survivor in their latest serial killer case. Warning - violence, drinking Words - 3.6K

A/n - It's be a while! I've had a surge of inspiration lately since becoming a little obsessed with character ai lol and thought to write this one into a little one-shot.

masterlist

Spencer was lying if he ever called any day at the BAU normal. Between serial killers, sadists, and everything else in between, the boy had a blurred definition of normal. So, he expected anything - or so he thought. When he entered the meeting room that morning, he hadn't expected the name of Y/N Y/L/N to pop up.

"We've got three victims and, weirdly, one survivor." Garcia started to explain, clicking through the victim's dead bodies, the woman squirming at just a glance of the photos. "Whoever this sicko is, he's going after journalists. His latest victim, Y/n Y/l/n, was actually able to get away before he had a chance to kill her."

Spencer stopped. His gaze snapped up as Garcia clicked once more and he caught sight of the girl he once knew. Only now was she older, and her expression was stern. The unsub had left her features tainted, early bruises and several cuts littering over her. "She's pretty distraught says doctors, but she's alive and well."

He couldn't stop staring at her, memories of high school, of that last summer, of their blissfully ignorant friendship fueling his feelings. This was not normal. None of what he felt was normal - not for him away. "He stabs them?" Emily observed, all of the team had yet to clock onto the haze Spencer had suddenly found himself in.

Garcia hummed, "Yep, as many times as it takes before they...you know...die."

"He's aggressive, he's got no remorse for these victims," JJ spoke, glancing between her file at the screen in front of her.

"Not only are they all journalists, but they're female journalists too." Rossi added. "There's got to be some reason for that too."

Hotch nodded, "Either way, we should take Y/n into our care. She's the first to get away, I doubt he's happy about that-"

The shaggy-haired boy couldn't seem to take it. The way Y/n had gotten herself mixed in like she was any other victim, like she wasn't once the most important person in Spencer's life. "Excuse me," The boy stood abruptly, not giving any reasoning to the team before he practically ran out, gasping for breath.

The team were left with nothing. Their expressions moulding into ones of confusion, and puzzlement, "What's up with him?" Morgan was the first to question. But it was only met with the same uncertain expressions and a shrug from Hotch.

Morgan took it upon himself to stand, following Spencer out into the adjacent hallway where Spencer was panic pacing. A hand swooped through his hair as his thoughts raced. "Hey, kid, slow down," Morgan soothed. He hadn't realised the arrival of Derek until he spoke. Spencer turned, swallowing the lump which had since grown in his throat. "The hells going on with you?"

He took a breath. He evened his lungs and took a moment before confiding, "I- erm- I know her, Y/n Y/l/n, the survivor." He explained and that was enough for Morgan to understand. "Well, I suppose I knew her, we lost contact when we went to college, but we had been friends."

Morgan gazed back into the meeting room, "Reid, it's okay. She's okay, you know? She survived."

His head shook, "It doesn't matter. You heard Hotch, she's still a target." She wasn't safe and that fact was only nagging at Spencer.

"Alright, alright, how about I talk to Hotch? We'll go to the hospital, you make sure she's okay yourself?" Reid had barely agreed before Morgan walked back into that meeting room.

Of course, he wanted to make sure she was okay. But that also meant seeing her, after all these years. Spencer didn't know what had changed - if anything had. And he didn't know which option was scarier. Either way, he soon found himself at the hospital, waiting at the reception desk as a doctor went to find her.

His feet were tapping, his nerves obvious to Morgan. "Reid, calm down, she's gonna be alright," He said, but no words from Morgan or a doctor was going to help. He needed to see her.

"It's not just that I'm worried about." What if everything had changed? What if nothing had? What if-

He turned and found his eyes on her. She still had that same look. That same smile, the same soft gaze, the same ease about her that Spencer craved. But this was the very moment he feared.

She wandered up to him, quickening her pace as much as she was able to considering her state. "Spencer," She said his name like a sigh of relief. Before he realised it, her arms were wrapped around his neck, melting into his touch as if no time had passed.

"Hi," He breathed into her ear; she was safe. The hug didn't last long enough. How could it? They had 12 years of missed hugs.

"I can't believe you're here, the doctor said a profiler and then said it was Doctor Reid and I-" She trailed on, "I don't know why I was so surprised. Of course, you made it big."

Spencer shrugged, "I wouldn't call this big." The boy became sheepish, almost flushed and Derek Morgan had certainly taken notice. "I'm sorry I stopped calling and I should have-"

"Oh, Spence, save it," She chuckled lightly, "I could have picked up that phone just as well as you had. I just wish we could have met under different circumstances."

He nodded, "Yeah, well about that," Spencer turned to bring Derek into the conversation, "This is Agent Morgan, he's erm gonna help."

Morgan sent his usual cheeky smirk as he did with any pretty lady, "It's good to meet you, sweetheart. Glad to hear you're feeling better too."

Spencer hadn't expected anything less from the man. "Look, I don't know if the doctor explained it to you, but we're under the belief that this unsub may still be targeting you."

"Unsub?" She reiterated.

"The killer that went after you." Morgan answered, "Unknown subject, unsub for short."

"We erm- we have to take you in, make sure you're safe kind of thing," Spencer explained, fidgeting with his fingers as she glanced between them and the girl in front of her.

Her pupils grew worrisome, "You think I'm still in danger?"

Spencer hated that word. Even the thought of Y/n in danger made his spine shiver. "You're the first to get away, we erm- we don't think he'll be very happy about it. He could lash out, many unsubs, new unsubs especially, a victim getting away could be like a double stressor, he could be on a rampage, he could be doing nothing but think about getting to you." He realised he was rambling and his words were only worrying the girl more, "Sorry, I just, I want to make sure you're safe."

But Y/n understood, "It's alright, Spence. I'll go grab my things."

With that, a rush filled the girl as she turned her back on the two agents, wandering back into the hospital room she had come from. Spencer's eyes hadn't left from where her figure was once standing. This was personal for him - even if he hadn't seen the girl for years now. "She's not just someone from high school, is she?" Morgan realised as he observed Spencer.

He turned to him as if he had just left the trail of thoughts in his mind, "Hm?" He turned back to look at Morgan.

His response had only made Morgan smile, "Y/n, she seems more to you than that."

"It was..." The boy thought back to it, to that Summer, he didn't know how else to describe it, what they had, her. "Complicated."

✧･ﾟ: *✧･ﾟ:*

12 Years Prior, Las Vegas

Y/n always had something Spener didn't: Popularity. Well, in a way. Spencer was cast away from many of his peers. A social reject. While, Y/n was a social butterfly of sorts. She took to a crowd with ease. The type of girl that could make friends with anyone.

The boy had certainly hit the jackpot when he was assigned to tutor her. Over the course of several sessions, they had bonded over literature, future college plans and, surprisingly, Y/n's distaste to certain 'jocks' - as the social hierarchy liked to describe them as.

She was the only reason Spencer turned up to the end of year house party. Crowds weren't his thing, drinking neither. But she...she was worth it.

"Spencer!" The girl gleamed as he wandered into the house. 

He didn't belong at all. His shoulders were stiff, his glasses at the edge of his nose. But, despite such, Y/n still took him into a longing hug. "H- Hi." He greeted, his eyes flickering all over the place. From the demolished kitchen to the living room where drunken teens were dancing on top of couches and coffee tables.

Her brow raised, "Come on, we'll get you a drink." Her hand slipped into his, bringing the boy back to his attention: her. "You do drink right?" She checked as she guided him towards said demolished kitchen.

"Erm, not a heavy drinker but, sure I can have one."

"You sure?" She spoke ever so softly, "You know you don't have to."

"Just one." He offered her a smile.

She grasped a few bottles: vodka, rum, tequila. "Pick your poison."

Spencer had simply shrugged, a chuckle at the tip of his tongue, "I'll have whatever you're having."

"Rum it is!"

She poured the two the same drink - almost half liquor, half mixer. Spencer coughed when he swallowed, causing the girl to giggle, "Too much?"

But Spencer simply shook his head, "Just perfect," He almost joked as he leaned onto the kitchen counter next to the girl, "I almost didn't come," He admitted.

"I don't blame you," He gazed down at her answer, his expression urging her to add some context. "Ashley James puked up after two drinks, Kacy and Liam broke up, now Liam's making out with Polly. It's just...a mess." Her eyes rolled. "But then again, what was I expecting?"

Spencer smiled at her. She was good at knowing like everything. While he was filled with facts and statistics, Y/n knew everything about everyone. Within one look, she knew your secrets. Maybe that's why she was so good with people. "We can go somewhere else if you want?" He suggested.

His question brought along an idea for the girl. With her free hand, she took Spencer's and led him out into the back garden. Whoever lived here was almost rich. Well, rich enough for a pool and a pretty big outdoor area. "Come on," Y/n urged him as she pulled the boy towards the edge of the pool.

She slipped her shoes off, sitting down and letting her legs dangle into the fresh water. Spencer watched her for a moment before joining her, the two sipping on their drinks. "Better?" She asked him.

He nodded, "Much."

"At least we've got Summer now, no more being forced to see them assholes." She joked.

Spencer's brows narrowed in thought, "You mean the assholes that you were friends with until you met me?"

"Well you got me there, Spence." She shrugged, "Social survival, that's what I call it. It's not as if there won't be similar people in college. I mean, fucking sororities, semi-pro football leagues, frats?"

"I'm sure you'll fit in amazingly at Princeton." His smile seemed to falter at his own words.

She gazed at the boy who seemed captivated by the slowly swaying water below them, "We'll still call you know, text, just cause we're in different places, doesn't mean anything, Spencer." Y/n attempted to comfort him.

"That's what everyone says but, I don't know." He shook his head, ignoring a thought.

But she noticed it; she noticed everything, "But what?"

He huffed and stared over at her, his eyes pooling in admiration. "You're one of the best things to have happened to me in a long time you know," He offered her a smile, "I couldn't even imagine losing you."

The girl bit her lip. Something was on her mind and Spencer had noticed. He too noticed everything about her. But he didn't ask. Partly, because he didn't have the chance to. Her eyes flickered to his lips. Then to his eyes. And before Spencer could realise, she had leant in, her lips at his. Without even realising, she had changed everything for the boy.

✧･ﾟ: *✧･ﾟ:*

Spencer accompanied the woman towards a private, interview room. He would offer support and comfort but at the same time, he had a job to do. A part of that was questioning. She was the only person to know this unsub. As difficult as it would be for her, he would have to ask them questions.

"Hey," Emily spoke as he entered the room, two coffees in hand: one for Spencer and one for Y/n. "Coffee orders are here," She smiled as she placed them at the table between the two. "I'm Emily, Reid says you're an old friend."

Her eyes flickered to the man before she shook Emily's hand, "Something like that yeah."

"Well, we're here if you need anything, alright?" She said, "You're in good hands here, especially with our Doctor Reid."

With that, Emily left to join the rest of the team who were busy compiling a profile. Which left her and Spencer. This was the part he wasn't looking forward to. "I've erm, I've got to ask you some questions, it'll help us understand this unsub, help us find him." He explained. When she nodded, the boy continued, "I'm going to ask you to close your eyes, alright? And then I'm just going to go through the night you were attacked. Is that okay?"

She swallowed the lump which had grown in her throat, "Yeah," She muttered.

Y/n followed the instructions and let her eyelids close before Spencer started the exercise, "Okay, just go back to that night. You were on 9th Street, correct?"

"Yes."

"It was getting late, but it was summer, think about the air, was it still warm? What sort of things could hear, anything?"

She thought back to it. Y/n had just finished her work week, she was walking home from the Subway. "There's a group of girls on the other side of the road, they're giggling. Drunk, I assume."

"That's good, that's really good." Spencer praised, "Then when did you realise something was off?"

Her brows furrowed and she thought about it, the pit in her stomach growing, "Someone- someone was yelling. A man. I thought he was like bible bashing so I wasn't paying much attention to what he was saying."

"Think." Spencer jumped in, "Listen to him, pick any words, any phrases that stick out to you."

And she did so. Her mind ran through the memory, "Something, something about an agenda, the- the snowflake agenda? It's ruining America it's-" She cut herself off as the memory reached the worst part. "That's when he grabbed me." Her voice quickened, her breaths soon becoming uneven. "He had a knife to my neck- he pulled me to an ally. I- Spencer."

Her hand reached out over the table instinctively, "It's okay," He too had become panicked just seeing her's. "I'm here, it's over, you can open your eyes."

When she finally did, she took one breath. A sigh of relief that she was okay. And then, a single tear dropped from her eyeline. Spencer couldn't take it. He stood and she followed suit, "Come here," He spoke before taking her into a tight hug. "You're safe, I promise." 

She pulled away just slightly but never dared to break touch, "The only reason I got away was because I had pepper spray in my bag," She explained. 

Spencer thought on that and then an idea came to mind. "Come with me," The boy took a hold of her hand, guiding the girl through the bullpen towards the meeting room where the rest of the team had been.

The round table was scattered with files and papers. Garcia typed away at her laptop while the rest were debriefing. At the entrance of the pair, they glanced up. 

Before they could ask any questions, Spencer started rambling, never daring to let go of Y/n's hand. "The unsub was protesting on the street, he's some kind of right-wing enthusiast. He was going on about the left-wing 'agenda', about how it's ruining America." He explained. "Not only that, but Y/n used pepper spray on him."

Like that, they had something, "He would have had to go to the hospital?" JJ thought.

"Or at least bought some kind of medical supplies."

"Yeah, saline wipes or there's a nasal spray that helps the pain." Spencer went on to explain.

From there, Hotch turned to Garcia, "Cross check avid right-wing protesters in the D.C. areas, men with low criminal offences, things like hate crime. Then look at anyone whose been admitted for treatment of pepper spray or has bought any medical supplies to treat it."

Like that, the aggressive typing ensued. The team were all waiting, Y/n still at Spencer's side, anxious for the name of her attacker to be revealed. "I've got it, Tony Jones."

When Hotch stood from his chair, the rest of the team started to follow. "Send us the address, Garcia."

"Already done it, Sir."

Each of the team members stood, one by one walking passed Y/n. That was apart from Garcia who was still glued to her laptop, sending the address to the rest of the team. Spencer was about to turn when Y/n reached for the boy's hand once again. Her eyes filled with nothing but worry. "Do you have to go?"

Her question had made his heart ache. His eyes flickered to Garcia who was already glancing at the two, "I- I probably should but, but Garcia will stay with you." He offered.

Y/n looked back at the extravagant woman who was smiling, "Of course, I've got loads of things I can show you in my office!" She gleamed.

Y/n returned the smile before turning back to Spencer, "You'll be careful, right?"

The boy nodded, "Of course," He replied before taking her in his arms once again. But this time, when he pulled away ever so slightly, it was to place a gentle kiss to her forehead.

And like that, a soft smile, a goodbye, was passed between the two before Spencer turned away to join the rest of the team. She stared out the door of the conference room until Spencer slipped away. From there, she turned, a weak smile given to Garcia as she came to join her at the round table.

The other woman had watched the interaction and, while she wasn't a profiler, she wasn't oblivious to the world of loving. "He really cares about you, doesn't he?" She asked. Though, Garcia already knew the answer.

"I care about him just as much," Even after all this time, a piece of her heart still belonged to Spencer Reid - it always would.

"You're not just an old friend, are you?"

Y/n swallowed, glimmers of that high school Summer filling her brain. "It was, complicated." She described. "We erm, only really had a Summer as..." How could she describe it? "More than friends, I guess. And then we were both shipped off to college. And I mean, we lost contact. As a lot of people do." And 12 years later here she was.

Garcia offered her a smile, "You still love him, don't you?"

The girl giggled but gave a nod, "I don't think I ever stopped."

"Well, if my time with Doctor Reid has taught me anything, the way he is with you, I mean it's like no other." Her hand brushed at her shoulder gently, "I don't think your feeling is one-sided."

That would stick in her head for the next hour. While Spencer and the rest of the team were arresting Tony Jones, Garcia was giving the girl a tour of her office. Everything wonderful and weird. And while she tried her best to pay attention, her mind kept being dragged over to Spencer. If he was safe, if he was coming back...if, once again, everything had changed.

She knew one thing: she would make sure they didn't lose contact this time around.

When the boy finally returned, he practically rushed through the BAU to find her. She was at Garcia's side as they exited her office, "Y/n," He called.

The girl's head snapped to him, her pace quickening as she came to reach him, "Did you?"

He nodded, "He's at the station, don't worry." He assured.

"Oh, good, yeah," She spoke before a sigh fell from her lips. "So, I mean, what happens now? Do I just go home?" The idea of such, while stupid to think so, was almost disappointing. Going home meant she wasn't in Spencer's company any longer. And that wasn't something she wasn't to lose just yet.

But Spencer's reaction was a similar one, "I can walk you home, if you want of course."

Her smile grew, "I'd like that."

"I'll just erm," He gestured to his FBI vest, "I'll only be a second."

And so she watched him leave for barely a minute, coming back in his shirt. He took her hand, led her into the lift and pressed for the ground floor. A moment of silence. A moment of thought. One of which was urgring Y/n on.

She glanced over at the boy, "You know I always think everything happens for a reason." Her nerves suddenly flooded her body as she realised what she was about to admit, "And as much as getting jumped was not fun, I'm glad it brought me back to you, Spencer."

Y/n turned to face him, barely any space between them, "I missed you."

"I missed you too, Spence."

With that, Y/n made the leap. She closed that gap, their lips meeting every so soft, ever so longing. Like they had both been waiting for this moment for 12 years. And when they pulled away, her hands cupping his face and his placed at her waist, it was like they were 18 again. "Promise we'll keep in contact now?" He almost joked.

And she chuckled, "Promise."

[gffa]

One thing that caught my attention while watching The Phantom Menace in the theater, a movie I didn't expect to find anything new with after how many times I've seen it and analyzed it, was that Sidious mentions multiple times that he has to change his plans to fit the new circumstances. It got me to thinking about how Palpatine gets credit for his carefully crafted plans, but often times not for how flexible he is in changing them on the fly, especially in time travel fics where someone destroys one of his plans and that's the end of it. Which, I'm not advocating against, I love a good Take That Wrinkled Walnut The Fuck Down However You Gotta Do It fic and I don't want them to change! But in canon Palpatine makes note of things he's not expecting, like:

When Valorum sends the Jedi as ambassadors, it's not part of Sidious' plan: DAULTAY DOFINE: This scheme of yours has failed, Lord Sidious. The blockade is finished. We dare not go against the Jedi. DARTH SIDIOUS: Viceroy, I don't want this stunted slime in my sight again! This turn of events is unfortunate. We must accelerate our plans. Begin landing your troops. NUTE GUNRAY: My lord, is that… legal? DARTH SIDIOUS: I will make it legal. NUTE GUNRAY: And the Jedi? DARTH SIDIOUS: The Chancellor should never have brought them into this. Kill them immediately!

On the Trade Federation ship, after Queen Amidala has disappeared from Naboo, Palpatine originally planned that she would be forced to sign the treaty, and then brings in Maul to deal with this. DARTH SIDIOUS: And Queen Amidala, has she signed the treaty? NUTE GUNRAY: She has disappeared, My Lord. One Naboo cruiser got pat the blockade. DARTH SIDIOUS: I want that treaty signed. NUTE GUNRAY: My Lord, it's impossible to locate the ship. It's out of our range. DARTH SIDIOUS: Not for a Sith. This is my apprentice. Darth Maul. He will find your lost ship.

On Naboo, after Padme allies with the Gungans: NUTE GUNRAY: We've sent out patrols. We've already located their starship in the swamp....It won't be long, My Lord. DARTH SIDIOUS: This is an unexpected move for her. It's too aggressive. Lord Maul, be mindful. MAUL: Yes, my Master. DARTH SIDIOUS: Be patient... Let them make the first move.

Palpatine's plans aren't static, they adapt and change with the events that happen, just as the other characters react to new information and head in new directions for it, so too does Palpatine and I think it's interesting to note that part of what makes him such a good villain is that he has an outline for what he wants to do, he sets up the dominoes of what he needs, but even when they don't fall precisely into place, he generally gets what he wants. He originally intended that Padme would sign the treaty, the Jedi wouldn't be involved, and that would lead to a vote of No Confidence to oust Valorum, using the sympathy for Naboo as a way to boost himself into the position. But he didn't really need her to sign it and still managed to use the sympathy for Naboo to get elected, it ultimately didn't matter what happened to the planet, so long as it was in danger while he needed it to be, he could use it either way. Nor, honestly, do I think he ever planned for Anakin Skywalker's existence, he had no idea they would find such a boy on Tatooine or how useful he was going to be, that was another way he changed his plans once the opportunity arose. Or a lot of his plots in TCW--he has Cad Bane steal the list of Force-sensitive children and kidnap them, bringing them to Mustafar for some sort of program to use them probably not too unlike how he uses the Inquisitors later. That plan is foiled by the Jedi, the babies are returned to their families, and Sidious' plans fall through, but that doesn't really change the outcome. tl:dr: I don't think Palpatine gets enough credit as a villain whose plans shift and change along with the new events that happen, just as much as the heroes' plans shift and change when new things happen. Yeah, he's a great villain because he creates an impossible trap for people, but also because the thing about him is that he's incredibly charming and charismatic and he knows an opportunity when he sees one, that any one given plan might fall through, but it's not necessary to his overall plot.

[thewriteadviceforwriters]

The Telling Truth: When 'Show, Don't Tell' Doesn't Apply (You Don't Always Have To Show, Don't Tell.)

Hey there, fellow writers and beloved members of the writeblr community! 📝✨

Today, I want to talk about something that's been on my mind lately, and I have a feeling it might resonate with many of you too. It's about that age-old writing advice we've all heard a million times: "Show, don't tell." Now, don't get me wrong – it's great advice, and it has its place in our writing toolbox. But here's the thing: it's not the be-all and end-all of good writing. In fact, I'd argue that sometimes, it's perfectly okay – even necessary – to tell rather than show.

First things first, let's address the elephant in the room. The "show, don't tell" rule has been drilled into our heads since we first picked up a pen (or opened a Word document) with the intention of writing creatively. It's been repeated in writing workshops, creative writing classes, and countless craft books. And for good reason! Showing can create vivid, immersive experiences for readers, allowing them to feel like they're right there in the story.

But here's where things get a bit tricky: like any rule in writing (or in life, for that matter), it's not absolute. There are times when telling is not just acceptable, but actually preferable. And that's what you all will explore today in this hopefully understandable blog post.

Let's start by breaking down why "show, don't tell" is so popular. When we show instead of tell, we're engaging the reader's senses and emotions. We're painting a picture with words, allowing the reader to draw their own conclusions based on the details we provide. It's a powerful technique that can make our writing more engaging and memorable.

For example, instead of saying "Sarah was angry," we might write, "Sarah's fists clenched at her sides, her jaw tight as she glared at the broken vase." This gives the reader a clearer image and allows them to infer Sarah's emotional state.

But here's the thing: sometimes, we don't need or want that level of detail. Sometimes, efficiency in storytelling is more important than painting an elaborate picture. And that's where telling comes in handy.

Imagine if every single emotion, action, or piece of information in your story was shown rather than told. Your novel would probably be thousands of pages long, and your readers might get lost in the sea of details, losing sight of the main plot or character arcs.

So, when might telling be more appropriate? Let's explore some scenarios:

Summarizing less important events: If you're writing a story that spans a long period, you don't need to show every single day or event. Telling can help you summarize periods of time or less crucial events quickly, allowing you to focus on the more important parts of your story.

For instance: "The next few weeks passed in a blur of exams and late-night study sessions." This sentence tells us what happened without going into unnecessary detail about each day.

Providing necessary background information: Sometimes, you need to give your readers some context or backstory. While you can certainly weave this information into scenes, there are times when a straightforward telling of facts is more efficient.

Example: "The war had been raging for three years before Sarah's village was attacked." This quickly gives us important context without needing to show the entire history of the war.

Establishing pace and rhythm: Alternating between showing and telling can help you control the pace of your story. Showing tends to slow things down, allowing readers to immerse themselves in a moment. Telling can speed things up, moving the story along more quickly when needed.

Clarifying complex ideas or emotions: Some concepts or feelings are abstract or complex enough that showing alone might not suffice. In these cases, a bit of telling can help ensure your readers understand what's happening.

For example: "The quantum entanglement theory had always fascinated John, but explaining it to others often left him feeling frustrated and misunderstood." Here, we're telling the reader about John's relationship with this complex scientific concept, which might be difficult to show effectively.

Maintaining your narrative voice: Sometimes, telling is simply more in line with your narrative voice or the tone of your story. This is especially true if you're writing in a more direct or conversational style.

Now, I can almost hear some of you saying, "But wait! I've always been told that showing is always better!" And I completely get it. I'm a writer myself and prioritize "Show, Don't tell." in my writing all the time. We've been conditioned to believe that showing is superior in all cases. But we can take a moment to challenge that notion.

Think about some of your favorite books. Chances are, they use a mix of showing and telling. Even the most critically acclaimed authors don't adhere strictly to "show, don't tell" all the time. They understand that good writing is about balance and knowing when to use each technique effectively.

Take, for instance, the opening line of George Orwell's "1984": "It was a bright cold day in April, and the clocks were striking thirteen." This is a perfect blend of showing and telling. Orwell shows us it's a bright, cold day (we can imagine the crisp air and clear sky), but he tells us about the clocks striking thirteen. This immediate telling gives us crucial information about the world we're entering – it's not quite like our own.

Or consider this passage from Jane Austen's "Pride and Prejudice": "Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character." Here, Austen is clearly telling us about Mr. Bennet's character rather than showing it through his actions. And yet, it works beautifully, giving us a quick, clear insight into both Mr. Bennet and his wife.

The key is to use both techniques strategically. So, how can you decide when to show and when to tell? Here are some tips:

Consider the importance of the information: Is this a crucial moment in your story, a pivotal emotion, or a key piece of character development? If so, it might be worth showing. If it's more of a transitional moment or background information, telling might be more appropriate.

Think about pacing: If you want to slow down and really immerse your reader in a moment, show it. If you need to move things along more quickly, tell it.

Evaluate the complexity: If you're dealing with a complex emotion or concept, consider whether showing alone will be enough to convey it clearly. Sometimes, a combination of showing and telling works best for complex ideas.

Consider your word count: If you're working with strict word count limitations (like in short stories or flash fiction), telling can help you convey necessary information more concisely.

Trust your instincts (Important): As you write more, you'll develop a feel for when showing or telling works better. Trust your gut, and don't be afraid to experiment.

Now, let's talk about how to tell effectively when you do choose to use it. Because here's the thing: telling doesn't have to be boring or flat. It can be just as engaging and stylish as showing when done well. Here are some tips for effective telling:

Use strong, specific language: Instead of using vague or generic words, opt for more specific, evocative language. For example, instead of "She was sad," you might write, "A profound melancholy settled over her."

Incorporate sensory details: Even when telling, you can include sensory information to make it more vivid. "The room was cold" becomes more engaging as "A bone-chilling cold permeated the room."

Use metaphors and similes: These can help make your telling more colorful and memorable. "His anger was like a volcano ready to erupt" paints a vivid picture without showing the anger in action.

Keep it concise: One of the advantages of telling is its efficiency. Don't negate that by being overly wordy. Get to the point, but do it with style.

Vary your sentence structure: Mix short, punchy sentences with longer, more flowing ones to create rhythm and maintain interest.

Remember, the goal is to create a seamless narrative that engages your reader. Sometimes that means showing, sometimes it means telling, and often it means a artful blend of both.

It's also worth noting that different genres and styles of writing may lean more heavily on one technique or the other. Literary fiction often employs more showing, delving deep into characters' psyches and painting elaborate scenes. Genre fiction, on the other hand, might use more telling to keep the plot moving at a brisker pace. Neither approach is inherently better – it all depends on what works best for your story and your style.

Now, I want to address something that I think many of us struggle with: the guilt or anxiety we might feel when we catch ourselves telling instead of showing. It's easy to fall into the trap of second-guessing every sentence, wondering if we should be showing more. But here's the truth: that kind of constant self-doubt can be paralyzing and ultimately detrimental to your writing process.

So, I want you to understand and think: It's okay to tell sometimes. You're not a bad writer for using telling in your work. In fact, knowing when and how to use telling effectively is a sign of a skilled writer.

Here's some practical ways to incorporate this mindset into your writing process:

First Draft Freedom: When you're writing your first draft, give yourself permission to write however it comes out. If that means more telling than showing, that's absolutely fine. The important thing is to get the story down. You can always revise and add more "showing" elements later if needed.

Revision with Purpose: When you're revising, don't automatically change every instance of telling to showing. Instead, ask yourself: Does this serve the story better as telling or showing? Consider the pacing, the importance of the information, and how it fits into the overall narrative.

Beta Readers and Feedback: When you're getting feedback on your work, pay attention to how readers respond to different sections. If they're engaged and understanding the story, then your balance of showing and telling is probably working well, regardless of which technique you're using more.

Study Your Favorite Authors: Take some time to analyze how your favorite writers use showing and telling. You might be surprised to find more instances of effective telling than you expected.

Practice Both Techniques (Important): Set aside some time to practice both showing and telling. Write the same scene twice, once focusing on showing and once on telling. This can help you develop a feel for when each technique is most effective.

Now, let's address another important point: the evolution of writing styles and reader preferences. The "show, don't tell" rule gained popularity in the early 20th century with the rise of modernist literature. But writing styles and reader tastes have continued to evolve since then.

In our current fast-paced world, where people are often reading on devices and in shorter bursts, there's sometimes a preference for more direct, efficient storytelling. This doesn't mean that showing is out of style, but it does mean that there's often room for more telling than strict adherence to "show, don't tell" would allow.

Moreover, diverse voices in literature are challenging traditional Western writing norms, including the emphasis on showing over telling. Some cultures have strong storytelling traditions that lean more heavily on telling, and as the literary world becomes more inclusive, we're seeing a beautiful variety of styles that blend showing and telling in new and exciting ways.

This brings me to an important point: your voice matters. Your unique way of telling stories is valuable. Don't let rigid adherence to any writing rule, including "show, don't tell," stifle your natural voice or the story you want to tell.

Remember, rules in writing are more like guidelines. They're tools to help us improve our craft, not unbreakable laws. The most important rule is to engage your reader and tell your story effectively. If that means more telling than the conventional wisdom suggests, then so be it.

As I wrap up this discussion, I want to leave you with a challenge: In your next writing session, consciously use both showing and telling. Pay attention to how each technique feels, how it serves your story, and how it affects the rhythm of your writing. You might discover new ways to blend these techniques that work perfectly for your unique style.

Writing is an art, not a science. There's no perfect formula, no one-size-fits-all approach. It's about finding what works for you, your story, and your readers. So embrace both showing and telling. Use them as the powerful tools they are, and don't be afraid to break the "rules" when your instincts tell you to.

Remember, every great writer started where you are now, learning the rules and then figuring out when and how to break them effectively. You're part of a long, proud tradition of storytellers, each finding their own path through the winding forest of words.

Keep writing, keep growing, and keep believing in yourself. You've got this!

Happy writing! 💖✍️ - Rin T.

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[dceasesd]

why juni ba’s the boy wonder has my favorite jason characterization of any contemporary comic run: a needlessly in-depth analysis (pt.1)

oh boy oh boy am i excited for this one buckle up boys it’s gonna be a long one. analysis under the cut (WITH PICTURES!!)

i, like many others, have many thoughts and opinions about juni ba's the boy wonder that i'd like to express. i was having trouble formatting my rant, though, so i decided that it was easiest to just address some of the common complaints i've seen about the comic and jason's characterization and insert my ramblings throughout it. so far i've seen three main complaints:

the typical boiling down of jason's character to "the angry one"

his lack of strategy going into the fight with the demon is out-of-character

the neighbor's kid interaction

to start with the first one-- when introducing jason's character, in both the second and first issue, ba uses the descriptors "coarse", "bitter", "hardened", "brash" and, of course, "rageful".

so, yes-- i understand where people are having issues with this characterization. however, even if it's overplayed, it's still important to remember that jason is angry, and is driven, in part, by his anger at bruce and the joker. and, as ba highlights, he deserved to be! completely erasing jason's anger is just as bad as defining him with it.

i also don't think it's wholly accurate to say that ba is boiling jason down to just his anger. it might seem like that when only considering the dialogue and narration, but jason's behavior in the comic doesn't perfectly align with how the narrator describes him. while the narration describes him as "rageful" and could be an instance of generalization, jason's actions throughout the comic are more aligned with two other emotions/motivators: fear and despair. we never see jason get actually, properly angry; the closest we get is when he's seemingly annoyed by damian (which i believe could be performative) and when he becomes violent, accidentally hurting damian.

even in this instance, though, he is not driven to this violence by rage, but rather fear. so, while ba states in the narration that jason is driven by his anger, he contradicts himself by highlighting how jason's sadness and terror motivates his character. this could be interpreted as lousy writing on ba's part, but i'm not going to attribute the paradox to that inference. to me, it actually represents a critque of the "jason is the angry robin" generalization, because it calls to attention the discrepancies between how one is described versus reality, an issue that jason both faces in the comics (bruce using him as a cautionary tale when dying WASN'T HIS FAULT) and outside of the comics, as mentioned previously.

furthermore, this highlights the difference between what jason believes about bruce's perspective and bruce's actual perspective (according to damian). jason believes himself to be a "failure", but damian refutes this by describing his conversation with bruce concerning jason, a conversation that does not align with jason's belief. if you couldn't tell by now, perception versus reality is a BIG theme in this comic (and for jason's character in general!)

i was really fascinated by ba's take on jason, because it veered pretty far from a lot of contemporary comics, most of which do, unfortunately, play with the angry robin jason generalization. they've been doing a bit with his fear, too, which has either been pretty fun or the most awful thing ever (i'm looking at you zdarsky. gotham war was fucked up), but what makes ba's jason stand out to me is how he grapples with his grief.

this boy is so sad. ba's jason might actually be the saddest rendition of him i've seen in canon content. we've seen jason grapple a little bit with the despair rooted in his death and resurrection, mainly in lost days, where he cries 3 (?) times, fresh out of the pit and very traumatized.

even in this comic, though, he reacts to his grief with anger more prominently than sadness. that obviously doesn't mean the despair isn't there, though-- anger is just an easier outlet for it (which i could really get into the masculinity aspects of that, but then this would be wayyyyyy too long).

ba's jason, though? that motherfucker is so. sad.

christ he's depressing. AND THAT'S SUCH A FRESH PERSPECTIVE!!!!!!! THANK YOU JUNI BA!!!!!!

now i'm pretty sure some people would argue that this rendition in out of character because he's so sad. to me, though, he's still the same jason; he covers up his sadness with anger and pettiness, redirecting his own insecurities onto those around him to mask his true feelings.

ba quite literally illustrates this in the comic. whenever he is being his snide, normal self, he has his red hood mask on; but when he actually opens up to damian and expresses himself truthfully, the mask is off. ba is highlighting how the classic jason anger and bitterness is, in part, a performance and coping mechanism.

this post is already too long, so i'll go over the two other critques in a different post, which i will link below (eventually). if you guys have any thoughts you'd like to share or discuss, my dms and asks are completely open! if you made it this far, i hope you enjoyed my ranting. look out for another post soon! :))

part 2 / part 3

[liulith]

We as a fandom need to open our hearts to the insane comedic potential of Sir Pentious being included as a background character in stories taking place in the "old days" before Vox and Alastor's falling out. AND the comedic potential of one-sided Sir Pentious -> Vox.

Why?

Canon!Sir Pentious is attached to his era's aesthetics but he also wants to be "hip and cool" (see pilot episode; Sir Pentious as the how do you do fellow kids meme) and join the "Almighty Vees". When did he start wanting that? He's not a media demon trying to keep up with his audience and be a likeable public figure. He's a mechanic trying to conquer Hell by force thanks to his machines and obviously relishes in acting like a villain (fear me! I'm so evil! I'm the architect of destruction! etc. etc).

This is very different from the Vees' approach - maintaining a perfect public image, insidious manipulation tactics... Vox threatens Alastor in the show, but the Vees clearly haven't built their power through turf wars, which is and has always been Pentious' one and only strategy. All the machines we've seen him make are war weapons (+ the Egg Boyz who do his bidding, and help him operate those very weapons). Voxtek probably sells weaponry too but that is more Camilla's domain, so it would be more logical for Pentious to try and join her.

Pentious' and the Vees agenda and interests aren't aligned, so why is Pentious so desperate to join the Vees?

there are many reasons why Pentious could want to be part of the Vees besides the one I'm gonna talk about but you know what MY agenda is:

Vox is Pentious' idol. Pentious is an inventor, an innovator. He would have loved waking up in Hell with a mechanical body he can upgrade however he wants and finds the whole concept fascinating.

He's not against new technology, as his creations clearly go beyond what people could have had invented in his time despite their "steampunk" aesthetic (see: the effing death ray). So I think his current "limitations" are more a matter of him having to stick with what he knows best because it's hard to keep up with the constant stream of new tech. This is why he's more than impressed with Vox's extraordinary ability to adapt to change and master new technologies again and again. He's a fellow innovator! That's one reason for Pentious to be obsessed with the guy.

And if you think obsessed isn't the right word, think about this: Sir Pentious repeatedly challenges Alastor to fights even though he's clearly outmatched and it's an incredible risk to take considering what Alastor does. Pentious is OLDER than Alastor, he was there when he broadcast the most powerful Overlords' scream all over Hell. Plus, losing always leaves him in a very vulnerable position (without his best weapons). Is it madness? Hubris? An obsession for Alastor? No!

Sir Pentious to Alastor: Silence! Now Cower! For when I've slain you, the Almighty Vees will finally acknowledge me!

Sir Pentious thinks defeating Alastor is the only way the Vees will finally acknowledge him. No matter how dangerous it is, he has to try, for the Vees (Vox). Just like he took the risk of angering the Princess of Hell to get in Vox's good graces. This says a lot, for someone as paranoid as him, who doesn't trust anyone who is "too nice" to him.

If Hazbin had more episodes there should have been one about Pentious struggling with the fact he disappointed his idol and told to KHS 👀

(btw this is old news but we know that one of the Hazbin episodes that Viv originally pitched was about a science contest organized by Voxtek in which Pentious and Baxter competed against each other! Pentious could have done that after ep2!)

Anyway, back to the comedic potential of it all & Vox's arrival in Hell. Can you imagine his reaction as a newly fallen Sinner, when he's hanging out with Alastor (aka following him like a lost puppy?) and he meets Sir Pentious for the first time? Like sure, Hell is full of insane people but Alastor obviously has a Reputation and no one ever challenges him. And suddenly... Hm... Alastor?? There's an airship with a giant cannon pointed right as us?? Firing a DEATH RAY?!

It's also so funny to imagine Sir Pentious being obsessed with Alastor and considering him his archnemesis back in the day, only to slowly become obsessed with Vox instead and only caring about defeating Alastor because he thinks Vox will like it. It starts with Sir Pentious trying to "gather intel" on Alastor's new "ally", spying on them or sending his Egg Boyz to do so (and we already know great he is at spying so you can guess how that goes lol), and the rest is history.

Alastor loves attention so he probably let Pentious spy on him behind bushes from time to time if only because it's very entertaining to watch him try to be discrete and make his shadow tap on his shoulder. How hilarious would it be if Alastor noticed Sir Pentious' growing crush on Vox but not Vox's crush on him? Also, Vox misunderstanding Pentious and Alastor's relationship and thinking Pentious is a weird obsessive ex... The world is a stage and the stage is a world of entertainment!

[rwbyrg]

Can we take a moment to appreciate just how well fed we are? Both in canon and beyond?

Oscar said "woah" the moment he first met Ruby.

"Woah. You have... silver eyes". Specifically.

The scene of them sparring at sunset and being goofy about it.

They're the two youngest members of the team, and both of their main allusions are stories about growing up (The Little Prince and Little Red Riding Hood).

Oscar's main allusion is of a character that's in love with a rose. Ruby's last name is Rose, she has a rose emblem, and can turn into rose petals.

They also have shared/parallel allusions from in-universe fairytales (Ex. The Boy Who Fell From The Sky, The Girl Who Fell Through the World, and most notably, The Warrior in the Woods).

The Dojo Scene

Their shared attachments to each other keep being put in focus.

Oscar cared more about Ruby being knocked out than Weiss being impaled at Haven.

Ruby's always watching his back in fights, and he always has hers in group conflict discussions.

Neo, the illusionist character, uses Oscar as both the first and last illusion to torture Ruby; going so far as to make Ruby "kill" him with her own hands. It could have been anyone, but it WASN'T. It was OSCAR.

Meanwhile, Oscar in the V9 epilogue laments to Ruby's "grave" about how he is struggling to hold onto who he is more than ever before. In large part because of the merge, but also because Ruby "always saw people for who they really were", and she's not around anymore to help remind him of who he is.

"You're your own person."

The Almost Hug.

The song that plays leading up to The Almost Hug is one about someone pining for a love they've lost and been separated from across worlds. The song airs a few episodes before Oscar and Ruby are the only "pairing" split up between Remnant and The Ever After. The song itself is called Treasure and Ruby is a type of precious gem, while Oscar's name alludes to gold.

Oscar's last name is Pine. Which, aside from the species of tree, is defined as: "to long or yearn for the return of something; to suffer, typically from a broken heart"(please see points 12 and 15).

They have multiple paralleling arcs and themes around choice, identity, responsibility, leadership, grief, etc.

Their character designs have complimentary colour schemes like other canon ships (red/green and silver/gold).

Sun/Moon ship

"Combat gear looks good."

They also follow the same story beats, separations, and reunions that other canon ships have in show (the meet-cute, the getting-to-know-you, the breakup arc, the distance makes the heart grow fonder trope, the (upcoming) emotional reunion, etc).

The animators, writers, and even voice actors on occasion, engage with fan content or discussions of the ship in a positive manner.

The Official RWBY Twitter Oscars Meme

Miles Luna has said a few times that the ship is cute. He also highlights that their relationship is built on mutual understanding from being in similar circumstances as the youngest kids in the group with too much weight on their shoulders.

Miles also said that in a hypothetical scenario where everyone celebrates Oscar's birthday, Ruby would buy a co-op video game as a present and the two of them would stay up really late playing it together.

Rosegarden won 2nd place in a popular RWBY YouTuber's "Top 10 RWBY Ships" poll as voted by fans after Volume 8 (it would have been third place if Renora and Bumbleby hadn't tied for first).

That one video from Aaron Dismuke, Oscar's VA.

"That kid's got a collapsible staff" -heart eyes emoji-

We've gotten a "Rosegarden Moment" in every Volume premiere since Oscar's debut in V4.

Oscar shouting Ruby's name too many times in the V6 fight against Cordovin.

Maria tells Oscar to "keep that fire fed" after he overhears Ruby talking about food always making her feel better. Then a few episodes later, he suspiciously makes a casserole for the "team" after "they" had a rough day (where he stood up for Ruby when she was looking defeated in a group argument).

Oscar's the only person Ruby opened up to about her grief until the blacksmith. Meanwhile, Ruby's the one who's always assuring Oscar he's his own person despite the merge.

The parallels of Oscar's struggle with the merge and Ruby's ascension in The Ever After.

"I'm just going to be another one of his lives, aren't I?" / "What if you could be anyone?"

Characters within the narrative regularly notice how close these two are to each other. Mainly Nora, Weiss, Yang, Cinder and Neo.

Oscar blushed when Ruby touched his shoulder???

THE FUMBLE?!?!?!?

[deliciousangelfestival]

I Hate It When You're Drunk - 4

Character: bodyguard!Bucky Barnes x Princess!Reader

Summary: A forbidden love between a princess and her bodyguard. They love each other deeply, but their relationship is threatened by the tyrant king's oppressive rule and their differing social statuses.

I Hate It When You're Drunk Series Masterlist

Main Masterlist || If you enjoy my work, please consider buying me a coffee on : Ko-fi 🙏🏻

Thank you to everyone who has read this chapter. Leave a comment and Reblog, please. I'd love to hear your thoughts. ❤️

“When the time is right, we will make our move,” Bucky declared, his voice resolute.

“Finally, our time has come,” Isaac, one of the resistance members, said. He was among the many whose family had been ruined for not supporting King Leonard's ascension.

“We want justice for what we've been through!” Lucas, another member, shouted, rallying the others into a cheer.

It was a well-known fact that King Leonard was a tyrant. Though the country appeared prosperous, many suffered behind the scenes, including the members of Bucky’s resistance. Each person in this room had been directly affected by Leonard’s ruthless rise to power.

The opposition, whether politicians or civilians, faced dire consequences for resisting the king. They lost their assets, their money, and often their lives. Bucky himself was a victim.

His mother, a vocal opponent of Leonard, had disappeared when Leonard began his ascent. When Bucky asked his father about her, he only responded, “It's best if you act like she didn’t exist.”

Those words left a lasting mark on Bucky. Over time, he discovered he wasn’t the only one who had lost a family member to Leonard's tyranny. At the military academy, he met Isaac, Lucas, and others who eventually formed the resistance.

As they planned their coup, the room buzzed with intense discussions and strategies. Isaac turned to Bucky, saying, “You play your part well. If we get the king, you could easily enter the royalty since you have the princess under your palm.”

The mention of you changed the atmosphere around Bucky. He glared at Isaac. “She’s not part of the plan.”

Seeing Bucky's anger, Isaac raised his hands in surrender. “Yup, I'm sorry,” he muttered before stepping away.

Bucky harbored no love for the tyrant king, but his feelings for you were different. You were innocent, a victim of circumstances beyond your control. He had grown up close to you and knew your struggles. This coup was as much about setting you free as it was about toppling Leonard.

The night was filled with fervent planning. Detailed strategies were discussed, each member contributing to the master plan to overthrow the king.

The next day, Bucky received a call from you. “The king wants to meet us,” you said, uncharacteristically cheerful. Given your complicated feelings toward your father, it was rare for you to show such enthusiasm.

🤍🤍🤍🤍🤍

The day before

“Your Highness,” the servants greeted you as you nursed a headache with aspirin.

“Yes?” you replied, glancing up from your seat.

“Your Majesty has invited you to play chess.”

Both you and the king had starkly different personalities, yet you shared a common passion for chess. You found solace in the game’s strategy, a rare escape from the burdens of your royal duties. The king, ever the strategist, enjoyed the mental challenge it provided, a way to sharpen his mind amidst his ruling responsibilities.

“Tell the king to give me 10 minutes,” you instructed, rubbing your temples.

“As you wish, Princess.”

You knew better than to keep the king waiting too long. Within the allotted 10 minutes, you arrived at his game room. The room was a relic from another era, with its only entertainment options being a billiard table and a chessboard. The air was thick with the scent of old wood and leather.

Leonard had been waiting, his posture relaxed but his eyes sharp with anticipation. He gestured to the chessboard between you. As you both took your seats, the game began. The soft clacking of chess pieces and the occasional murmur of strategy filled the room.

Leonard broke the silence. “Tell me, why don’t you want to marry Cassian?”

You moved a pawn, your eyes focused on the board. “My heart only belongs to one person. If I married another, I’d be a runaway bride.”

Leonard scoffed, clearly unimpressed. He leaned back in his chair, fingers drumming against the armrest, his gaze fixed on the chessboard as if it were a mere inconvenience.

You countered with a steely resolve. “It would be humiliating for you and for me. The king of Verudian have to bowed his head in apology to another country. It would be dreadful for both you and the kingdom.”

You leaned forward, attempting to reason with him. “Just as you loved my mother, the only person who truly held your heart, I feel the same way. It’s not something I can just ignore.”

Leonard’s hand hovered over a chess piece, the weight of your words hanging in the air. He sighed deeply. “In this world, you are the only one who shares my blood. My daughter. I want the best for you.”

Your heart skipped a beat at his admission. The words were a rare glimpse into the complexity of his feelings. “I understand what’s at risk. But you can’t ignore my feelings in this. I’ve spent years pleading for your blessing, and I’ve been patient. For once, can’t you consider what would make me happy?”

Leonard’s face remained a mask of stern calculation, though there was a flicker of something more vulnerable in his eyes. He exhaled sharply as if the weight of your words had momentarily pierced through his armor of indifference.

“I want what’s best for you, not just for me,” Leonard finally said, his voice tinged with reluctant resignation. He reached for a chess piece, his movements deliberate and slow.

His hand hovered over the piece, his fingers trembling slightly as he set it down. “You have the same persistence as me, and it’s clear you’re not going to give up easily.”

You leaned forward, heart pounding. “So, you’ll allow it?”

Leonard fell silent, his intense scrutiny making you shiver. After a moment, he reached out, his hand firmly grasping the piece you had taken. He moved it decisively, and then his eyes met yours.

“If I give you my blessing, will you stop hating me?” he asked, his voice softer but carrying a heavy weight.

You flinched, momentarily thinking you had misheard. After all these years of pleading for his blessing, could this finally be the moment you had waited for?

“Father?” you asked, your voice trembling.

Leonard looked at you with a resigned yet stern expression. “You’re right. You have the same persistence as me. All you’ve ever wanted from me is to marry him.” He paused, his eyes darkening. “I’ll allow it.”

Overwhelmed with emotion, you stood from your seat and embraced him. “Thank you, thank you, thank you,” you said, your voice breaking with relief.

Leonard was taken aback by the sudden display of affection. It had been a long time since you had shown him such warmth. His stiff posture softened, and for a moment, he was caught off guard by your genuine gratitude.

Finally, your prayers had been answered. The weight of the past years seemed to lift off your shoulders as you relished the moment.

“You should start the wedding plans,” Leonard said, his tone matter-of-fact.

“This early?” You asked, still glowing with excitement.

“You’ve been waiting long enough,” Leonard replied curtly. “Why delay any further?”

“Yes, you’re right. I’ll go tell Bucky right away.” You said, already eager to share the news.

Leonard nodded. “After that, have him come to see me.”

“I will,” you promised, turning to leave with a bounce in your step.

As you left to share the good news with Bucky, Leonard remained in the room, his eyes fixed on the closed door.

A low chuckle escaped his lips. He picked up the knight chess piece, his fingers tracing its contours. After a moment, he broke the top part of the knight with a deliberate snap. The shattered piece fell to the table, a dark reflection of his true intentions.

🤍🤍🤍🤍🤍

Present day

Bucky could hardly believe his ears when you announced, “He finally gave us the blessing.”

He pulled you into a tight embrace at that moment, his heart pounding with relief and unrestrained joy. Every sacrifice, every tear you had shed, and all the time spent waiting culminated in this single, breathtaking moment.

Bucky’s eyes were moist with unshed tears, his voice choked with emotion as he murmured against your hair, “I can’t believe it’s finally happening. We can be together.”

The weight of the years of struggle and hidden longing seemed to lift off both of you as you walked hand in hand towards the king’s chambers. The halls of the castle, usually cold and imposing, felt warm and alive with the promise of change. You and Bucky exchanged smiles and knowing glances, savoring the rare moment of peace before facing the king together.

When you entered the chamber, you both bowed deeply. “Your Majesty,” you said with a voice full of gratitude.

Leonard looked up from his desk, his expression inscrutable but his eyes sharp and calculating. “Princess,” he acknowledged with a nod, “Bucky.”

You stepped forward, your voice trembling slightly with emotion. “Thank you, Father. I never thought this day would come. I’m so grateful for your blessing. It means everything to us.”

Leonard’s eyes remained on you, but Bucky couldn’t shake the feeling of unease. He struggled to focus on the conversation, his mind racing with questions and doubts.

Why now? He thought, Why did the king suddenly relent? The timing doesn’t feel right.

Leonard then turned his attention fully to you. “You should discuss the wedding plans further with the planners. Now, leave us alone,” he said, his tone firm yet not unkind.

You nodded, still clutching Bucky’s hand, and left the room, leaving Bucky alone with the king. The atmosphere in the room shifted as soon as the door closed behind you. The air grew thicker, and Bucky’s instincts screamed at him that something was wrong.

The once grand and regal space now felt oppressive and claustrophobic, the air thick with an unspoken threat. The golden light that had once symbolized grandeur seemed to cast long, sinister shadows across the room.

King Leonard, who had earlier appeared as a benevolent father figure, now exuded an aura of dark authority. He rose from his throne with a deliberate movement, his eyes narrowing into sharp slits of cold resolve.

The transformation was chilling; the king’s earlier warmth was replaced by a ruthless edge, a reminder of why he was feared across the kingdom.

With measured steps, Leonard approached an old display case at the room's far end. Inside was a sword—a relic of the past, its blade reputed to have ended countless lives.

It symbolized power and brutality, a testament to the king's unyielding dominance. Leonard’s hand moved with a practiced grace as he lifted the sword from its resting place, the blade catching the light and casting a menacing gleam.

“Your Majesty thank you for the blessing,” Bucky said, his voice barely more than a whisper. He tried to mask his fear but couldn’t hide the slight tremor in his tone as he watched Leonard approach. He bowed deeply, his heart pounding in his chest, the weight of the moment pressing down on him.

Leonard’s footsteps echoed ominously against the marble floor as he advanced toward Bucky. The sword, now in his hand, seemed to radiate a malevolent energy. The king’s face, once serene, was now a mask of grim determination. Each step Leonard took seemed to reverberate with the promise of impending violence.

Without a word, Leonard closed the distance between them. The sword was held aloft, its blade catching the light and casting a cold, steely gleam. Leonard’s movements were precise and deliberate as he positioned the sword at Bucky’s neck. The cold metal pressed against Bucky’s skin, sending a shiver down his spine.

Bucky’s breath came in short, shallow gasps as he felt the sharp edge of the blade graze his neck. The metal was unforgivingly cold, a harsh contrast to the warmth of his own fear. Leonard’s hand was steady, his grip firm and unyielding as he held the sword in place.

The intensity of the moment was palpable. Leonard’s eyes were fixed on Bucky with a look of icy disdain, his expression devoid of any hint of mercy.

Leonard’s voice, when he spoke, was a low, dangerous growl, each word dripping with contempt. “Do you think I wouldn’t know about your little plan? You’ve been living in my kingdom, plotting behind my back. How dare you try to undermine me.”

The words were a cold, harsh reprimand that only heightened Bucky’s dread. He could feel the sword’s sharpness pressing against his skin, a tangible threat that made his pulse race and his breath hitch.

Leonard’s grip on the sword remained steady, his gaze unflinching. The blade’s edge was a constant reminder of Leonard's brutal power—power that was both feared and revered. He was the tyrant king.

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Author Note: Hey friends,

If you've been enjoying the content, I've set up a Ko-fi account.

Your support through tips would mean the world and help me keep creating.

Only if you feel like it!

Here's the link: Ko-fi

Thanks a bunch for being fabulous followers!

[jesncin]

Thinking about Disney and how we talk about Cultural Representation

(concept art by Scott Watanabe)

Old essay originally written on Cohost in November 2023. With additions.

With all the promo stuff about Disney's upcoming animated film Wish, I can't help but think about Raya and the Last Dragon again. I spent a year intensively researching things about that movie and the discourse surrounding it for a series of videos on Xiran Jay Zhao's channel, and oh boy did that reveal a lot about the current way we talk about cultural representation in casual media criticism.

Lately we've grown a habit of looking at signifiers to culture, things like a cultural dish, a nod to a martial arts style, a piece of clothing, maybe a hairstyle, a weapon and so on, and then projecting a bunch of intentions onto the work regardless of authorial intent. I witnessed this a bunch of times in discussions surrounding Raya and the Last Dragon.

You basically get a bunch of 4d chess-style justifications for the lazy implementation of culture in Raya.

random examples cuz there's too many to name:

The movie will do something like make the leaders of the villain nation women, and people immediately assumed it was some kind of bespoke reference to Minangkabau matriarchical society.

the art book of Raya specifically stated that they purposely misplaced things as a stylistic fantasy choice "we could take something that is known and place it in an unexpected location, like coral in the desert and cacti in the snow". But when people saw a water buffalo placed in the desert they assumed it was some super clever environmental story decision.

The movie will tell you it includes things like Borobudur, Angkor wat, Keris, and most people will take their word for it without hesitation. Never mind that Southeast Asians could barely recognize these nods to our culture through how amalgamated the designs are.

(early concept art by Scott Watanabe)

Moving forward, I think we need to talk less about "what" parts of a culture are being represented in these movies, and more about HOW they're being included, we need to ask:

What is this piece of media's relationship with the cultures it represents?

Because Raya and the Last Dragon is not a cultural movie, it's a monolith film pitched and written by white people and a Mexican director with 2 SEA writers added later in production to avoid backlash. Culture serves the purpose of aesthetic set dressing in the film, as opposed to something that informs its themes and characters.

it wasn't even initially pitched as a Southeast Asian movie. The white writers who pitched it were going for a vague East Asian sci fi fantasy story under the working title "Dragon Empire". Southeast Asian culture was an aesthetic change added much later.

This is what happens when a corporation tries to put representational value on a shallow aesthetic. Because of the way Disney constantly marketed Raya as this big authentic cultural film, it primes its audience to read cultural intention in the most benign details. And when we get lost in the details, we lose sight of the bigger picture.

Contextualizing Cultural media criticism

(visual development art by April Liu)

We need to start demanding more context in our analysis. The next time we see a reference to culture in media we consume, take a step back and ask what purpose it serves in the narrative. And most importantly!! What Is Its Relationship With The Culture It Represents? We shouldn't just accept things at face value.

start asking yourself,

through what lens is this cultural dish and its spicy flavors being presented to us? Are the customs surrounding the food being respected?

If martial arts or dance is represented, how is it translated in the adaptation? Are you getting generic hollywood-fu or are you seeing specific movements with purpose and motivation? Are the philosophies or spiritual contexts of these traditions present in the text?

Are the clothing, hairstyles, and presentation of the characters being de-yassified through a colonial filter? Is the non-conformity of the cultures' different framework for gender presentation being adjusted to fit a more recognizable binary?

If language is present, what role does it serve? Is it presented as other through being exclusively used by villainous beings? Is it being made a monolith as one "non-English" language?

is this temple actually a place of worship or is it just a set piece for a goddang Indiana jones booby trap action fight sequence

This way, instead of unquestionably defending a piece of media because a character wore a traditional outfit one time, or because some characters took their shoes off at a temple, or because there were Arnis sticks in that one fight scene, we can approach the text with a more nuanced and holistic understanding of how culture informs narrative.

To quote Haunani K. Trask (author of From A Native Daughter):

“Cultural people have to become political… Our culture can’t just be ornamental and recreational. That’s what Waikiki is. Our culture has to be the core of our resistance. The core of our anger. The core of our mana. That’s what culture is for.”

[writingicing]

Been reading a lot of posts about how much the ML in When the Phone Rings is too toxic and unromantic and how can he possibly not have learnt sign language if he loved her all this time and all of that... and here is what I think.

I haven't read the book, and although I did see some spoilers, the show might change things up a bit (and as far as we have seen, the changes made in the show has been for the better.) But, I think before judging him for being too toxic, a couple of things need to be considered.

I mean, what's the genre, guys, come on -

Everyone is entitled to their opinion but the whole point of such a story and such a show is to write weird, dark, toxic characters who are fucked up. People aren't finding his not knowing sign language as romantic because to some extent, people are just letting themselves get lost in the story and experience it first.

If that is like a genuine trigger for someone, that is completely understandable. But on the other hand, can't imagine having a stance of only watching perfectly good non-toxic politically correct characters on screen - is that not boring?

And that is the point - he is fucked up.

The way I see it, it makes sense that he has not learned sign language to communicate with. Like others have been posting, I don't think he intended to ever have a proper relationship with her.

We have only seen hong hee joo's backstory and we've only seen some of it, but because of this we have an understanding of her behavior and where it comes from.

Don't we at least owe that to baek sa eon as well?

People who are fucked in the head don't always know how to love someone best. And that's okay. I don't think that the drama is saying, "hey look we are going to romanticize another husband who won't get his shit together until his wife threatens to leave him." I think the drama is trying to say, "hey, look at both of these fucked up people who have spent so many years together refusing to communicate with each other and refusing to open up."

I find that to be one of the most interesting parts of the show actually - that BOTH of them have refused to open up to each other. She hasn't opened to him in the way she hasn't opened up to ANYONE because her mother forced her to go mute and took her agency away... her mother took her right to being herself away from her, and so she is as much fucked up as he is.

And for him, it seems like his own right to be himself has been taken away as well.

While it is absurd that he hasn't attempted to learn sign language until now, I think this dialogue gives a lot of insight into how he views her in her life: "She is a brand new language."

When you don't know who you are, when you don't know how to love, when you don't know how to receive love, when you are only a fraction of your own self, would you really learn a new language? You might have that book on your shelf... it might give you comfort... it might even give you hope that you will pick it up one day to learn it... but there might still be fear within you to commit, to put effort, to approach something as scary as learning a new language (and I don't just mean sign language, but hong hee joo herself.)

Is he objectifying her in a way? Yes, he is. But he is living an objectified life as well. This is his normal, this is the worldview that he has been taught, and nothing ever has given him the hope that taking a step, a risk, will lead him to something good.

And that is exactly what is finally happening right now. I don't think he's even seen her emote, let alone resist - I mean, he seems surprised to see her angry, to see her cry, to see her make noises, to see her be so confident in her skillset, to see her challenge him. I don't think either of them have ever had stupid playful annoying moments like switching the light on and off, her stealing back her pillow from under his head, them having a tug of war with the trash bag. They have never experienced each other this way and he has especially never experienced her in this way. I don't think he has experienced anyone in this way.

So yeah, he didn't learn it before. But the best way to bridge a communication gap is to reach across it yourself. I don't even know if he's realizing it, but to pay for her dad's new care home is taking power away from her mother....to tell her she needs to stop thinking about what their family will say and go get a job next to him, publicly showing herself right by his side as his EQUAL (not just his trophy wife, mind you) when their family has been asking her to quit her job... to bring her favorite food and telling her comforting words to the best of his abilities... to defend her worth to a random kidnapper bitch... all of this is his way of reaching across that gap himself. And now she is reciprocating, she has accepted that job and she is going to teach him how to communicate with her... she is going to teach him how to learn and understand HER, who is a brand new language for him.

And yeah, alright, maybe he didn't reach across that gap until her safety was actually threatened. But sometimes, when you're so numb to yourself and to the world around you, you need cold water splashed on your face, you need an explosion by your ears to wake you up. Maybe he needed this rude awakening as not only a warning, but a sign that he can indeed go ahead and make a connection with her. That she is real and she won't hurt him, and that he can maybe even trust himself not to hurt her.

Not everyone is perfect, not everyone is created with only green flag qualities. And hong hee joo never has to forgive him, she doesn't have to do anything - but no one can deny that she can forgive if he has earned her forgiveness.

[vi-arcanes-left-biceps]

Spoilers for Arcane S2 Finale❗❗

So, i keep thinking about Arcane's last pieces of dialogue and though they sounded kinda funny when I watched the end at the first time (in a 'really? This took 27h to write?' way), the more I think about it, the more I like it.

I think it has a ton of layers to interpret and I'm still missing a few of them.

Please forgive my multiple tangents while I try to gather my thoughts.

First, how Caitlyn finds Vi: no bandages, a glass of alcohol in her hands.

No bandages means many things for Vi: she's vulnerable -both because of what she's going through and beacuse she can allow herself to be vulnerable for the first time in the show, with Caitlyn-, and her fight is over, she doesn't have to fight anymore (Re: Ep7 Powder saying Vi fights because she's scared of losing everyone, and she has lost everyone). (Everyone but Ekko and Caitlyn, who have repeatedly proven they can fend for themselves and are leaders on their own right, I'd love to say Vi is in a point where she's able not to feel responsible for them too, though this is something I'm not so sure about). Bandages were also an important part of her character design, of herself, so this gives a sensation that she's lost a part of her identity too. Who is she, if not the big sister, the protector, the brawler?

Alcohol is another small details that just says she's not okay. We've seen her drink herself senseless for, presumably, months, in Act II, to cope with all that happened in S1 and particularly S2 Act I: accepting the loss of her sister after the attack on the council, becoming an enforcer even though she was completely against it because she still feels responsible for ending Jinx, recognising her sister again for just a glimpse and gaining faith that Powder is still there (with the realisation that she almost killed her sister -not the monster she convinced herself jinx was, her sister) falling in love with Cait and seeing her become a completely different person out of grief.... So after everything that just happened in Act III, where she saw that many people die, either strangers or friends, and where she lost her sister and father AGAIN, of course she's considering getting back to drinking. So much happened to her in the span of few months that she's considering drowning the pain away again.

Caitlyn's question: "Are you still in this fight, Violet?"

The line delivery is incredibly soft and intimate, and Cait calling her Violet is the cherry on top. She's knows Vi is not okay. She's knows she's going through a lot right now.

Caitlyn's question seeing this is really, at least, three questions:

First and clearest is a check-in: "How are you?" "Will you be okay?" "Do you want to talk about this?"

Second is "Are you staying?" Vi could leave to be alone as she did at the beginning of Act II, could go with Ekko to Zaun... I can also see an "Are you staying with me?" After everything that happens, after the little time that they've had to be together and to solve the many things between them, her asking "Are you still in this fight" can mean both "hey, are you holding up" and "Are we still together in this?"

Third would be "So, are you up to face this, solving things between Piltover and Zaun?". I know some people have criticized the lack of resolution in the Zaun/Piltover conflict. I'd argue, as much as I'd love for the class conflict to be expanded, it is not the core of the series, and both the writers and the characters know that a conflict like this cannot be solved in such little time. The series was not going to solve it. What it does is solve it's main plot and character arcs, and leave a space for this theme to have the start of a resolution. Piltover an Zaun joined against Ambessa's army, and the ending gives us a glimpse of the will to change the relationship between topside and bottom (e.g. having Zaunites in the council). It's not a perfect ending nor it is a resolution for Zaun's class struggle -I'm pretty sure that was never the intent, though I would have liked for both cities' relationship to be more comented upon in this season-, it's the opportunity to advance towards a resolution. So Cait is asking Vi if she is willing to deal with that too. "Are you still in this fight?" can also have an implication to mean fighting to make things better. This also means fighting for them to be together.

Then, Vi's answer: "I am the dirt underneath your fingernails, Cupcake. Nothing's gonna clean me out".

Now, I like this because it sums up to Vi saying "I'm not going anywhere" but the line itself and the delivery gives it a few more layers of meaning.

First of all, Vi is clearly not okay. She's very emotionaly scarred and considering an unhealthy coping mechanism. She looks incredibly sad. And she's deflecting with humour to the question because she's probably not ready to talk about it. So her delivery here, plus the strange joke/comparison and calling Caitlyn "Cupcake" (which she's only done when she's teasing her in a flirty or funny way or deflecting the conversation by doing so) is telling Caitlyn that she's not okay right now, but that she isn't going to leave. "

I interpret "Nothing's gonna clean me out" as her basically saying "I'm tough, I'll get through this" to Caitlyn's "How are you?" and saying "You're not getting rid of me" to Caitlyn's "Are you going to stay?"

Furthermore, calling herself "The dirt underneath your fingernails" has an obvious implication about her being a Zaunite and Caitlyn being from Pilotover. I've seen some people saying this is insulting to Vi's character and to Zaun's storyline.... I don't think so at all. Yeah, I can get to see a layer of self-depreciating humor, but for me this is Vi using her humour as well to reinforce herself and her identity as a Zaunite (which arguably she left aside/lost sight of during Act I) while also teasing Caitlyn for being a topsider. I like to interpret this as Vi saying "Yeah, Piltie, I'm sticking with you and I will keep bothering you". The tone and calling Cait "Cupcake" reinforces this as a tease as well. Reinstating her identity as a Zaunite also gives insight on Vi's position on the Zaun-Piltover new relationship: yes, she's willing to help out manage this, always from the position of a kid from the Lanes.

Zaun and Piltover are also stuck together after the ending - they've fought together against a common enemy and that has also forced Piltover's elite to sit and listen to Zaun's demands. For sure Piltover's aristocracy still has to get their heads out of their asses but this is how I like to read the phrase in regards to Zaun-Piltover, layered upon what Vi is saying: I am the dirt underneath you = I (Zaun's state and problems) am a consequence of your (Piltover's) actions and I am not going anywhere. (You will have to listen).

Anyways, lots of rambling and I'll still be missing stuff!

Another thing is, native spanish speakers as I am use the phrase "Nail and flesh" to say that two people are inseparable, and this has enough similarity to that for it to feel like Vi is also saying they are inseparable. So yeah

[emilyyyts]

Chapter 17 foreshadowing/why I think Fushiguro Megumi might be in love with Itadori Yuuji

I've never understood the reason why Gege will add that line of Todo (i mean the special mention of the "it can be a guy")

The idea could've been perfectly understood even if the line wasn't added, but Gege purposefully sat on their desk and decided to draw this panel and add that specific line.

This means opening the possibility of Megumi liking guys, right?

I might be overthinking this, but text and dialogs are super important in mangas. Practically everything that it's said has (or should have) a purpose .

Dialogue scenes move the story forward, for instance, by giving important information about the characters, their relationships, the milieu, and the evolving events; they can also build suspense and reorientate the narrative.

So why then adding this?

We've seen several times that Fushiguro often thought of Itadori as a kind person—even since the beginning.

(It's literally Itadori being described)

If we go back some chapters, we can easily notice this is how Itadori is first introduced in the Manga: as a compassionate person, a good person with the intent of helping others.

In fact, Compassion its a highlighted feature Itadori has always showed through the entire series.

Even at Sukuna's final moment, he shows himself compassionate offering help to him.

Many had thought Itadori fits that description of Megumi, and now I'll explain why I think this is a possibility.

We know the relationship between them its centric in the story —it practically started because Megumi decided he wanted to save Yuuji.

We've see them caring for each other over and over again, many decisions they take are influenced by the thought of benefiting/trying to help the other.

And then we got Itadori really trying hard for an entire arc to save Fushiguro, and when the opportunity comes, he tells him it's okay if he doesn't want to live anymore, but at the same time addmiting he will miss him if he goes.

This scales to the point its practically the love they hold for each other that helps to completely defeat Sukuna

I would also like to add this panel and why I think Fushiguro was projecting himself with the desire of his sister being with someone like Itadori.

The line is Fushiguro stating he wanted his sister —a person we know he LOVES and thinks very highly of— to be with someone as good as Itadori.

He thinks very highly of the two of them.

Theyre both good persons so they deserve each other?

Therefore, he projects himself that way:

He might think it's Tsumiki who deserves to be with Yuuji because she was good, and Yuuji is good too, so logically they deserve each other, right?

He loves Yuuji, but he might not be worth his love because it was him who introduced Yuuji into the jujutsu world (a painful life full of lost and worries).

But maybe someone else might be worth, maybe his sister.

This is how he imagine a perfect peaceful life, he's trasmitng and projecting his desires.

It's not her who wants to be with Yuuji. It's you.

So gathering all the pieces together gives us the big picture, and Megumi's words might feel more like a foreshadowing of their relationship rather than simple words for introducing Todo in the Manga (tho it works in both ways). The response Megumi gives open the possibility for such feelings between the two of them.

So basically, everything we saw to this point that involves the two of them has been development and profundization in their relationship for this last punchline we got of Megumi realizing that he wants to keep trying because its worth living out of love

After all, love IS a centric theme in the story. It's mentioned several times along the series. Gojo describes it as the worst curse, Itadori thinks Sukuna acts that way because of the lack of it. And if we add this new layer, Megumi thinks its woth living out of it.

Ultimately, what's going on between them is inherently love— aside if it's or not romantic

I can't fully explain my ideas cause i can't put them in orden, sorry :/

This is just my opinion btw 🤷‍♀️ also there's only 3 chapters left so I might end up as a big fucking clown 🤡 literally anything could happen but we'll see

Anyway, tell me your thoughts on this 👇

[bookwyrminspiration]

Unraveled: B&N Virtual Event Summary

There are no unraveled spoilers; since we're re-covering a period of time we've already seen, there are references to specific events in Stellarlune

Shannon Messenger was accompanied by B.B. Alston, author of Amari and the Night Brothers, who asked the questions

Enjoy! (Quil note: this might be one of the best ones, lads 👀)

Shannon has pre-release jitters. Even though she's done this so many times, she'll never not be nervous

It's a different book with a different POV. She's just as excited as she is panicked. "I contain multitudes!"

Why is this 9.5 instead of 10? Why a Keefe book? Is this part of a bigger story or just a fun bonus? It's a little of both. Keefe fans are gonna love a whole book about him, but Shannon never would have taken attention away from the main story if it wasn't essential for the series, since everyone's anxious for book 10.

Be patient! She's never written a 10 book series before. She's "trying to build a bridge while crossing it."

Keefe wasn't just eating human food having fun, though Shannon would've written 800 pages of snacking if she could.

What he got up to Shannon planned/outlined that it would all come out in book 9 when he was back, but, "No, Keefe is not ready to share these secrets. There's reasons why he's gonna keep this hidden."

"That's a problem for future Shannon!"

But then everything future Shannon tried with book 10 didn't quite work. This is Keefe's story, and KOTLC is limited to Sophie.

In order for Sophie to know, Keefe would have to sit down and talk it out with everyone, and he wasn't quite ready to do that when Shannon needed him to.

So, special 9.5! So we can live that time with Keefe, see what he does, where he goes, who he meets, what he uncovers.

This way readers will be much more familiar with it when we get to all that in book 10--for the first time ever, readers will actually know more than Sophie!

Shannon confirms we're getting Keefe's middle name--she debated with herself, thought about keeping that secret forever, but she wants there to be big pay-offs in Unraveled. And what book could be more perfect for this?

Was it hard to write from Keefe's POV? Usually his voice comes super easily, so Shannon was expecting it to be word-vomit. But throughout the book and especially at the beginning, he's not himself. Everything he's been through has changed him, made him afraid of himself, more quiet and reserved. How does she balance making this interesting when her jokester character won't talk!

It was interesting diving into his head to see where he's at and why he's acting different. And it was interesting flipping it--Sophie's a fish out of water in the Lost Cities, but this time Keefe's the fish!

She had to keep reminding herself all this stuff familiar to her is new to him. "Flaming Hot Cheetos??? Is that food...????"

How has Keefe changed the most since book 1? In some ways he's lost his confidence. He's discovered a lot that's made him question if he's good, if he's causing problems, if he's putting people at risk. In his head he's not nearly as much the casual, lighthearted guy he seems.

He's also matured. He really had to step up and say, "Okay, it's time to take action. I can't just goof around. I've got the fate of the world on my shoulders in some way too." He's also trying to protect his friends and feels very personally responsible. His burden is a lot heavier than it used to be.

What's his favorite part of the human world? He definitely enjoys the human pop culture. Seeing how humans depict elves, certain (not all) human foods.

Lot of fun for Shannon as a snacker, but he's vegetarian, which makes it harder. He can't have fried chicken--but not every scene is about food.

Any places Shannon knew she had to send Keefe? She prefers to write places she's been if possible; in fantasy, if you can get the real accurate, it makes the fantastical that much more believable. So she started with places she's been, but she hasn't been nearly enough to cover all this. So she included places she'd like to, places she knows other people have been so she can get details from them.

(itty bitty seriously small spoiler from Shannon) Keefe starts looking for libraries, so Shannon googled cool libraries and went down that rabbit hole.

Keefe's been crushing on Sophie since the moment they met. What's does he like the most about her? (Lot of hearts in chat). "Keefe appreciates that Sophie is such a different perspective. He really sees that she doesn’t necessarily see herself accurately, but he understands her. He can see why she’s harder on herself with her upbringing, the bad thoughts she heard. He realized she doesn’t always understand herself."

He’s also really impressed by how brave and strong she is, and how she’s willing to risk her life and do the thing when everyone's like Sophie don't do the thing! And she’s like I must do the thing! Keefe thinks, “Wow can’t stop her from doing the thing!" It'd be great if she stopped ending up in the healing center, but he appreciates her for doing it despite the consequences. Admires her for it. He really wants to be worthy of how amazing he thinks she is. (More hearts in chat)

Can we confirm Keefe's POV of the kiss? Yes! Shannon almost wasn't able to do it. Unraveled was supposed to release November 12, but then her kids, "caught every possible virus they could possibly catch." Plus, publishing takes time, so they had to move it back. Those extra days allowed her to squeeze in the bonus story and she had a lot of fun writing it.

She knew she couldn't continue the book past when he leaves the human world, but she knew readers would really want it. She understands if you skip to the end to read it first--and there shouldn't be too many spoilers if you do, but she still recommends going from the beginning.

Why did it take Sophie and Keefe so long to get to the kiss? Did you know it would be in Stellarlune or did it happen naturally? Shannon tries not to pre-plan emotional things because it makes it feel forces. As the author she's in charge of the plot, not the emotions. Every time Sophie almost dies, that's her, but how Sophie feels about almost dying is all Sophie.

So anything emotional like this, Shannon's checking in with Sophie, and, "She really wasn't ready to see this was an option for her--she really was in the Great Foster Oblivion. She had no idea that Keefe liked her, and she wasn't the type to start developing feelings without having that piece of the puzzle. She genuinely thought Keefe was just teasing and was a flirt with everything. She didn't think it was something to take seriously."

She also had her eye on someone else for quite some time, so the story had to wait until Sophie was ready to take that step. Shannon discussed it with her editor a lot

Every week they have a zoom meeting to talk through the plot. They thought Stellarlune was probably the book for the kiss, but Shannon didn't know for sure until she got to that chapter. She's very proud of Sophie for being brave enough to take that step and bring the walls down.

The fact it took so long and tortured readers wasn't on purpose--"Torturing my readers is fun, but I wouldn't do it unnecessarily!"

It was interesting going back to write the kiss from Keefe's POV. She was worried as she did that though Sophie was ready for it now, what if Keefe wasn't? But, "then it was like oh, no, nope he’s on the same page." Keefe was screaming "FINALLY!!!" in his head.

How different is KOTLC now from how you first imagined it? The problem they're dealing with is fundamentally built into their world--it's not just an evil villain who decided to take over. "Multiple rebellions are going on because there are some fundamental injustices that have been ignored and ignored and ignored. And two groups have said enough is enough."

She always knew they'd have to reckon with this--in some ways they have, but there's more to come. But she also always leaves room for ideas to grow. Her first ideas aren't her best; they're too obvious. Now she's had a lot of time to think Keeper through.

Even still, she worries about doing it justice and, even with a plan, never knows for sure what will happen until she sits down to write it.

Shannon returned the question to B.B. He said the same thing--at a certain point as the story grows, you can really do so many more things, you have so many more villains. It builts the characters and relationships.

Shannon takes a moment to recommend B.B.'s series, Amari and the Night Brothers. She can't sing it's praise enough. "After you race through Unraveled, race through this!" There are 3 books out with 2 more to come. Maybe more.

10 books is a lot--how does Shannon do it? This is part of why she has those weekly zoom chats. But she's constantly going back to look things up, making lists of unanswered questions, listening to the audiobooks. It's all daunting. "It's all chaotic. Wonderful, glorious chaos. That's what I'm telling myself."

Readers are anxious to get back to Keefe and Fitz. How awkward would a conversation be now? Oh yeah. They've had to be around each other since all of that, but that haven't had to openly acknowledge it. But Shannon can feel the scene on the horizon and can't avoid it forever--though Keefe would love to. "Peace out!" Given Fitz's temper, Shannon fully expects there to be yelling, but sometimes he surprised her. We'll see once she gets there.

When Shannon gets too specific in outline, it sucks the life out of her story. She needs to know the rough order of the plot--this threat, then this thing, this this reveal. But the little emotional beats are more up to the characters. Talks this through with her editor too.

Can you tell us anything about book 10? Would love to be like it exists and it's coming out tomorrow! Sadly, still writing it and doesn't know the exact release date. She promises she'll get it to us as soon as she can. Obviously we left Stellarlune on a huge cliffhanger and Unraveled answers some questions but doesn't deal with it at all.

"Keefe's secrets...secrets do have a way of coming out." He can't hide them forever and it'll take something big to motivate him to come clean. "Wow, that's the most non-answer. I swear answers are coming!"

Is there any news on the movie? Earlier this year they announced Warner Brothers got the rights and Emma Watts is the producer. Currently Emma is working hard to get everything behind the scenes in a row to give the movie the best possible chance it has to get greenlit and made since it'll be so expensive.

Shannon thinks this team is one of their best shots at it happening. There's still a bit of finger crossing, but it anyone can make it work, it's Emma Watts.

Shannon is NOT writing the screen play. She's got book 10 to write, plus she doesn't think she can be objective about the changes that'd need to be made to adapt it. She's too attached. She wants to give input and suggestions, but wants something with more screenwriting expertise and distance from the story.

B.B. doesn't want to write his screenplay either--it's a totally different skill.

What's your best advice for new writers? Ooh, okay. 9 times out of 10 when a young writers asks for advice, Shannon asks "Have you written your book yet?" And the answer is no. They're just thinking about writing a book. So her advice: focus on writing! Finish that book! You can't be a writer unless you write! Then revise and revise and revise. "The work is not done when you get to the end."

When you have the best book you could possibly have, then think about next steps and publishing. But for now...write!

Shannon returned the question to B.B., who says to read widely. Read as much as you can to build up your story skills. Find what you like. As KOTLC readers, we've seen in the story how to develop characters and plots and arcs.

He also says don't put pressure on yourself. Write for the fun of writing, so even if it never goes anywhere, you still have something you're proud of.

"Once it's a job it's a job. It's different."

Shannon doesn't find books on writing helpful for her; they're procrastination. Instead she reads and asks herself what's working and why--why am I enjoying this so much?

She learned the most from books she didn't like. She asked herself why she wasn't into it--which doesn't mean there was anything wrong with it. It was personal preference, which helped her find her writing voice. She likes a lot of dialogue, a lot of humor, cliffhangers, etc.

School may ask you to read things you don't like; as a writer, take it as an opportunity to pick it apart and find out why.

How do you come up with character names? Baby name books. By the time she had to name her own kids, she was already an expert. She likes names to match the character.

Sophie was going to be named Alexandra because it means helped and defender of mankind, but it was too on the nose. She wasn't an Alex, or Alexis, or even an Alexandra

Sophie means wisdom, which is what she gives to her world. "No pressure, right?"

Fitz is from Fitzroy, which means son of the king, and his family is almost like royalty.

"Keefe means handsome. *shrugs* So. Obvious there." The book she got it from said "good-looking one" specifically.

It's the same for B.B. He likes to look at the year the character was born and what was popular, too. Amari means inner strength, and a big part of her story is learning she's more than where she's from and to believe in herself

How does it feel to write from a new POV? Would we maybe get a Fitz book? Shannon's learned to never say never. The story could throw her another curve ball, she might do a short story in his POV. If the story dictates she needs to step into anyone else's shoes, she will. "I've gotten this far by trusting the story."

Who was Shannon's favorite author/book when she was 12? Shannon grew up before the big children's media boom, she she didn't have a lot of options. She did like the Lion, the Witch, and the Wardrobe

"You have no idea how lucky you are there's so many great stories out there. Different POVs, more characters that look like more people--though still need more work on that front."

For B.B., he was a huge fan of Charlie and the Chocolate factory--but he also didn't have much to pick from.

When Shannon was around 12, she also fell out of love with reading. She had a 7th grade teacher who was very strict about reading "at your level." And she decided Shannon was at college level, so kept giving her older books like Crime and Punishment, Little Women, etc.

While Shannon appreciates the classics, they weren't what she wanted to read, and it turned it into a chore. She went from a kid who took stacks home from the library to someone who only read if it was an assignment. (Shocked faces in chat).

Shannon firmly believes in letting your kids read what they want. That doesn't mean don't encourage them to broaden their horizons, but don't take away things they love. That's how you kill someone's love of reading.

B.B. gives props to Shannon for the female main character; it's one of the reasons Amari can exists--"well Shannon did it and it worked."

Shannon's very glad Amari exists. Keeper got a lot of rejections with coded wording that made it very clear female main characters were not as marketable as boy heroes. And she wasn't an instant success--it took about 5 books to gain momentum, and a lot of that was teachers, librarians, book sellers, and the kids themselves telling their friends to read it.

Any info on the graphic novel? Part 2 is definitely coming and in the works, it just takes time. She's seen some tentative cover sketches, might see more soon, and is very excited.

Team Fitz or Team Keefe? Even though Shannon's written a whole book from Keefe's POV *she holds it up backwards, then upside down, then gets it right* and has a Keefe cutout in the corner *moves the camera so we can see him--he was gonna be in the background but it looked creepy*, she truly is Team Sophie. If she ever got a tattoo, it's say Team Sophie. But she's terrified of needles so never will.

People think they kissed so it's settled, right? "Well, the series isn't done yet. Sophie could change her mind." This goes back to what Shannon talked about with letting the characters dictate the emotions.

What first inspired Keeper? A lot of things. Hilariously, it started as a short story. Epic fail--she's what, 8,000 pages into her short story? She was working on a different book and got stuck, so decided to get to know a side character.

The side character she chose was Fitz. For some reason, she doesn't know why, the plot was he'd meet a little girl and realize she was an elf.

But "Guess what, you're an elf!" was a terrible ending and she couldn't stop thinking about it. What happened to that little girl? How could she not know she was an elf? Why would they hide her?

A few weeks later she knew "yeah, I gotta switch books." She couldn't get it out of her head, but it was daunting because she knew it would be a massive project. But that little girl would not go away.

What was the inspiration for Amari? Doing pre-med stuff is long and boring, so he was looking for something fun. He thought about Men in Black and what if there were supernatural creatures living amongst us. He was working on the world and one day Amari popped into existence.

Has Shannon ever made the Keeper recipes and what's her family's favorite? Shannon actually developed the recipes herself, which wasn't something she ever thought she'd have to do. It took a lot of baking fails, but her favorite is anything mallowmelt--but she always warns people it's SO sweet. Good, but a few bites is enough sugar for a week.

Planning any non-Keeper series? Shannon doesn't know what she'll do once she's done with KOTLC. She'll definitely keep writing because she loves telling stories, but she's so immersed in Keeper all her other ideas are on the back burner.

B.B. thanks Shannon for being so inspirational with her work and how she interacts with her fans--he learned a lot from her. Shannon says B.B.'s always one of the top people she loves to do events with.

Once again, she is begging everyone to read Amari and the Night Brothers. "Please, please, please read them! Oh and I guess read Unraveled too. *accidentally holds it upside down again*"

“Tomorrow it's out in the world. Thank you for your faith in me and I can't wait for you to learn all of Keefe's secrets. It's gonna be an adventure.”

[misscammiedawn]

Plurality on the Disc

CW: Fatphobia, euthanasia

One thing you can always say about Pratchett was that he did not believe in prejudice. The man saw the world through a lens of satire and yet in all things he attempted to see the humanity in all things and tried to bleed that compassion into the world he created, especially with the modernization of the central city, Ankh Morpork.

Pratchett's works as early as the 90s were showing positive trans representation in Cheery Littlebottom, a dwarf who opts to present femme within a culture that treats displays of gender other than the "default", without acknowledging the inherent bias that the "default" gender presentation within Dwarf culture is masculine. It seems Pratchett was able to display "Male or Political" as a fallacy long before toxic gamer culture.

Sensing that the audience may have found this too subtle he went on to write Monstrous Regiment in 2003, a story about a group of women who take up arms, disguise their gender and live as men to fight in a war. As many things on the Disc it was written with fantasy and satire in mind and yet was incredibly detailed in historical accuracy. As trans-folx continuously remind: "We have always been here"

Today's topic, though, is on plurality. Typically in Media, Myself and I essays we focus on depictions of DID with an emphasis on psychopathology. Pathology and mental illness do not really factor into the fantasy world of Discworld. One need only look at the "Sideflashes" depicted in Monstrous Regiment, those being moments where a vampire character has traumatic hallucinations of the Vietnam War of our world, to know that Pratchett is more interested in satirizing the genre mediums he is working within rather than depicting accurate portraits of real mental illness.

That said, in one of his final books, Thud! Pratchett did have a character with two distinct personalities who could withhold information from one another say "It's supposed to be an illness, but all I can say is, we've gotten along well."

Pratchett always leads with compassion and in all of his work he does his research. Though he never wrote much about the supposed illness mentioned in Thud!, he has written plural characters and we're going to focus on one right now.

The books in question are Maskerade (1995) and Carpe Jugulum (2003). These books heavily feature the characters Agnes Nitt and Perdita X Dream.

The first of the two stories is a parody of The Phantom of the Opera with a heavy emphasis on the real life stress and drama behind the scenes of any stage performance. A must read for any theatre kid who wishes to see 'the show must go on' taken to ludicrous extremes.

Agnes is a young witch who has talent as a singer. So much so that she is able to sing in harmony with herself. She decides to move to the big city and join the opera house in hopes of turning her talents to become a star.

Agnes is a prim and proper young witch, raised to think and act a certain way. The problem is, of course, she wants to act in ways unbecoming of who she is perceived as. So growing up when she misbehaved and acted outside of these rigid expectations she would compartmentalize all of her behaviors into Perdita X Dream, "the thin woman trying to get out"

She'd caught herself saying 'poot!' and 'dang!' when she wanted to swear, and using pink writing paper. She'd got a reputation for being calm and capable in a crisis. Next thing she knew she'd be making shortbread and apple pies as good as her mother's, and then there'd be no hope for her. So she'd introduced Perdita. She'd heard somewhere that inside every fat woman was a thin woman trying to get out[3] so she'd named her Perdita. She was a good repository for all those thoughts that Agnes couldn't think on account of her wonderful personality. Perdita would use black writing paper if she could get away with it, and would be beautifully pale instead of embarrassingly flushed. Perdita wanted to be an interestingly lost soul in plumcoloured lipstick. Just occasionally, though, Agnes thought Perdita was as dumb as she was.

It is not uncommon for those with dissociative disorders to have these idealized personas that take on lives of their own. Though the Fae beauty known as Dawn is a name and identity that I have forged through decades of actualizing, my humble roots will always be the performance of what we thought a strong and capable woman would look and sound like. The fact we borrowed the blueprints is neither here nor there.

In moving to the city of Ankh, Agnes decides that she is free of those who have told her what to do and able to live as she has always desired. She adopts the name Perdita as her own and signs up to sing.

After moving in to the opera house she becomes entangled in the plot of Phantom of the Opera. The central story of the book is a retelling of PotO but with the Disc's patented absurdity added on and Agnes being used as a perspective character. At a point Christine, the only woman capable of exclaiming a whisper, switches rooms with Agnes because she is keeps hearing voices while she's trying to sleep. That night the voice from behind the mirror calls out into the darkness, thinking it is speaking to Christine, and speaks to Agnes instead.

There is makes it very clear as to why Agnes cannot be the central figure of the book.

Agnes pulled the bedclothes up higher. 'In the middle of the night?!' 'Night is nothing to me. I belong to the night. And I can help you.' It was a pleasant voice. It seemed to be coming from the mirror. 'Help me to do what?!' 'Don't you want to be the best singer in the opera?' 'Oh, Perdita is a lot better than me!!' There was silence for a moment, and then the voice said: 'But while I cannot teach her to look and move like you, I can teach you to sing like her.' Agnes stared into the darkness, shock and humiliation rising from her like steam.

Fatphobia is real and is on The Disc, I am sad to say.

But it is after this incident that Agnes begins to recognize the prejudice that has been levied at her the entire book and the prim and proper Agnes politely thinks calm and pleasant thoughts when she is insulted, it is Perdita who thinks rude words.

This gets worse as the plot goes on and the managers cast Christine as the lead and have Agnes sing the lead from the chorus.

The humiliation and compartmentalized resentment continues on and...

What she was about to do was wrong. Very wrong. And all her life she'd done things that were right. Go on, said Perdita. In fact, she probably wouldn't even do it. But there was no harm in just asking where there was a herbal shop, so she asked. And there was no harm in going in, so she went in. And it certainly wasn't against any kind of law to buy the ingredients she bought. After all, she might get a headache later on, or be unable to sleep. And it would mean nothing at all to take them back to her room and tuck them under the mattress. That's right, said Perdita.

Passive Influence is a term used for when a part/alter pushes for action while another part is fronting in the system.

In this example Perdita is steering Agnes to perform actions that are not congruent with her nature and her beliefs. Agnes is not capable of plotting revenge against someone and enacting a scheme and so even while performing the actions she is rationalizing to herself that she is not actually doing anything untoward because it is not in her nature to do such a thing.

The traits exist but they do not belong to Agnes and at this point she has not yet realized that the Perdita identity that she has formed is capable of asserting her own will.

The formation of a dissociative disorder typically occurs when a child is in a situation of constant trauma and need to adapt contradicting realities in order to function. Most common of which is the contradiction of needing protection, nurture and safety from the caregivers who provide terror and pain. To function within that framework a young mind will compartmentalize experiences in order to maintain a reality where both these truths are compatible.

Agnes, in part due to the prejudice she faces for her weight, has to have a wonderful personality. Her acceptance within society requires her to act the part and be a kind and sweet girl with a wonderful personality. Always be the best version of herself in spite of her looks because without that wonderful personality she will only be regarded as a large woman and will be discarded.

So she puts away all the thoughts that run contrary to that narrative. Anything that doesn't fit in the Nice Girl persona.

Aren't you just tired of putting up with it, though? Don't you want to go apeshit?

If you were someone like Agnes Nitt, wouldn't you long to be someone as dark and mysterious as Perdita X Dream?

As the book goes on Perdita continues thinking things from behind Agnes' eyes and the narrative begins describing their differing perspectives. The schism growing wider and wider throughout the story.

At the start of the book, when Perdita began becoming more prominent, the prose would say "Perdita thought a rude word" then, as in the passive influence section, "Perdita said" is included in the text. Later still Agnes and Perdita converse within the prose.

The candle burned with a greenish-blue edge to the flame. Somewhere, said Perdita, there was the secret room. If there wasn't a huge and glittering secret cavern, what on earth was life for? There had to be a secret room. A room, full of. . . giant candles, and enormous stalagmites. . . But it certainly isn't here, said Agnes.

The further on the story goes the more comfortable both character and author are in sharing the back and forth between Nitt and Dream.

If Maskerade was the introduction to the concept then Carpe Jugulum (2003) is where Agnes Nitt and Perdita X Dream's shared mind and body become central figures in the story and are allowed to explore themselves a little more. In the previous story Perdita is treated as where Agnes puts all of her unseemly actions and desires.

In Carpe Jugulum it is treated very emphatically as a dissociative disorder where two parts of the same mind share control over the same body.

She simply sang in harmony with herself. Unless she concentrated it was happening more and more these days. Perdita had rather a reedy voice, but she insisted on joining in. Those who are inclined to casual cruelty say that inside a fat girl is a thin girl and a lot of chocolate. Agnes’s thin girl was Perdita. She wasn’t sure how she’d acquired the invisible passenger. Her mother had told her that when she was small she’d been in the habit of blaming accidents and mysteries, such as the disappearance of a bowl of cream or the breaking of a prized jug, on “the other little girl.”

The tone is set early on with Pratchett working to codify that which already existed by including Agnes putting the pieces together as an adult based on what others had told her she did as a child, something all too common with those with dissociative disorders.

The pair are living in harmony for the most part, Perdita enjoys getting to sing with Agnes and is fiercely defensive of her host. She does not enjoy it when people are mean to Agnes. It is why she focused much of Maskerade on scowling at Christine. Though Perdita herself seems to enjoy bullying Agnes, as she does delight in cruelly calling her a lump.

The story this time is about a group of Modern Sexy Vampires moving in to the witches' town and deciding to take over. Much of the book's satire is a comparison of the Anne Rice and World of Darkness ethos on vampire lore and comparing it to the more gothic and classic depictions such as Nosferatu and Bram Stoker's Dracula.

As well as the complete and utter violation that is "treating people like things".

The story also introduces Mightily Oats (who Perdita will squee about having a cool ponytail), a parody of the catholic vampire slayer trope. He, himself, has a "rifted personality" like Agnes and Perdita due to his adherence to the contradicting commandments and beliefs held within the religious texts of his faith, Om.

Unfortunately, Perdita's alliance with Agnes is harmed when the vampires move in and Perdita finds herself largely attracted to them. Perdita is the very essence of a scene kid, after all, she'd listen to Evanescence if they existed on The Disc. Throughout the early phase of the vampire plot Perdita finds herself internally shaking Agnes and screaming petulantly at her that she is fumbling the ball so hard when faced with them.

Ask him his name! Perdita yelled. No, that’d be forward of me, Agnes thought. Perdita screamed, You were built forward, you stupid lump—

I am certain many reading this will empathize. I certainly do.

But all too quickly the plot of the vampires is revealed and they begin using their vampire hypnosis to control the town. All while Perdita is screaming rebellion and demanding they be given garlic enemas.

Perdita is unimpacted by the mind control. What's worse is that the vampires can read minds and can tell there's something odd about Agnes but not quite what.

Ur…” She stopped it turning into a giggle. “Not really. Not very well…” Didn’t you listen to what they were saying? They’re vampires! “Shut up,” she said aloud. “I beg your pardon?” said Vlad, looking puzzled. “And they’re…well, they’re not a very good orchestra…” Didn’t you pay any attention to what they were saying at all, you useless lump? “They’re a very bad orchestra,” said Vlad. “Well, the King only bought the instruments last month and basically they’re trying to learn together—” Chop his head off! Give him a garlic enema! “Are you all right? You really know there are no vampires here, don’t you…” He’s controlling you! Perdita screamed. They’re… affecting people! “I’m a bit… faint from all the excitement,” Agnes mumbled. “I think I’ll go home.” Some instinct at bone-marrow level made her add, “I’ll ask Nanny to go with me.” Vlad gave her an odd look, as if she wasn’t reacting in quite the right way. Then he smiled. Agnes noticed that he had very white teeth. “I don’t think I’ve ever met anyone like you, Miss Nitt,” he said. “There’s something so… inner about you.” That’s me! That’s me! He can’t work me out! Now let’s both get out of here! yelled Perdita.

Up until now Perdita has been a very internal experience for plurality, itself a rarity within fiction. Perdita never fronts in the entirety of Maskerade. She is a sharp and judgmental voice in the back of Agnes' head and shaped much like her repressed desires.

After escaping the clutches of vampire mind control and escaping from the dangerous circumstance Perdita yanks control of the body and outs herself to fellow witch Nanny Ogg, leading to the first time either Nitt or Dream have had to describe their situation to someone outside the body.

“It’s all right,” said Agnes. “It’s me again, Agnes Nitt, but…She’s here but… I’m sort of holding on. Yes! Yes! All right! All right, just shut up, will y— Look, it’s my body, you’re just a figment of my imagina—Okay! Okay! Perhaps it’s not quite so clear c—Let me just talk to Nanny, will you?” “Which one are you now?” said Nanny Ogg. “I’m still Agnes, of course.” She rolled her eyes up. “All right! I’m Agnes currently being advised by Perdita, who is also me. In a way. And I’m not too fat, thank you so very much!” “How many of you are there in there?” said Nanny. “What do you mean, ‘room for ten’?” shouted Agnes. “Shut up! Listen, Perdita says there were vampires at the party. The Magpyr family, she says. She can’t understand how we acted. They were putting a kind of…’fluence over everyone. Including me, which is why she was able to break thr—Yes, all right, I’m telling it, thank you!” “Why not her, then?” said Nanny. “Because she’s got a mind of her own! […] Nanny rubbed her chin, torn between the vampiric revelation and prurient curiosity about Perdita. “How does Perdita work, then?” she said. Agnes sighed. “Look, you know the part of you that wants to do all the things you don’t dare do, and thinks the thoughts you don’t dare think?” Nanny’s face stayed blank. Agnes floundered. “Like…maybe…rip off all your clothes and run naked in the rain?” she hazarded. “Oh yes. Right,” said Nanny. “Well…I suppose Perdita is that part of me.” “Really? I’ve always been that part of me,” said Nanny. “The important thing is to remember where you left your clothes.”

This is the compassion in Pratchett's writing I'd mentioned. In this story Perdita is revealed to be part of Agnes and though Nanny Ogg is confused and a little ignorant of the whole affair, going as far as to yell "is she treating you alright in there?" into Perdita's ear, she is caring and understanding. In Maskerade Nanny was the one person in Lancre who accepted Agnes changing her name to Perdita, reasoning that "people ought to call themselves what they want."

In approaching the abnormal circumstance with compassion in the fiction it helps those reading get a broader and better understanding of how to be kind and treat those impacted in real life.

Also, as a side note, Agnes yelling at Nanny while "currently advised by Perdita" may not be an overt piece of representation but there is a concept called Blending within plurality. It's not mentioned in textbooks I've read but is often discussed in support communities. At times when two parts are co-conscious in front their traits will become a little blended.

In a way parts of a dissociative system are simply a way of storing traits necessary to function but dividing them to prevent emotional harm and damage or to maintain a form of continuity of self. To give an example we were ejected by our caregivers and internalized it as our own fault for being undesirable so part of us cannot fathom doing anything which would make us disposable and unlikable but our circumstances required becoming cold and focused for survival and so the sweet kind and lovable empathy driven part and the cold and angry survival part are kept in separate boxes. Likewise we have trauma related to eroticism but there is still an attraction to such material within us and so in order to function I handle that aspect of our life and shelter the others from being impacted. At first due to heavy dissociation and denial and these days due to practice in therapy allowing us to let parts "opt out" and retreat inwards when they do not want to be involved in what is happening with the body.

In a way blended parts are closer to what a person would be like if they were singlet, though blurring does not often involve the entire system if there are more than 2 parts.

And though I say 'closer', I do not mean entirely as typically when blended people are in an activated state. In the above case where Perdita and Nanny had triggered Agnes' frustrations about her weight being bullied, she was unable to control the emotion of her reaction.

We refer to such days when we are blended and incapable of controlling our emotional reactions as "thin skinned days". They were more common prior to diagnosis.

As the story continues the pair need to see-saw their consciousness to avoid vampire mind control and we are treated to moments of Agnes being the "invisible passenger" in the situation, going as far to show her ability to focus attention on reading is not as sharp as Agnes'. Something I can assure you is quite true within parts of a dissociative system. Goodness knows Cammie would never have the patience to do the reading and typing necessary for these essays.

The story continues on and though there are moments of casual misunderstanding which are a par for the course in such tales, such as Nanny telling Perdita to "give Agnes her body back, you know it's hers really--" before knocking her out to ensure Agnes has control. They throw out lines like:

“Yes, that’s Agnes,” she said, standing back. “Her face goes sharper when it’s the other one. See? I told you she’d be the one that came back. She’s got more practice.”

And let me say, when someone knows you and loves you enough to recognize a part by the way they wear their face alone, it's something. I am simply incapable of reading a moment like that and not breaking into a smile and thinking of the many times our long distance love has tried to explain how she can just tell without a word when we have switched.

But as always. Pratchett leads with compassion. Where Nanny Ogg says that she thinks people should be called what they want to be called in Maskerade, regarding Agnes' wish to be called Perdita (not Perditax), it is Granny Weatherwax the beating heart and soul of the Discworld who says it best

Ah...one mind, split in half. There were more Agneses in the world than Agnes dreamed of, Granny told herself. All the girl had done was to give the thing a name, and once you give the thing a name you give it life...

Once you give a thing a name, you give it life.

That is compassion. To not fully understand something and how it forms and how it presents, but to respect it all the same. To know it has a form and should be treated as real because by virtue of being named it is real.

That is what so much of Pratchett's work is focused on. The humanity of seeing others as they wish to be and respecting them. It's such a low bar to clear in our world and yet sometimes it really does need to be emphasized.

Typically when Granny says something it's from the perspective of age and wisdom. It may not always be without bias but it is with a weight of knowledge and respect.

The final book in the series contents with Sir Pratchett's knowledge of his own death. He knew for years. He even did a documentary on medical aid in dying. He poured it all into depicting a tale that includes Granny's death.

The works of Terry Pratchett have long been a companion in our life. We've been reading them our entire life. To this day we have refused to read beyond Granny's death scene in Shepherd's Crown. We broke down crying when we saw the "I ATE'NT DEAD" call back. We couldn't pick up the book again after that.

It's too difficult to think that one of the voices that taught us morality is gone from this world. Our tag for Discworld is GNU Terry Pratchett. As long as the name is spoken he is never really gone.

As long as Shepherds Crown still has pages yet unread, the book series isn't really over.

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For more of my essays on positive DID representation in media, please check out my Media, Myself and I tag.