#what other characters have people cut off their reading like this

[theealbatross]

Headcannon: Sebastian takes care of people

Tags: fluff, kinda low self esteem, kinda unhealthy codependency, short read had to get it out of my head

He takes care of strangers

Like silly little first years lost in the moving stairs, albeit with a frown and a sharp lecture about the dangers of walking around the castle and being too prideful to carry a map when they could barely locate their dorm rooms, firmly putting a quick end to older students' teasing when their jokes cross a line, and even ending up as the reluctant volunteer tutor (live training dummy) for Defense Against the Dark Arts after Professor Hecat assigned him the role to complete his detention.

This, in turn, makes him surprisingly popular with the kids to his bewilderment as they gravitate toward their grumpy but reliable senior.

"Have a good day, Sebastian!"

Both of you frown in confusion at the gaggle of cheerful first-year Hufflepuffs who eagerly greet him as you pass the halls. One even waved at him before they turned into a corner.

"What was that?"

He shrugs. "Hell if I know."

He takes care of his friends

"Amitt! Watch out!"

The Ravenclaw could barely turn to the familiar booming voice before he was shoved to the ground.

"Hey! You aren't allowed in the field!"

"Are you alright, Amitt?" He realizes the concerned voice of his friend, Sebastian, brought him out of his stupor. And in his hand is the bludger that nearly had an intimate interaction with the back of his head.

"Oh! Sebastian! Many thanks! I didn't know Slytherin practices ran this late. I was on my way to the top of the bleachers -- the best views of the summer night sky, I tell you."

"Thakkar, you don't have permission to be here!"

Sebastian rolls his eyes, feeling Amitt's anxiety rising as Slytherin quidditch players land one after another, looming over him. "Back off, all of you. He nearly got hurt. I'll handle it."

"But --"

"My apologies everyone! I truly meant no harm --"

"The captain's right, Sallow. Who knows if those Ravenclaws are using this nerd over here to spy on us --"

"I said back off, Thorncrest," Sebastian turned his back on Amitt to face all of his teammates, daring any of them to take another step. "The next time you ignore my orders, I'll stop using words since they can't seem to penetrate through your skull. So you either learn to play nice or I won't let it pass that it was because of your subpar performance that a bludger almost hit my friend."

Sebastian and the other Slytherin student glared at each other until Imelda smacked Thorncrest's head, cutting through the tension. "Listen to your Vice-Captain," he turns to Sebastian with a nod. "I'll take care of him, you get Thakkar out of here."

Sebastian nodded back at Imelda, ensuring everyone was back in the skies before turning to a guilty-looking Amitt.

"I'm sorry, Sebastian. I did not think I would cause such a disturbance."

Sebastian just waved him off with a friendly chuckle and a comforting hand on his shoulder. Amitt can't believe his fellow Ravenclaws don't believe him when he tells them Sebastian is a warm person, laughing to his face was just quite rude. To be fair, they could barely believe they were friends at all. "Don't worry about it, athletes are assholes during Quidditch season."

He looked sheepish, "Can I still go up the bleachers?"

Despite his subdued character, Sebastian can see that Amitt has all the determination in the world when it comes to achieving the things that interest him the most. Maybe that's why he liked the Ravenclaw boy so much. "Yeah, go ahead, Amitt. Just don't let any prefect see you."

"Ah! Thank you, my friend! I shall be as quiet as a mouse!"

Sebastian waved as Amitt haphazardly said his goodbyes.

"If anybody bothers you tell them to talk to me!"

He takes care of Ominis

Despite his great interest in the dark arts and his pure-blooded status, Sebastian will take any and every opportunity to fight Ominis' family. He hates them simply because they hurt his friend, which is unforgivable in his eyes. He had every opportunity to get in their good graces but he blew all of that to pieces when he got in a crude fight with the eldest son of the Gaunts the moment he called Ominis a 'useless cripple'.

From then on, Sebastian has been banned from the Gaunt's estate indefinitely.

"Yeah, they better fucking ban me or I'll burn that haunted house to the ground and lock that prick inside of it."

Despite himself and his pacifistic tendencies, Ominis couldn't but scoff out a laugh while Sebastian nursed a bloody lip, glaring at the gates of the manor as it closed on them. "You didn't need to do that."

"I don't think I did enough," he sneers, blood boiling at the fact that Ominis seemed used to their cruel words. Not wanting to fester on their cruel treatment, he throws his hands across Ominis' shoulders. "Who the hell wants to spend Christmas there anyway? Feldcroft is way more cozy."

Ominis smiled, patting Sebastian's back, the closest 'thank you' he could show now that he knew he had found a true friend. "You're right," He thinks of Anne, Solomon's bland stew, and the blinking lights of the Sallow home.

"Are you alright?" And Sebastian -- kind, true, painfully loyal. His first friend.

Ominis nods.

"Let's go home."

He takes care of his family.

Even though Anne no longer communicates with him after 'the incident' Sebastian still religiously sends letters to Beauxbatons Academy along with whatever trinkets he finds that remind him of her. And even though he detested Solomon and barely felt bad about his death, he still made a point to clean his grave, knowing the old man didn't like it when things were messy, and even emptied his favorite whiskey on his birthday.

"Seb?"

He blinks as you slip your hands into his. He squeezes it, letting the heat on your skin ground him as the two of you stare at the gravestone. Just as remorseful guilt creeps into your heart, he cuts it off. "I don't regret it, you know," he mutters firmly. "He almost ... he was hurting Anne. He was going to hurt you."

You nod, leaning your forehead on his shoulders, trying to comfort him through his quiet struggles knowing words or pieces of advice won't help.

"But I know he did his best. It wasn't enough but it was his best," he empties the other half of the whiskey on the grave, and his grip on you tightens. "I owe him this much."

He takes care of you.

"Avada Kedavra!"

Sebastian flinches awake at the recent memory, his breath shaky as he looks around the dim light of the Room of Requirement.

He did what he had to do, he knows this. Solomon has been eaten up by his own anger, if he didn't stop him ... Merlin knows what would've happened.

If the three of you had gotten out of that fight alive, with your participation in his insipid plans, it wasn't unlikely that Solomon would ship you off to Azkaban with him. That can't happen, he dragged you into that hellhole, he had to get you out of there unscathed.

No matter how high the cost.

"S-Sebastian?"

He sits up from the couch, surprised to see you awake on the open door that leads to your personalized bedroom. The two of you had holed up in your safe haven after the events of the night but it would seem rest evaded the two of you.

"I can't ..." you sigh shakily, biting your lips. "I can't sleep. I'm scared."

As if your fear had overpowered his own, he swiftly set aside the last traces of his fear and guilt, extending his hands, which you eagerly took. Sebastian pulls you in his lap, preceding any thought of impropriety as he curls himself around you, letting you bury your face in the crook of his neck while he covers the two of you in your blanket.

"It's all going to be all right," he promises, pressing his lips on the crown of your hair. "I won't let anything happen to you."

And takes care of you.

"Hey, Sebastian is waiting for you in the common room."

"Sallow said he'll pick you up after class."

"She's not coming, Sebastian's got her."

"Your hound is here."

You turned with a frown from Imelda to what she was staring at with a mischievous grin and by the door stood Sebastian, smiling when your eyes met.

"I --"

"-- have to go," Imelda playfully rolled her eyes. You gave her a smile as you gathered your books.

"Same time next week?"

"Maybe let's hide somewhere your hound can't sniff you up?"

"Get your own witch, Reyes," a deep voice from behind proved her point. Sebastian grabbed your book and satchel from your hands, hooking it on one arm, and the other gently offered his free hand to yours. "This one's mine."

And wants to take care of you forever.

"You should marry me."

Your next step faltered as you turned to Sebastian on the shore of the Black Lake, the setting sun illuminating his face and the vulnerability and determination written across it.

"W-What?"

"I've thought about it," he swallows, walking closer until he is right in front of you, the cold shallow water above your ankles a welcome reprieve from your burning body at such an announcement. "I've thought about letting you go, letting you find someone better than me. "

"Sebastian --"

"But I figured that I'm a selfish man. I always have been. And I want you more than anything else," you shudder at his fervor. "I love you more than anything else in this world."

Gently, as he always does, he took your hand, placing it on his warm cheek. "I can't offer much, I know, but I ... I will make you the sun my world will revolve on."

He presses a kiss at your palm, a warm tear falls from your eyes.

"Marry me," he begs. "Let me be the one to make you happy."

[coralchoral]

honestly thinking about the sonadow twitter takeover and how the plummeting to earth thing very much affected Sonic a lot more than it affected Shadow. like in a previous takeover Shadow even made it a positive memory about Sonic trying to save him.

Meanwhile in Prime, Sonic has a moment of saving Shadow from falling into the void that's very reminiscent of that other fall (in the same way Prime has a lot of motivations and references that only make sense from a fandom insider perspective).

Sonic also gets repeatedly tilted, loud and anxious, (which I'm pinning more on RCS's/whatever writer's sense of humor, as is all the voice acting gags) and is coping badly any time Shadow comes out ahead. I think Sonic's insistence on his ability to grow chest fur is as big a Cope as floaties=fashion statement.

But really, Sonic's repeat date suggestions and Shadow's own descriptions of Sonic's behavior (dragging out their races, etc "just to annoy me") reads, whether romantically or platonically, that Sonic just really wants to spend time with Shadow.

He feels he needs to justify it, though, insisting that he and Shadow have something other than occasionally getting in each other's way ("two sides of the same coin") (friendly competition being "why you keep me around-" seemed like odd wording to me).

Needing to make it meaningful, because that's what Shadow wants out of a relationship- Shadow /says/ he dislikes Sonic for being frivolous and inauthentic, that (for instance) his hugs don't mean anything, and that he doesn't want "(Sonic's) kind of hug."

Sonic really wants to spend time with Shadow because he's also intimately aware that that time is limited. Either Shadow's patience (and/or social battery) is limited and he's liable to make a batman exit if he doesn't want to be somewhere (not that we've ever seen Shadow do this in canon, he seems to awkwardly/quietly hang around as if he doesn't realize he can just hit the bricks (or he likes being there and has no idea how to express it re: smiling at Big the Cat) ), Or Sonic and Shadow will get caught up in their own lives again and not see each other until Fate Deigns to Allow Them to Cross Paths Once More.

And Sonic misses him.

(This ties in with my Sonic Frontiers is the Saddest Game Ever posting from a while back, too. Sonic is lonely AF and Needs Other People to Talk To or he'll start talking to the walls and robots, and Shadow will almost always either talk back or groan in exasperation, which is as good a reaction as any.)

All this, plus Sonic's opinion flip-flops (shopping with Amy vs shopping with Shadow, opinion on Orbot) could be either (Sonadow Optimist) Sonic is Down Bad and not even conscious of his mirroring Shadow/trying to appeal to Shadow, or (Sonadow/overall Pessimist) Sonic trying to appeal to the Most Popular Character Right Now and getting increasingly desperate as he is rebuffed.

A few of these Twitter Takeovers have had moments of Sonic in particular getting thrown off and not really able to recover. (which makes me question what the writing is like, if there's any at all and these VA's aren't just riffing on an outline. Considering they don't talk over each other constantly, there must be something like a script, but it also does occasionally feel like a bad roleplay (and I've been a bad roleplayer).) It leads to a Something Is Wrong feeling in the "We're doing this for fun" question-answering joke show. Sonic needs therapy. (We all need therapy.)

Meanwhile, Shadow really is pulling out all the grunts, groans, and whines with Sonic that, if scripted, would be egregious as hell to read or write. He doesn't make these noises in the games (or shows, really?) mostly because there's a sort of efficiency necessary to production that cuts out that interpersonal realism and partly because it's annoying? Shadow, you're the annoying one?

Unrelated, everybody latched on to Sonic's "Go off, King" but nobody even noticed Shadow's "Deal With It."(sunglasses drop) How soon we forget the sacred texts and/or the deep magic, I guess? (It's an old meme, but it checks out!)

[divinit3a]

For the ask game 💕

💕 Time for a shout-out! What are some of your fav AUs from other creators in the fandom? ⭑ dca au ask game

^-^ ....OK! I shall set down all the cakes on the table for a full buffet! Get your forks & knives out! 🍽️🍽️🍽️

please don't hesitate to let me know if you'd prefer not to be @'d in the future, or to be removed from this post u_u <3 I totally respect folk's preferences!

✨ lets go! ⭑⭑⭑ ⭑⭑⭑ ⭑⭑⭑

@muzzlemouths Dead Mall Dare / DfTR AU(s) Dead Mall Dare was one of the first AUs I read (like, literally. 1-2 months ago!) & I went woooaaah they are fun removed from original context. Isn't that so neat ?? This isn't a rabbithole to fall in, tho. u_u No wayyy guys c'mon ... /j Likewise, DfTR is a treat to watch unfold & see people squirm ^-^

@r0b0-wannabe Botanical Garden AU (or just any of your stories, but I'm.. sticking to the law...s... ) Hi, I stayed up to 2-3am drawing ur boys bc Im normal about this AU & how endearing it is... obviously... (💚) I love your writing style & characterizations. Maybe this is silly, but, I also enjoy learning about plantcare, too :3

@sinister-sincerely 2nd Choice AU Oh, you are so evil. The username matches. (A COMPLIMENT!! Hehe.) Oh, you write drama, angst/no comfort, hurting/damaged characters making awful choices so well. It was wild doing a double-take to realize YOU! are the WRITER for 2nd choice!! Some day, I will get u. For now, run 💜🔪

@wyervan Human!Slasher AU :D Yay! Both the OG/Main storyline are wonderful. I find the community version very endearing as an AU-within-an-AU. (love that!) As someone who used to run RP groups (on god!) it fills my heart with joy to see people filling out a world with so much life. Your art style is delightfully grungy ^-^/

@pluck-heartstrings - Pluck My Heartstrings AU Ohhh. I am weak to fairytale/renfaire vibes, as well as the more classic harlequin jester aesthetic u_u<3 Plus, the Vocalist/Princess is just so dang compelling, too. Your design sense is impeccable.

@moon-buggg Haunted House & Mad Scientist AUs They are both so neat & I can't wait to learn more!! The Haunted House AU designs live in my head rent free along with the comics :3

@zenkaiankoku Broken but Better AU Lovely, torn-up designs! Yay, mechanical horror! Yay, angst!! And a delightful remix of their personalities, too <3

@authormeat Alienware AU ^-^ I am instantly delighted by the weird guy freak energy & that the yn IS an alien/monster. Thats all I want & more. I also love ur designs for other AUs

...

...

...... 🧍 I Have More to Say

And...And... Not.. AU specific, but 🏏💥BAM , BAM 💥🏏 LOVELY FOLKS!!!!!!

🍲 <{ @soupdweller THERE IS NO ESCAPE ok but fr.. I appreciate ya, homie :3 you are a joy to chat with!! beautiful art!! evil mind!! delicious soups. i cant wait for whatever u cook up ^-^ 🐤 <{ @luckyyyduckyyy I WILL READ UR AU STORIES!! RUN & HIDE!!! you are the goofiest goober in the wild west, by goodness. i love ur energy and the gorgeous designs u create!! 🐛 <{ @chickenchirps27 ACK I COULD STARE AT UR ART FOREVER! I'll have to start volleying over illustrators I think ya might enjoy... u are so sweet & funny!! 🐐 <{ @lurking-loaf YOU ARE SO KIND! Seriously, I appreciate the fun craft projects you recommended -& your words of support :') 🔮 <{ @anis-sketches :D HI! Happy to throw recs your way. Also, your art is adorable!! 🌿 <{ @craykaycee HI TO U TOO!! the tags u leave always make me smile, and i appreciate u stopping by to say hi... :3 & MANYMANY MORE BUT I NEED TO CUT MYSELF OFF OR ELSE

Per usual, I lost sight of the original goal. But! Consider:

🏏💥WHAM , BAM 💥🏏 GOTCHU >:)

[authorsofghosts]

He's real! | Horseman!Gambit x Reader | Pt. 3

Author's Notes: i am so sorry this one is short i just couldn't think of how to continue it without another big plot device that i wanted to save for the next chapter. @genderqueerbarbie777 beta read again :3

Summery: The X-Men come to save you and meet an unfamiliar familiar face.

Themes: ANGST, Hurt/Comfort, Major Character Death, Previous Relationship, Betrayal, Cameos, Crying, Cursing, Death, Kidnapping, Panic Attacks (R's), R's a mutant/x-man (no powers described), Violence.

Word Count: 1.2k

first pt , prev pt

You cough as you feel Gambit quickly undo your bindings, letting you move freely as rumble and dust fills the room. You hear voices, besides his, calling out your name. You look at the man with his arms around you, eyes wide with fear, not knowing what's happening.

"Let 'em go, bub." You hear suddenly, looking to see Wolverine come from the smoke. He pauses as he looks at Remy, tilting his head. "Who the fuck are you?"

"Back off, Logan." Remy hisses, making the other man unsheathe his claws.

"What the- Yer not da Cajun. Ya can steal his looks an' voice, but you can't-" Wolverine is cut off as he smells the air, taking a step back.

"Wolverine!" A voice from the smoke, one you recognize as Scott's. "Who are you talking to-" He looks at Remy, hand rising to his visor. "Gambit?"

Your eyes widen as you see the two X-Men in front of you, looking at Gambit as you realize what's going to happen. Gambit grabs his baton with a smirk, "Don't worry, cher, I can handle myself." He extends and spins the rod before holding it at his side.

"Gambit, no!" You yell out, grabbing his by the sleeve of his coat, "P-please, you don't have to fight with Apocalypse!"

Remy looks back at you, his smirk fading as his brow furrows. He doesn't respond as he looks at Scott and Logan, who slowly approach. Gambit backs up, shielding you with his arm as he feels you press against his back. He narrows his eyes at his ex-teammates.

"Remy, you're alive?" Scott asks, his voice breaking slightly as he looks between the two of you. "That's... impossible!" The shaky air of the situation, glancing between all of the people in front of you, you can't help my shiver.

"Gambit!" You and Scott yell out in unison, Remy being sent back with a yellow blast that came from the palm of Mister Sinister. You run over to him and cradle his face in your hands before searching for his pulse point. "Please, please, God, fuck!"

"Don't worry, cher. Gonna take a lot mo' 'an that to knock ol' Gambit down." he says weakly, using his baton to sit up, You press your hand against his chest, holding him down as you continue to make sure he's okay.

"Come on, no, you're not going anywhere." You murmur, eyes looking over him as you spot something a little too late. A terrible, stupid mistake. Gambit cries out in pain as a green, sharp plantlike object goes straight through his chest, your eyes widening as you gasp. "Remy!" You cry, tears streaming down your face.

He grabs your face, barely able to move as he sinks down to the ground, sliding deeper on the hardened, mossy wood. He laughs softly as he looks up at you, eyes wide. "Mon amour, don't cry.... Gambit's bounced b-back from... worse" He talks, blood dripping from his lips and into your palm as you cup his cheek.

You press your forehead against his, shushing him softly as your tears fall down onto his face, "No, no you're not making it out of this.... please, please.... I love you." Your voice shakes as you weep, "Please, don't go, Remy, please..."

"Like you said, petit, I ain't goin' n'where." He laughs, clearly hurting himself as he does. He looks past you as Scott stands above the two of you. "Hey, Scotty boy..."

"Gambit, I-" Cyclops starts, putting his hand over his mouth as he truly takes in the sight. "I'm so sorry-"

"Naw, it's ain't nobody's... fault." Gambit groans, clearly trying to make his last moments slightly more comfortable. His eyes gaze back into yours, his pupils dilating and the red of his irises disappearing. "Don't beat chaself up. It was bound t' happen. This Cajun been kickin' a little too easy lately."

"Don't say that, no, Remy, please." You sob, pulling back and looking at the green, harden wood spear through his chest, trying to figure out what to do. You look up at Scott, eyes bloodshot and vision blurred by the constant flow of tears. "Please, we have to do something, Cyclops! Please-" you grab Scott's legs, "-we gotta keep him alive, please..."

"Remy, please..." You put your arms around him, holding him back, "Come back with us." You whisper softly, your nose planted into his shoulder blade.

"Listen to 'em, ya don't wanna make 'em start crying like last time, Cajun." Logan said, pulling off his mask as he looked at the two of you, taking another step forward.

Gambit's eyes flicked between the two in front of him and then you behind him. He sighed slightly before crackling a smirk. "I mean, you said it yourself, cher. You don't love me." He pushes you, throwing you into Wolverine's arms as he growled slightly. "You loved da old me, and I 'ain't him' huh?"

Cyclops put his fingers back up to his visor as he looked back at Gambit, "Remy-" He starts, quickly being cut off.

"Nope. Wrong number, mon ami." Gambit laughed darkly, "Name's Death." He smirked, running a hand through his silver locks before grabbing a card, lighting it with kinetic energy before throwing towards the feet of you and Wolverine.

"God damn it, not an'ther brainwashed idiot." Logan growls, pulling you away, "Come on, you ain't in no shape t' fight." He picks you up in his arms and slowly start walking backwards, looking between Scoot and gambit. "You got this, Cyke?"

"Yeah, I can handle him. Bring them to safety and head back A.S.A.P."

"Don't gotta tell me twice." He chuckles, slipping into the still dust cloud behind you both, "Jean! Storm!" He yells out, walking towards the hole in the wall where a door used to me. You tense as you realize more of the team are here, whether it be to save you or defeat Apocalypse, you can't believe that they found you so quickly.

Even if it was true you didn't know just how long you were down there, but by the look on everyone's faces when Logan brought you to them told you anything, it was quite a while. Wolverine sets you down next to Jean, who quickly holds you upright, "You alright?"

You nod, watching Wolverine turn back towards the room. "Storm, with me. Jean, take 'em outta hear. It might get ugly."

"No, please!" You call out, reaching for Logan's shoulder, "Don't hurt him! H-he's still in there, I'm just... stupid. I upset him."

Logan's eyes narrow at you before he rolls them, putting his mask back on. "Doesn't matter. That's not Remy, not the 'ne we knew."

"But he is! He remembers everything, he remembers us. All of us, I'm sure. He remembers me, specifically. And, I'm sure he... he cares deep down." You look at Jean, your face filled with as much worry as your voice. You sniffle slightly, "Please... don't kill him."

There was a silence between the X-Men for a few seconds before one sighed. "They're right. Gambit's still, well... himself." Jean said, walking in front of Wolverine. "If anyone can convince him to come back, it's them." She nodded towards you, a soft smile on her lips.

You didn't even have to ask what she meant, and she didn't tell you. You collected yourself before standing between Jean and Logan, looking towards the room where Scott was fighting Gambit, the sounds of cards exploding and lasers hitting walls echoing through the hall. "Let's go before one of them kills the other."

"My bet's on the Cajun"

"Shut the fuck up, Logan."

[theclownghoul]

Arcane Season 2 has me messed up and not in a good way

It’s actually breaking my heart that I don’t love this show anymore.

I don’t want to hate it, there’s pieces I love but there’s also pieces I hate. Act l had me in such high hopes and then it stuttered then crashed and burned.

I just feel so disappointed with so many parts of it. Actively angry at others.

There are some moments that I loved that had me feeling the same high as the first season but every time I thought things would develop better they didn’t.

I think I’m only really happy with Ekko and I was worried about him for much of the season. As an Ekko and Jinx shipper I was pleased with most of their story but the way they ended Jinx’s story undermined the importance of their talk so…

Honestly I would trade all the ship stuff for a proper story arc for Vi, Jinx, Cait and the rest

I saw the signs for Vi as soon as her pit fighter arc didn’t extend passed the promo clips. I kept waiting to delve into her issues but that never came.

Jinx was done so dirty. And this was something I prayed wouldn’t happen. She’s so personal to me in ways that would take too long to go into here. I had high hopes for her, especially after Isha and her starting to move forward, I knew it wouldn’t last but I knew (hoped) it would be interesting. I fully expected Isha to die but the way it happened was so weird?? The scene itself felt like it was manipulating me which is something I hate with a passion.

Likewise I expected her to relapse into suicidality after that and I had suspected that the scene with Ekko would happen. Her scene with Vi beforehand hurt in a good way and I wanted to watch as she hit rock bottom then clawed her way back as she started to mend the broken relationships in her life.

The thing that finally set me off was her hair. I thought she would cut it after she decided to live, as a show a change but before was just so cliché (it did look cute but don’t go trying to distract me)

I really didn’t want people blaming Vi for Jinx running off to try to end herself again. And I didn’t, even though I knew something was wrong about the way the scene played out and lead into the sex scene. I knew something was wrong I was just hoping that I was wrong.

I was so looking forward to the CaitVi sex scene, since King Princess was revealed for the soundtrack. Hoping her and Cait would have a real ass conversation, a hard conversation and then get that moment together but it just felt wrong. I wanted to love it but I didn’t. As a King Princess fan I was so excited but all I feel now is at best apathy and at worst anger. The more I read from lesbians in the fandom and those that care for Vi how I care for Jinx the worse I feel.

Briefly let’s talk about Cait. I was interested in her arc after Act l. Messy it would be and a long road back for sure but I had hope. She was done dirty too.

Back to Jinx…. What the fuck was that ending? Her “sacrifice” felt so similar to her fights with Vi (Act l) and Ekko (S1) where she was going to let herself die. No growth from the rest of the season, that’s how they left us, that’s what they did to a character that they did so beautifully in S1. I don’t care if she’s alive, that’s not a fucking ending.

(Apologies for continuing to bring up my predictions. I just think it’s funny how my thoughts make more sense than what we got)

I didn’t mind the idea of her sacrificing herself for Vi, Arcane is a tragedy after all. Her being the one to protect her sister in the end not because she thought Vi was better off without her but because Vi protects everyone and her sister can help now would have been great.

But that ending rubbed me wrong in every way.

The story of these sisters meant everything to me and what a fool we all were to think it was in competent hands. Like seriously I can’t believe this is the same writing team.

All of us went in with high hopes and then had those hopes crushed.

I’ve seen so many people who were excited to react and analyze go radio silent after Act ll and I hope they stay that way. I’d love to change my mind but I don’t think I can. I don’t think there’s any coming back.

I wanted to take the good moments and leave it alone but I keep feeling the disappointment because the show’s first season left a mark on me that I’ll treasure forever and I can’t let go. I still have so many feelings about this. Piltover and Zaun, Victor and Jayce, Mel and Ambessa, admittedly not my area of expertise but safe to say they all deserved better and we deserved better.

I would say it felt like a fanfic but I know fans have more grace and respect for this story.

This is not the tragedy I signed up for.

[aveadore]

Tumblr, hear out my Arcane thoughts. Some of it is slander, though, so don’t read if it’ll bum you out. In the end, I decided to go with one topic mostly, because I had too much to say.

Spoilers, obviously

Tw: suicide

The way the show handles suicide is SO irresponsible. Call it heroic sacrifice, if you must, but I won’t. The same song that played before, during Jinx’s attempts, played again, during her sacrifice, so the intention is clear.

Do they not realize that so many people that relate to Jinx in some ways are watching it? It’s like they are trying to say: “yes, your intrusive thoughts are right, you are better off not being there. It’s best for your loved ones, if you disappear.” So weird. And, fine, she’s probably not dead. But why hide it? Why not make her end be, openly: “sometimes, you can only heal if you cut everyone off and start anew” Fine. That would be way better. I just can’t believe that such a high profile show, in year 2024, uses suicide in such an irresponsible way. Makes it “cool” looking, gives vulnerable people a playlist, actually. Says “wait a minute, not yet”, and later LETS HER FINISH IT? Wft. Like it’s okay? Like it’s a good end for her?

Isha’s story is also part of this problem. I can’t believe her earlier end was not mentioned later. What was the point of it? Was it a good thing for a seven year old to sacrifice herself? You would think so, they way the show sidesteps the whole thing. The way Jinx is repeating what Isha had done, with no reflection on it. I also have no idea WHY Isha has done it. Was it a consequence of something someone else did, or said? Didn’t seem so. Jinx didn’t really fuck that one up, I think. I thought Isha was jinx’s foil, but it ended up not meaning anything. Was it going to show Jinx her own actions as a child, so she could find some empathy towards Vi? But Isha was not mentioned, so who knows what they were trying to say.

Summary of my other opinions, with no details as it’s too long already:

-I liked Victor and Jayce’s ending. Their relationship had enough time/buildup throughout the whole series to pull of the weight of it. It was a little bit rushed at times, but not as much as the rest of S2.

-I absolutely hated how they handled Cait, and she definitely ended up as my most disliked character.

-Mel was one of my favourites, but her story was the most rushed one is S2. I also wasn’t crazy happy that she also ended up mostly fighting at the end. I have no idea what the Black Rose lady was talking about with the whole empathy thing.

-I really liked episode 7, it was the best one from S2. Because they focused only on Ekko and Jayce, the story had time to breathe. The whiplash between their parts was crazy, but in a good way.

-The way they introduced the third faction, just so all main characters could unite was such a cop-out. The systemic problems were much too big to just be fixed by that, and the show just brushes it all under the rug. And the end is just fighting. Ugh.

-Well, it was obviously very pretty. Every frame a perfect picture and all that. Weird complaint, but some designs were “too good”. Too polished. Too much like a high-end commercial for a new skin that costs 200$. It was so distracting for me :P Especially with some Victor “outfits”

-The biggest, most pervasive problem was the time. So much stuff, so little time. It should have been three seasons. There was no time to breathe, no time to understand what’s going on. Characters running from one massive scene to next, with no build-up in between. Just so everyone can end up similar enough to their LoL variant. A bit disappointing.

[incoherentbabblings]

Unpopular opinion mayhaps, but if your Steph characterisation is formed from comics pre-2004 only, and if you don't include anything from the last decade in your understanding and conceptualisation of her, you have perhaps missed the entire point of her character and I don't care to hear your thoughts on her.

[brittlebutch]

finally found a place to read With the Light online and i'm thrilled; if you haven't read this manga i do Legitimately recommend it

[girlscience]

I hate getting into something that has a canon(ish) sapphic couple, but I only end up caring about one of the two women 😭😭😭

[luminiera-merge]

i think my tolerance for moe (ie the anime stuff) is in freefall rn

[s-soulwriter]

Things Real People Do in Dialogue (For Your Next Story)

Okay, let’s be real—dialogue can make or break a scene. You want your characters to sound natural, like actual humans talking, not robots reading a script. So, how do you write dialogue that feels real without it turning into a mess of awkward pauses and “ums”? Here’s a little cheat sheet of what real people actually do when they talk (and you can totally steal these for your next story):

1. People Interrupt Each Other All the Time In real conversations, nobody waits for the perfect moment to speak. We interrupt, cut each other off, and finish each other's sentences. Throw in some overlaps or interruptions in your dialogue to make it feel more dynamic and less like a rehearsed play.

2. They Don’t Always Say What They Mean Real people are masters of dodging. They’ll say one thing but mean something totally different (hello, passive-aggressive banter). Or they’ll just avoid the question entirely. Let your characters be vague, sarcastic, or just plain evasive sometimes—it makes their conversations feel more layered.

3. People Trail Off... We don’t always finish our sentences. Sometimes we just... stop talking because we assume the other person gets what we’re trying to say. Use that in your dialogue! Let a sentence trail off into nothing. It adds realism and shows the comfort (or awkwardness) between characters.

4. Repeating Words Is Normal In real life, people repeat words when they’re excited, nervous, or trying to make a point. It’s not a sign of bad writing—it’s how we talk. Let your characters get a little repetitive now and then. It adds a rhythm to their speech that feels more genuine.

5. Fillers Are Your Friends People say "um," "uh," "like," "you know," all the time. Not every character needs to sound polished or poetic. Sprinkle in some filler words where it makes sense, especially if the character is nervous or thinking on their feet.

6. Not Everyone Speaks in Complete Sentences Sometimes, people just throw out fragments instead of complete sentences, especially when emotions are high. Short, choppy dialogue can convey tension or excitement. Instead of saying “I really think we need to talk about this,” try “We need to talk. Now.”

7. Body Language Is Part of the Conversation Real people don’t just communicate with words; they use facial expressions, gestures, and body language. When your characters are talking, think about what they’re doing—are they fidgeting? Smiling? Crossing their arms? Those little actions can add a lot of subtext to the dialogue without needing extra words.

8. Awkward Silences Are Golden People don’t talk non-stop. Sometimes, they stop mid-conversation to think, or because things just got weird. Don’t be afraid to add a beat of awkward silence, a long pause, or a meaningful look between characters. It can say more than words.

9. People Talk Over Themselves When They're Nervous When we’re anxious, we tend to talk too fast, go back to rephrase what we just said, or add unnecessary details. If your character’s nervous, let them ramble a bit or correct themselves. It’s a great way to show their internal state through dialogue.

10. Inside Jokes and Shared History Real people have history. Sometimes they reference something that happened off-page, or they share an inside joke only they get. This makes your dialogue feel lived-in and shows that your characters have a life beyond the scene. Throw in a callback to something earlier, or a joke only two characters understand.

11. No One Explains Everything People leave stuff out. We assume the person we’re talking to knows what we’re talking about, so we skip over background details. Instead of having your character explain everything for the reader’s benefit, let some things go unsaid. It’ll feel more natural—and trust your reader to keep up!

12. Characters Have Different Voices Real people don’t all talk the same way. Your characters shouldn’t either! Pay attention to their unique quirks—does one character use slang? Does another speak more formally? Maybe someone’s always cutting people off while another is super polite. Give them different voices and patterns of speech so their dialogue feels authentic to them.

13. People Change the Subject In real life, conversations don’t always stay on track. People get sidetracked, jump to random topics, or avoid certain subjects altogether. If your characters are uncomfortable or trying to dodge a question, let them awkwardly change the subject or ramble to fill the space.

14. Reactions Aren’t Always Immediate People don’t always respond right away. They pause, they think, they hesitate. Sometimes they don’t know what to say, and that delay can speak volumes. Give your characters a moment to process before they respond—it’ll make the conversation feel more natural.

Important note: Please don’t use all of these tips in one dialogue at once.

[weaselle]

i want to talk about real life villains

Not someone who mugs you, or kills someone while driving drunk, those are just criminals. I mean VILLAINS.

Not like trump or musk, who are... cartoonishly evil. And not sexy villains, not grandiose villains, not even satisfyingly two dimensional villains it is easy to hate unconditionally. The real villains.

I had a client who was a retired executive for one of the big oil companies, i think it was Shell or Chevron. Had a home just outside of San Francisco that was wall to wall floor to ceiling full of expensive art. Literally. I once accidentally knocked a painting off the wall because it was hanging at knee height at the corner of the stairs, and it had a little brass plaque on it, and i looked up the name of the artist and it was Monet's apprentice and son-in-law, who was apparently also a famous painter. He had an original Andy Warhol, which should have been a prize piece for anyone to showcase -- it was hanging in the bathroom. I swear to god this guy was using a Chihuly (famous glass sculptor) as a fruit bowl. And he was like, "idk my wife was the one who liked art"

I was intrigued by this guy, because in the circles i run this dude is The Enemy. right? Wealthy oil executive? But as my client, he was... like a sweet grandpa. A poor widower, a nice old man, anyone who knew him would have called him a sweetheart. He had a slightly bewildered air, a sort of gentle bumbling nature.

And the fact that he was both of these things, a Sweet Little Old Man and The Enemy, at the same time, seemed important and fascinating to me.

He reminded me of some antagonist from fiction, but i couldn't put my finger on who. And when i did it all made sense.

John Hammond.

probably one of the most realistic bad guys ever written.

If you've only ever seen the movie, this will need some explaining.

Michael Crichton wrote Jurassic Park in 1990, and i read it shortly thereafter. In the movie, the dinosaurs are the antagonists, which imo erases 50% of the point of the story.

book spoilers below.

In the book, John Hammond is the villain but it takes the reader like half the book to figure that out. Just like my client, John is a sweet old man who wants lovely things for people. He's a very sympathetic character. But as the book progresses, you start to see something about him.

He has an idea, and he's sure it's a good one. When someone else dies in pursuit of his dream, he doesn't think anything of it. When other people turn out to care about that, he brings in experts to evaluate the safety of his idea, and when they quickly tell him his idea is dangerous and needs to be put on hold, he ignores his own experts that he himself hired, because they are telling him that he is wrong, and he is sure he is right.

In his mind, he's a visionary, and nobody understands his vision. He is surrounded by naysayers. Several things have proven too difficult to do the best and safest way, so he has cut corners and taken shortcuts so he can keep moving forward with his plans, but he's sure it's fine. He refuses to hear any word of caution, because he believes he is being cautious enough, and he knows best, even though he has no background in any of the sciences or professions involved. He sends his own grandchildren out into a life-threatening situation because he is willfully ignorant of the danger he is creating.

THIS is like the real villains of the world. He doesn't want anyone to die. Far from it, he only wants good things for people! He's a sweet old man who loves his grandchildren. But he has money and power and refuses to hear that what he is doing is dangerous for everyone, even his own family.

I think he's possibly one of the most important villains ever written in popular fiction.

In the book, he is killed by a pack of the smallest, cutest, "least dangerous" dinosaurs, because a big part of why we read fiction is to see the villains face thematic justice. But like a cigarette CEO dying of lung cancer, his death does not stop his creation from spreading out into the world to continue to endanger everyone else.

I think it is really important to see and understand this kind of villainy in fiction, so you can recognize it in real life.

Sweetheart of a grandfather. Wanted the best for everyone. Right up until what was best for everyone inconvenienced the pursuit of his own interests.

And my client was like that too. His wife had died, and his dog was now the love of his life, and she was this little old dog with silky hair in a hair cut that left long wispy bits on her lower legs. Certain plant materials were easily entangled in this hair and impossible to get out without pulling her hair which clearly hurt her. When i suggested he ask his groomer to trim her lower leg hair short to avoid this, he refused, saying he really liked her usual hair cut.

I emphasized that she was in pain after every walk due to the plant debris getting caught in her leg hair, and a simple trim could put an end to her daily painful removal of it, and he just frowned like i'd recommended he take a bath in pig shit and said "But she'll be ugly" and refused to talk about it anymore.

Sweet old man though. Everyone loved him.

[jytan2018]

I read the comic in one sitting less than an hour after finishing the movie, and wow I have many Thoughts™.

- It's very obvious the two versions were meant to cater to different audiences AND tell different messages. I don't get why people are going "But the comic was better! It had more nuance!" just because Nimona was easier to root for in the movie.

- The comic was written back when ND Stevenson was still trying to process a lot of stuff, so all the characters are morally grey/straight up evil and the climactic battle is between a Ballister who regrets turning against Nimona, even if it was to save others vs. a Nimona who's too hurt to care if her lashing out was going to hurt innocent people.

- By the time Nimona got a movie adaptation, ND was a lot more secure in his sexuality, so the climactic battle was Nimona vs. the Director, the symbol of religious oppression and bigotry. It's not just about your friends turning on you because you're "too much" for them anymore, it's also about a society that would rather bring itself to the brink of ruin than coexist with you.

- (I totally get why people were upset about Ballister's surname change, though. Like come on, the media dubbing him Blackheart just to be mean was RIGHT THERE).

- Nimona's metaphor for not shifting is such a neurodivergent thing. Even in the comic, Nimona's parents insisting she's a monster who replaced their daughter is reminiscent of the changeling myth, which is what many parents thought their neurodivergent kids were—changelings who replaced their "real" children.

- Ambrosius being trained to cut off HIS BOYFRIEND'S WHOLE FUCKING ARM instead of merely disarming him is a very cop thing to do. As much as cops claim they're trained to de-escalate situations, their training still teaches them to treat everyone as a potential threat, and that level of constant vigilance can turn anyone into a trigger-happy/arm-choppy bastard. Even the Director, who can use a sword but probably hasn't actually fought someone in ages, STILL can't see Ballister reaching for the squire's phone without assuming he has a weapon.

- And on that note, the Queen getting killed simply because she was trying to reform the Institution and allow commoners to become knights? That's the best "no such thing as a good cop" metaphor I've seen. Because even if there ARE good cops and they ARE in leadership positions, the system will crush them before they make any meaningful change. It's not a good institution that turned rotten, it's an institution that only exists to spread its rot and refuses to be good.

- That's why Ballister's characterisation is so different in the movie vs. the comic. Comic Ballister had 15 years to come to terms with his trauma and the Institution's evildoing, while Movie Ballister is still freshly traumatised and hasn't found a way to define himself beyond the role he was assigned by the Institution.

- Not to mention Comic Ambrosius was not very noble to begin with and genuinely believed Ballister was better suited to villainy than heroism, while Movie Ambrosius never wanted the glory that came with his lineage in the first place and only antagonised Ballister because of indoctrination he needed to unlearn (which he did, all by himself, after witnessing the lengths the Director will go to just to kill Nimona).

- It really shows how important it is to surround yourself with loved ones who are open to change. Comic Ambrosius can love Ballister all he wants, but he'll still blast his arm off because he thinks Ballister deserved it anyway. Movie Ambrosius will stop to question what "the right thing" even means, even if he didn't love Ballister enough to defend him unconditionally.

I have so many more thoughts bubbling beneath the surface, but I'll probably address them some other day. In conclusion:

[ID: A pink-haired Nimona grinning evilly while holding up a knife.]

Watch Nimona. This is not a request.

Edit: Added more thoughts!

[galadrieljones]

It speaks volumes when Lavellan calls Solas a "terrible liar" in the Cobbled Swan. Rook is, of course, confused by this. "He's the god of lies," she says. But Lavellan clarifies, because that's not what she means. She means that he can't tell "lies of the heart." That is why he had to turn her away, because he actually could not deceive her.

Varric, very early in the game, also refers to Solas as "sentimental." He says to Rook, "He could burn the world down, and the thing that would make him cry is a single flower with blackened petals."

There's something very interesting about the elven god of lies and deceit, who unwillingly wears his heart on his sleeve, essentially creating a new version of the world in which all sources of raw, magical *emotion* that, according to him, used to imbue it with so much life and beauty have been compartmentalized from the more brutish, harsh aspects of the physical world. Because he, himself, has had to do this very thing to his own heart. He's "split." A very cool archetype. When he tells the Inquisitor to "harden her heart to a cutting edge" in Inquisition, he is projecting. Solas has built a "veil" within himself, to protect his more stern, militaristic identity as The Dread Wolf from the effusive, soft, and intelligent man that is Solas. It's the only way he can get anything done. Perhaps we should more aptly call him the god of stoicism and compartmentalization.

It's also interesting how well characters like Varric seem to know Solas, because it communicates that Solas did open up to the people of the Inquisition, during which time he "played the role" of quiet, unassuming Fade mage. Perhaps this wasn't a role at all, however, and perhaps this is why he is failing so spectacularly now. Who he really is is just this man who fell in love and made friends and found a home within a community where he did not have to cut off his emotions in order to lead. This was the "breach" in his plans, so to speak. It tore his world apart.

The whole story of Veilguard actually starts because Varric knows he can appeal to Solas's emotions and that this has a high chance of working to some degree. It's important to remember that while Varric didn't change Solas's mind at the ritual site, he was able to keep Solas talking long enough for Rook to sabotage his plans. Solas entertains Varric's pleas, because, sort of as Rook guesses with Lavellan at the Cobbled Swan, in some ways, Solas wants to be stopped. He wants someone to pull the reins on him because he is too prideful to stop himself.

Thinking back to Trespasser, I remember we all sort of knew this right away just in reading his body language. I remember someone making a whole post about it, and how he will not allow her to get too close to him. When she approaches, he takes a very measured step back. And later, as he takes the anchor, a task which requires him to take her hand, we see exactly why this is. He breaks down, calls her his "love," and kisses her. He is so stern and so measured and in "control," but then, all it takes is a single touch from the woman to whom he showed a glimpse of his true heart, his true self, to bring him to his knees.

The Veil as a narrative manifestation for how Solas tends to seal his own raw emotions away from others in order to function as the revolutionary general he had to be for centuries is a very beautiful construct to me.

[wordstome]

how c.ai works and why it's unethical

Okay, since the AI discourse is happening again, I want to make this very clear, because a few weeks ago I had to explain to a (well meaning) person in the community how AI works. I'm going to be addressing people who are maybe younger or aren't familiar with the latest type of "AI", not people who purposely devalue the work of creatives and/or are shills.

The name "Artificial Intelligence" is a bit misleading when it comes to things like AI chatbots. When you think of AI, you think of a robot, and you might think that by making a chatbot you're simply programming a robot to talk about something you want them to talk about, and it's similar to an rp partner. But with current technology, that's not how AI works. For a breakdown on how AI is programmed, CGP grey made a great video about this several years ago (he updated the title and thumbnail recently)

I HIGHLY HIGHLY recommend you watch this because CGP Grey is good at explaining, but the tl;dr for this post is this: bots are made with a metric shit-ton of data. In C.AI's case, the data is writing. Stolen writing, usually scraped fanfiction.

How do we know chatbots are stealing from fanfiction writers? It knows what omegaverse is [SOURCE] (it's a Wired article, put it in incognito mode if it won't let you read it), and when a Reddit user asked a chatbot to write a story about "Steve", it automatically wrote about characters named "Bucky" and "Tony" [SOURCE].

I also said this in the tags of a previous reblog, but when you're talking to C.AI bots, it's also taking your writing and using it in its algorithm: which seems fine until you realize 1. They're using your work uncredited 2. It's not staying private, they're using your work to make their service better, a service they're trying to make money off of.

"But Bucca," you might say. "Human writers work like that too. We read books and other fanfictions and that's how we come up with material for roleplay or fanfiction."

Well, what's the difference between plagiarism and original writing? The answer is that plagiarism is taking what someone else has made and simply editing it or mixing it up to look original. You didn't do any thinking yourself. C.AI doesn't "think" because it's not a brain, it takes all the fanfiction it was taught on, mixes it up with whatever topic you've given it, and generates a response like in old-timey mysteries where somebody cuts a bunch of letters out of magazines and pastes them together to write a letter.

(And might I remind you, people can't monetize their fanfiction the way C.AI is trying to monetize itself. Authors are very lax about fanfiction nowadays: we've come a long way since the Anne Rice days of terror. But this issue is cropping back up again with BookTok complaining that they can't pay someone else for bound copies of fanfiction. Don't do that either.)

Bottom line, here are the problems with using things like C.AI:

It is using material it doesn't have permission to use and doesn't credit anybody. Not only is it ethically wrong, but AI is already beginning to contend with copyright issues.

C.AI sucks at its job anyway. It's not good at basic story structure like building tension, and can't even remember things you've told it. I've also seen many instances of bots saying triggering or disgusting things that deeply upset the user. You don't get that with properly trigger tagged fanworks.

Your work and your time put into the app can be taken away from you at any moment and used to make money for someone else. I can't tell you how many times I've seen people who use AI panic about accidentally deleting a bot that they spent hours conversing with. Your time and effort is so much more stable and well-preserved if you wrote a fanfiction or roleplayed with someone and saved the chatlogs. The company that owns and runs C.AI can not only use whatever you've written as they see fit, they can take your shit away on a whim, either on purpose or by accident due to the nature of the Internet.

DON'T USE C.AI, OR AT THE VERY BARE MINIMUM DO NOT DO THE AI'S WORK FOR IT BY STEALING OTHER PEOPLES' WORK TO PUT INTO IT. Writing fanfiction is a communal labor of love. We share it with each other for free for the love of the original work and ideas we share. Not only can AI not replicate this, but it shouldn't.

(also, this goes without saying, but this entire post also applies to ai art)

[derinwrites]

The Three Commandments

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

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

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

1: Thou Shalt Have Something To Say

What’s your book about?

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

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

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

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

2: Thou Shalt Respect Thy Reader’s Investment

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

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

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

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

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

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

3: Thou Shalt Not Make Thy World Less Interesting

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

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

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

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

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

Hopefully these can help you, too.