#whats the most important thing you can do?

[jane-asmo]

Why I think Caitlyn didn’t ask Vi for forgiveness

(Thank 'anons' for your messages. I’ll try to respond to you through this text: )

The importance of Caitlyn’s “I know”

A key moment in Caitlyn’s character narrative is her “I know”—both its content and delivery.

The content: When Caitlyn says, “I know,” it doesn’t just mean “You’re right.” It means, “I’ve taken the time to think about this.” And thinking is what Caitlyn does best. Her “I know” conveys that she has already had this conversation with herself, over and over in her head. She’s thought about it constantly, she’s already told herself these things, and she’s already blamed herself for them.

The delivery: She screams it with violence, and we can see this represented by the boat falling apart. It’s not just that she has thought about it; it’s tormenting her. Her “I know” is incredibly powerful because it’s filled with suffering.

To me, this is as valid as an apology because asking for forgiveness is outward-facing—focused on the other person. "Asking for forgiveness" says, “Whether I’ve forgiven myself or not, whether I feel guilty or not, it’s on you to decide to forgive me.”

But here, Caitlyn’s “I know” is inward-facing. It means, “I’m not asking you to forgive me because I can’t even forgive myself.”

She knows everything you’re saying, and it torments her.

This is followed by:

"I didn’t even have time to think before they hauled her off."

This line is so telling. Everything about Caitlyn is tied to thinking and reflection.

Being a sniper means aiming and shooting. Aiming is the equivalent of thinking, and shooting is the equivalent of speaking. Everything Caitlyn does is deliberate and thought through.

This is why some people dislike her: as I’ve said before, unlike other characters, Caitlyn’s actions can’t be forgiven easily because she doesn’t do anything by accident.

Then we get to:

"We can’t erase our mistakes. None of us."

Caitlyn speak in “we.”

In the prison scene with Jinx:

"No amount of good deeds can undo our crimes."

This scene mirrors the rage she felt when she threw the boat. In this moment, she’s speaking to Jinx, but also to herself.

Caitlyn and Jinx are paralleled so many times throughout the show. Caitlyn quickly realized that, in some ways, she had become like Jinx. And so, in order to forgive Jinx, she would first have to forgive herself.

At this point in the episode, the person Caitlyn hates the most is herself.

But she no longer has the "energy" to hate, neither Jinx nor herself.

Energy comes from fuel. What she perceives as a lack of strength to keep fighting is simply the fact that the fuel that powered her hatred has disappeared. And when you stop feeding a fire, it eventually dies out. She has no energy left; she has no fuel to sustain her hatred.

It's a particular way of saying, I don’t hate you anymore, and I don’t want to hate myself anymore either, because in the end, that hatred corrupts us/everything .

In her own unique way, Jinx also says, I didn’t know your mother was there, even if it wouldn’t have changed anything. And this too is a strange way of taking a step toward the other.

We have two brilliant and intelligent women who express their emotions in unconventional ways. ----------

There’s also a whole analysis that could be done about her concept of justice and rules, "but I don’t have the energy" to dive into that here. Still, it would only lead back to the fact that Caitlyn doesn’t see herself as the right person to free Jinx (and therefore to forgive her) because she believes she herself is beyond forgiveness.

[fucked-up-mover-shaker]

ive said this once and i will say it again, grady is the most nuanced character in KOTLC. Purely from just how he is written in canon- there is so much we can draw from his character with little inference.

On the one hand, you have a walking tragedy: he manifested one of the rarest and most dangerous abilities in the lost cities at a young age, he lost his daughter to her fiance, (if we're talking theory, he may have been in the neverseen), you can't help but feel sympathy for him.

But then- you realize something terrifying.

Gisela and Vespera are right.

Grady is the most ruthless elf in the lost cities.

But he's also one of the kindest.

Despite the danger it poses, he and Edaline adopt the Moonlark, they put themselves at risk. Despite everything been through, they willingly give their love to a girl who needs it. That is one of the kindest acts someone can pull off.

However, as alluded to earlier, there's another side to him. Despite how concerned, kind, and thoughtful he is; he is also vengeful, impulsive, and distrusting.

Let's look at Everblaze again. Partially because it's the best example of his darker nature, partially because I have it on hand right now, partially because it is my favorite book in the series.

In Everblaze, Grady's vengeance and impulse is seen in full. Take King DImitar, for an example. Sophie was going to be taken away; and Grady jumped in. He believed it to be the right thing to do; and believe me it was, but there is a dark tone to it. A feeling of impulse; that he wasn't truly thinking at the moment. And he almost violated the treaty, if it wasn't for the Councillors coming to his defense.

This scene serves as subtle foreshadowing for later and sets up something very important about Grady:

He could kill someone if he wanted to. And he knows that.

But what could push him that far? Well, there is an answer to that, an answer we later find out:

Jolie's death.

When he finds out the true circumstances to Jolie's untimely demise, his sheer ruthlessness is demonstrated. There's a deeper level to this however, it is his underlying fear of being taken advantage of showing to its surface.

Brant took advantage of Grady and Edaline, and that is the biggest injustice to Grady. Because it's what he has been fearing, it's why he had closed himself off to the world.

That fear causes the sheer level of terror that is caused in Grady. Terror that builds into his impulses, which causes him to go out to find Brant, with intent to kill.

That's why he doesn't want Sophie to come with, he doesn't want his daughter to see the monster he was about to become.

The monster he believes himself to be.

It's not just Everblaze, but a feeling that permeates his character and his choices.

His distrust of Keefe stems from two things:

The similarities he sees between himself and Keefe (the sense of humor, the blond hair, and later in the books; the ability of control).

How that, in a way, is all Grady has ever known.

Elves manifest young. Meaning that he has spent a majority of his life being distrusted by his peers, as well as distrusting the world and fearing someone would take advantage of him.

So when there's a talented but terrified young kid that needs his helps; whether through adoption or through training, he obligies.

Why?

Because he sees himself so much in that situation. Because of that deep feeling of kinship, he feels a need to take care of people in that situation.

Grady's empathy trumps his distrust.

And that's why he starts helping Keefe. That's why he adopts Sophie.

tl;dr: grady's character absolutely FUCKS why does no one talk about this???

also he is hotter than hell and i will fight people on this

[balioc]

Looking at the world from a manager's perspective, you can productively model the pool of workers as being divided into a few basic groups, which are defined and characterized by their driving motivations.

Insert all the usual disclaimers for this sort of thing - this is the roughest type of rough typology. I pulled these categories out of my raw intuition, and possibly a few more would crop up with some additional thought. In reality, the boundaries of these categories are incredibly fuzzy, and almost every individual is actually going to be motivated by a complicated mix of all the relevant motivations; we're talking REALLY SIMPLE HEURISTICS here. Etc.

There have been other well-known worker typologies that share a lot in common with my thoughts here; this is mostly not novel, it's mostly meant to refine a few ideas for particular purposes.

Hustlers are motivated by concrete personal advantage. Most commonly, and most straightforwardly, they want money - as much of it as they can get. They may also be interested in fame, idiosyncratic perks, etc. They do whatever they have to do in order to get what they want.

No surprise: you see huge preponderances of these guys in fields that provide outsize concrete rewards, e.g. finance, the upper echelons of management, etc. But not every natural-born Hustler is in a position to enter a glitzy high-paying field, and in fact you find Hustlers all throughout society and all throughout the economy, finding or making hustles wherever they go.

Having Hustlers working for you is mostly pretty great. They get shit done. They can be induced to work incredibly hard - probably harder than anyone else, under most circumstances - and they'll shank their own mothers if the price is right. If you need anything really important from them, anything at all, it's just a matter of bribing them enough.

...they will also, of course, cheerfully shank you if the price is right. Hustlers aren't the only wellsprings of institutional politics and infighting, but they're the most dangerous ones; they're always potential rivals to everyone around them. Also, you need to keep the tangible rewards flowing in a steady stream in order to get anything out of them, or else they'll put most of their effort into jumping ship (one way or another).

Craftsmen are motivated by the desire to do good work in their chosen fields, for its own sake and for the sake of their treasured self-image as people who do good work.

As you'd expect, for the most part, they're excellent workers and should be prized. But they're not perfect workers. Common weaknesses and downsides include:

They tend to have their own ideas about How Things Should Get Done; they're often resistant to externally-imposed product/service requirements or process changes (and bad at implementing those things) (no matter how important or well-conceived they are), and they're very resistant to "just get it out the door, right now done is better than good."

Being driven chiefly by internal motivation is great, but sometimes it's useful to be able to push things along with external motivators, and Craftsmen are pretty resistant to those. They don't like working more or harder than they're naturally inclined to work, they mostly sneer at carrots, and sticks make them sad and unproductive.

It's important to note that, while noteworthy skill within a field correlates with having a Craftsman temperament and motivation suite - for obvious reasons - those things are not identical at all. Plenty of Craftsmen are bad at their jobs, or just average, and plenty of the best workers are most motivated by things other than the Excellence of the Work Itself.

Fanatics are a relatively rare and specialized group, whom you find mostly within a few specific sorts of culturally-valorized fields. They're motivated by a desire to be part of something Important and Good in a Broader Sense: to Save the World, or some smaller-bore version of that.

They make amazing front-line soldiers, in the sorts of institutions that have "front-line soldiers." They work super hard, and you don't even need to bribe them, you just need to keep them hopped up on inspiration.

The big problem with them is that they're mostly motivated by a feeling - the feeling of Being Righteous - and it's not easy to control where they get that feeling, in any kind of precise way. They're just as resistant to external motivators as Craftsmen are, or even more so, but they're also not being guided by an ideal of effective quality. (No, not even if their chosen cause is theoretically all about an ideal of effective quality, hem hem.) They will happily waste vast amounts of time and money doing useless things, or even counterproductive things, so long as they're engaged in tasks that hit the right psychological buttons for them. There's also a constant risk that a Fanatic will decide that his employer is unrighteous, or that one of his coworkers is unrighteous, and start an internal conflict; the risk scales in a more-than-linear fashion with the number of Fanatics you keep around.

The biggest group, unsurprisingly, is the Normies. In most fields, it is much the biggest group. Normies are motivated by the desire to be members in good standing of their communities, to have positive relationships with the people around them, and to live up to basic norms and expectations.

Managerial skills, in the traditional sense, are incredibly important with Normies. If you want them to do good work for you - and you should want that, as a manager, you've almost certainly got a whole bunch of them - not only do you have to keep them pointed in the right direction, you have to make sure that they're supporting each other. With Hustlers, you just have to throw money at them (and avoid their power plays); with Craftsmen, you just have to let them do their thing, and occasionally badger them into giving you what you need; with Fanatics, you just have to be inspirational; but with Normies, you have to lead, and construct a productive community. You have to set reasonable, achievable norms and expectations that will get you what you need.

This wouldn't be complete if I didn't talk about the Defectors. The Defectors are motivated by not working. They don't want to be there, they resent having to do their jobs, and their primary goal is to shirk as much as possible. They will, by default, put much more effort into shirking than into their assigned tasks.

Obviously, managers don't want to have to deal with them, for good reason. But they're out there, in large numbers - not always in the places and fields where you'd expect to find them - and learning to manage them is sometimes more viable than trying to get rid of them. ("Moving Heaven and Earth to find them jobs that will change their attitude" is often a good plan, although of course it's not always possible and not always worth it.)

Crucially, Defectors are not Normies. If you start with the assumption that the average baseline worker is lazy and sour, you will make some incredibly stupid decisions. There are some fields where, for structural reasons, you can expect that a very large number of your workers will be Defectors; this is a huge and complicated challenge, well beyond the scope of this post, and good luck to you if you have to handle it, but it's not the default.

----------------------

Once you have those categories in your head, and can play with them, a number of obvious-seeming ideas present themselves. Just a couple, for now:

Most high-level executives are Hustlers, or have strong Hustler tendencies, for obvious reasons. Most of the people around them are Hustlers, or have strong Hustler tendencies. This means that they tend to overweight the Hustler outlook, by a lot, when they try to model what their workers are like. More specifically, I'd wager that a lot of them intuitively divide the world into "good workers" ( = Hustlers) and "bad workers" ( = Defectors). This will lead to a heavy overreliance on tangible rewards, a systematic shortchanging of community-building, etc. Which is in fact just what we see.

In particular - crucially - Hustlers and Defectors are the only worker types who ever become more productive under heavy stress. Hustlers actually benefit from it, because it raises the stakes of the game that they're already playing. (If you succeed, you'll be king of the world! If you fail, you'll be shark food! Go go go!) Defectors suffer terribly from stress, of course, but they can sometimes be spooked into doing their jobs as opposed to doing nothing, and sometimes that's the best/easiest way to get something out of them. But stress is terrible for everyone else. Craftsmen lose their focus. Fanatics lose their hope. It's worst of all for Normies, because they take all their cues from the vibes around them; they're productive when they learn to associate work with comfort and happiness, and when you fill their working world with frantic desperation, you just put them in a permanent cringe state.

stop trying to pit your Normies against each other in competitions for status and rewards dear God what are you stupid

To some extent, you can control your institution by controlling what types of workers you have. But only to some extent. There are only so many Hustlers and Craftsmen to go around, and if you want them, you will have to (a) be able to identify them reliably on little information [HINT: you are probably very bad at this], and (b) provide them with what they want [tangible rewards / comfortable security and interesting work]. "We are going to employ only the good special people" is feasible if you're an outfit of four workers; at a dozen, it's already become a stretch; at a few hundred, uh, pfffffffft. If you want to operate at scale, you need to be able to make Normies do good work, there is no substitute for it.

[letsbangts]

thank you || jjk

⤷ summary: your appreciation for the man you married

⟶ pairing: jungkook x reader

⟶ word count: 1.4k

⟶ genre: fluff, married couple au, established relationship au

⟶ content: husband!jk, fratboy!jk briefly mentioned, sweetheart kook that could cause cavities

⟶ warnings: none just pure fluff

a/n: so this is inspired by you may want to marry my husband. hope you enjoy! :) as always hope you enjoy & let me know what you think!

masterlist

❀ ❀ ❀ ❀ ❀ ❀ ❀ ❀ ❀ ❀

I have been married to the most extraordinary man for four years. I am planning on many more (a plan that has been in effect since our first date seven years ago and will continue to be). And for that, I feel I should express my gratitude.

Thank you. 

Honestly, I do not know what I am thankful for, for everything, I guess? For him always being there, for him staying by my side. For loving and treating me exactly how I have always wanted a man to. 

Now, you may wonder who this gentleman is, and I am so happy to tell you, Jeon Jungkook.

He was an easy man to fall in love with. I did it in one day.

Let us take a trip down memory lane, shall we? Seven years ago, a young lady struggling with dealing with college and her part-time job gets dragged out by her best friend (I guess I should be thanking her too) attends a year-end party at a frat house one late evening. About an hour later, she bumps into a boy who spills his drink on himself, though all he can do is say to her with the brightest smile: You okay there, Clumsy?

And when she looks up at his face, she realizes that this is no douche frat boy with beer on his shirt, but an unbelievably attractive high-spirited young man. She shyly replies: Yeah, I'm okay. That is when what was supposed to be quick party banter with a stranger turned into a night of great conversation and a polite walk home. That then turned into sweet exchanges of subtle flirtatious texts and small phone calls that had this young lady thinking: Uh-oh, there is something loveable about this person.

As the couple enjoyed many hangouts during the beginning of summer (by the end of the summer, I knew I wanted to marry him) amidst the ever-growing flirting, they finally acknowledged their immense attraction. Then the hangouts turn into dates when that lovely young man finally asks her out. That is when they would have officially kicked off their step from subtle flirting to very blatant obvious flirting—the beginning of a couple that would only continue their journey together.

So that was the start of us.

I am a bit biased, but I will create a list based on my experience of coexisting with him for about 2,556 days on the reasons I am thankful for him and thus love him. The following list of attributes is in no particular order because everything about him is so important to me.

Starting with the basics: His blindingly contagious smile, his gorgeous body filled with pure joy and positivity (and muscle), his adorable fluffy hair that falls over his forehead to match his striking brown eyes, and his effortlessly breathtaking passionate singing, of course.

He always knows how I am feeling and how to match his mood to whatever one I am in. He can read my face with just a simple glance. I have always appreciated how he adjusts his mood to fit my own. If I am in the dumps and his spirits are up, he brings them down to comfort me; even if he is down in the dumps, he lifts his spirits to keep a smile on my face. And for that:

Thank you.

If I could list just one of the things that made me fall in love with him from day one and still makes my heart flutter to this day, it would be his little acts that are natural for him, which shows how much of a gentleman he is. From always opening doors for me, making sure I walk on the inner side of the sidewalk, giving me his jacket to wear, or carrying me into the bed when I fall asleep on the couch. He may not know how much I appreciate the little things, but those little things always remind me I sincerely have the best man out there. 

Silently suffering with the things I put him through that he may not want to do. Sitting through the cliché chick flicks, trailing behind me in the store as I look at three different tops that he says all look great on me but always end up picking the one he can tell I want more, or even giving up his personal space and all feeling in his right arm because he knows I sleep much better entangled with him.

That brings me to something he may not know that I know about him. He holds in a lot more than he leads on. The song he tells me he is struggling to perfect but tells me it is only a little bit of writer's block. Yet I can see in his eyes that it stresses him much more than he says. Yet he is always quick to change topics with a:

How could you have gotten prettier while I was gone?

Or

So tell me about your day. Did anything interesting happen today?

If I did not know him so well, I could have easily missed these things, but I have come to learn about the kind of person he is. He is the type of person who always puts others before himself. He leads himself to take on the role of making sure others around him are okay. He already knows he does not have to hide his worries from me, but Jungkook still always tries to keep the minor worries to himself because he believes they are things I will excessively stress over on his behalf. (and he is right, I would, what can I say I love the guy)

We have come to know each other so well over the years, huh?

When looking for a dreamy, last-minute adventure, he is my man. He always comes with me on random just-cause trips, be it a road trip to the countryside for a break from the city or a train ride to the sea to walk by the shore.

Thank you.

If it is still unclear, here is the kind of man Jeon Jungkook is: He surprised me on my first day at my new job with flowers because he knew how nervous I was. He is a man who is always up early and goes out to surprise me every Sunday morning by putting a different kind of flower on my nightstand with a love note. A man that comes out from the minimart or gas station and says: Hold out your hand. And, voilà, a plastic ring he got from a gumball machine (had that been his proposal, my answer would have been yes).

I am sure you understand what I am trying to say by now, and he already knows how crazy I am about him. Wait! Did I mention that he is incredibly handsome? I will never get tired of looking at his handsome face.

If I am making him sound like a prince and our relationship sounds like a fairy tale, that is not too far off. I consider his proposal one for the books: Ever since you stumbled into my life, quite literally. I have never been able to picture being without you. Will you marry me, Clumsy?

Jungkook, I was serious about what I told you in our vows:

I always want more time with you, Jungkook. I want more time with the guy who takes me to get ice cream in the winter. I want more time sipping beer in bed with my drinking buddy. Although I desire our time together to be endless, we cannot live forever. But as long as I am alive, as long as I am a person on this planet, I will continue to follow you wherever the road takes us. So let us walk it together, alright?

Your dependability and loyalty are the qualities that show you are the most extraordinary husband, the most extraordinary man, and will be the most remarkable father one day. I know you will lead our future family into a lifetime of happiness because that is where you have been leading mine for seven years. I know you will continue to do so.

I will wrap this up because I can go on and on about how you are the most genuine, non-self-oriented gift I could have received. So, thank you for being you. I hope for the day that I get to tell our children about the kind of man their father is, the man Jeon Jungkook is, and about the love story I am honoured to be a part of.

(P.S. That day I mentioned will be coming in approximately nine months!)

With all my love, Clumsy xo

[innerfare]

Apologizing To You 

Summary: How do they apologize to you? (Similar to Fighting and Making Up but oh well.)

Characters: Luffy, Zoro, Sanji, Ace, Sabo, Law, Kid

Genre: Fluff

CW: None // SFW

——— 

Luffy: 

You thought it would be more difficult to get Luffy to apologize considering he’s not above bickering and arguing and can be so freaking stubborn. But the thing is, Luffy’s emotional intelligence is through the roof and he always senses when you’re really hurting. That being said, he thinks it’s important for you to say so, so he won’t just do it. If you ask, though, he won’t hesitate. He might even grin and ask you why you took so long. 

Zoro: 

For the most part, he’s not one to apologize. He’s incredibly stubborn and doesn’t let those words leave his lips easily, to the point you’ve had several arguments that were far bigger than they should have been. He’s a stubborn bastard, and he’s very proud. He’s also opposed to giving gifts as an apology as he thinks that cheapens it. When he does feel the need to apologize, he’ll do so verbally and quite simply (and privately, for his pride); he would really never do anything to you that would require anything beyond that. 

Sanji: 

You need only ask. Sanji would do anything for you, even swallow his pride. In fact, he’s so quick to apologize, he sometimes tries to speed run the process and might even get his feelings a little hurt if he’s ready to apologize but you’re not ready to accept it yet, but he’s mature enough not to let that turn into another fight. He’s also one to show up outside your window with a bouquet of flowers or another gift to sweeten the deal. He’ll apologize even if you were in the wrong just to jumpstart the making up process. 

Ace: 

Arguing is tough for him, but so is apologizing- not necessarily because he’s too proud to admit when he’s wrong, but because he’s too scared. He fears admitting that he was wrong will cause you to leave him, and this insecurity can be difficult to navigate. He usually ends up shutting you out rather than rushing over to you to apologize, but once you do approach him, usually offering something to eat as a peace offering, he’ll quickly accept fault and apologize for anything and everything. 

Sabo: 

Such a sweetheart but also competitive. You’re the only one (except his brothers, maybe) who knows just how attentive and caring Sabo can be, a far cry from the reckless young man who never seems to listen to a word anyone says, and you’re most likely to experience it after a fight. The two of you have a chosen spot- a pink peach tree on Momoiro Island- and it’s usually Sabo who finds himself waiting there (let’s face it, he’s more likely to say something insensitive than you are). He usually apologizes with a sheepish grin and a peach he plucked from the tree. 

Law: 

Attempting to wring an apology out of him is no good. He has to do it in his own time, and he will, usually no more than two or three days. He prefers to do it under the cover of darkness, without any eyes watching or ears listening except yours, climbing into bed beside you and muttering an apology into your ear, pressing warm kisses into your hand until you melt and are receptive enough to forgive him. Also not opposed to writing an apology on a scrap of paper and slipping it into the book you’ve been reading because he communicates much better that way.

Kid: 

Really not one for heartfelt apologies. Also not one to notice he did something wrong. Eventually he’ll notice you’re upset, but only because you haven’t been sitting in his workshop as much, and kicked him when he rolled on top of you in his sleep. But he’s at a complete loss as to why and ends up snapping at you over it. When you tell him what’s wrong, he’ll grunt out an apology and probably propose you work out your frustration on him in a way that’s enjoyable for you both. 

———

Hope you enjoyed it! If you want more, you can check out my masterlist here!

[koryxx]

gotta love the people in the notes doing the thing op is criticizing. “that’s just life, things change and you need to adapt” and “friendships have ebbs and flows, they aren’t static” and “people get swept up in romantic relationships but will come back when they realize their romantic partner cannot fill their every need” and “i love my best friend but i have a romantic partner and they do come before my best friend that’s just how it is.”

babes. we should not just accept this as normal and okay and healthy. analyze why it’s so absurd and confusing to you for someone to suggest maybe you should value your friends and maybe you don’t need to have a hierarchy of relationships. friendships are indeed not static, but “i have a romantic partner so now you don’t matter” isn’t the natural and normal ebbs and flows of friendship, it’s the amatonormative belief that friends are only important until romance comes into the picture—that friendship is a mere placeholder for the real thing.

(ever notice how common it is in media for someone to have an established “best friend” but then that title goes to their romantic partner to emphasize their elevated importance? this is a reflection of the belief that your romantic partner not only has to be the most important relationship, but should also encompass all kinds of relationships within it—your sexual/romantic partner and best friend wrapped in one—an approach to relationships that ultimately dooms both platonic and romantic relationships by “expecting too little” from the former and “expecting too much” from the latter. also, if “best friend” is less than “spouse,” why is it imperative that your spouse also be your best friend?)

the implication of folks being clingy or codependent or unrealistic for wanting their friends to not sideline their relationship of years for a romantic partner they met two seconds ago is the problem. we should be making time and space in our lives for all of our relationships, not just the romantic ones. because that’s what it is healthy and fair. and if you sideline your friends to make your romantic relationship the center of your world, only to realize that your romantic partner can’t possibly (and shouldn’t have to) fill all of your needs and you actually need friends in your life in a meaningful way, well, don’t expect them to have just been waiting around for you to realize their value.

and realize that this isn’t just a thing on a personal level. it’s not as simple as "oh your best friend prioritizes her husband over you? just make him your new best friend too! problem solved!" it’s bigger than that. romantic relationships, particularly marriages, are systematically privileged over other relationships: “amatonormativity intersects with other forms of oppression, especially gay and lesbian oppression and women’s oppression, to impose steep costs. amatonormativity is itself systematic in a way characteristic of oppression: legal penalties and discrimination interlock with social pressures and discrimination, stereotyping in the media, workplace discrimination, consumer pricing, and children’s education.” statistics show that married couples are less connected to their friends, family, and community than those who are single, and that not having a network of relationships outside of romance can lead to poorer health outcomes. this is more than your attempts to make people look ridiculous for being upset that their friend's spouse comes before them.

and more importantly, realize that romance being the most important kind of love is a modern concept. there are point in history and different cultures where platonic relationships were not so degraded—where they were treated with the love and passion and care and prioritization that has now come to be reserved for romantic love; where they were considered and treated as beloved family, not disposable side characters; where they would take on roles now only associated with family or spouses; where they were even referred to with language now considered exclusively romantic. so the argument of “of course romantic partners come first, that’s just how life is” doesn't hold up. that’s “how it is” because that’s how people make it. it is not naturally occurring; it doesn’t just play out like that.

we can change it if we so choose. if you don’t want your friends to have such importance in your life, just say that. don’t try to rewrite history or make people out to be dramatic or too much for wanting the people in their lives to value them. (and even if you don’t want that for your life, you should not only full heartedly support others doing so, but also advocate for changes that allow others to live the lives they want without unnecessary societal and legal barriers.)

if anyone is interested, minimizing marriage: morality, marriage, and the law by elizabeth brake (the book “amatonormativity” is coined in) and the other significant others: reimagining life with friendship at the center by rhaina cohen are good reads on this topic.

being on the aro spectrum would be a lot easier if being single wasn't made to feel like a literal death sentence

[felassan]

David Gaider on Cassandra (the last of these retrospective character threads), under a cut for length:

"This is the last of the (major) characters I wrote during my time on Dragon Age. I could go into others, and considered moving onto Stray Gods... but I feel like fewer would be interested, and I honestly can't keep up the pace. So let's make this the last, for now. So, yeah. Cassandra. We knew early on that Cassandra would come into DAI as a companion, along with Varric, that this was part of what DA2 set up for the sequel. Now, I'd written Cassandra's short scenes in DA2, yes, but I wasn't her writer for DAI. Initially, she was Jennifer Hepler's character. By mid-project, in fact, Cassandra was more or less fully written. Jennifer did a great job - solid character, solid quest. The sticking point, it turned out, was her romance. Now, to be fair, Jennifer told me straight up when we began that writing romance wasn't her forte, but she'd give it a go. The problem with the romance as she wrote it wasn't in its execution but more a clash between the character as Jennifer envisioned her and the requirements of her being a romance. See, I mentioned previously that a romance arc inherently limits the kinds of stories you can tell with a companion. Many responses I got can be summed up as "lol skill issue", but consider this: a companion romance isn't a fic you can just throw up on AO3. It's an investment of a lot of resources. If a companion has one, most of their resources need to be devoted to it - it's not "now let's ALSO add a romance"."

"That means it needs to take priority in who they are as a character and their arc. What's more, they need to be *appealing* to a big chunk of the player base - or at least someone we can imagine being broadly appealing, anyway. Thankfully, there are still many many stories this can accommodate. 😊 This, however, wasn't one of those. Was Cassandra a fascinating character? Absolutely. Her romance, though... Well, Jennifer DID warn me. She'd written Cassandra as a serious, self-righteous, pious woman who put the Inquisitor on a messianic pedestal. Romancing her meant changing her view of you. You did this by being... pushy. Jennifer didn't mean it to, I'm sure, but sometimes it came off as, at best, negging. At worst, a bit harassy. And Jennifer would have fixed it. This was a 1st draft, and the issues - while serious - were something a skilled writer like her could handle. No problem. Thing is, Jennifer left. You may not remember, but this was around the time a bunch of GamerGate dudes decided Jennifer was somehow responsible for ALL of BioWare's faults. Oh, the power she wielded! She, a writer, could even command the combat Bio made! The result was a LOT of ugly harassment. 😞 Is this why she left? You'd have to ask her, but it undoubtedly didn't help. The important thing is, she left - and there was nobody as senior nor as superhumanly fast as her to take over any unfinished work. This is where Patrick Weekes comes in: a solid, senior writer who could fill her shoes."

"It was great timing - not only did Cassandra need a writer, I'd slowly fallen more and more behind. It was clear by that point that I'd never be able to write Dorian AND Cole AND Solas as planned. They needed to pick up two. And I let them choose the ones who interested them, like all my writers. Patrick taking Solas was no surprise, and while I had Big Plans for Solas in the future I knew at least he'd be in good hands. I was reeeeaaaally hoping Patrick would then pick Cassandra... but they wanted Cole. My baby. Who I created in Asunder. I grumped, but Patrick clearly loved the character. They had ideas for Cole which... yeah yeah, sounded cool. Fiiine. 😅 Now I had to figure out what *I* was going to do with Cassandra. We couldn't move the romance to someone else, all the other female characters were well underway, and I didn't know the character well enough to fix her with tweaks. That meant a re-write. I didn't WANT to erase all that good work, but I needed to start from scratch. Yet how? A pious, self-righteous character was already a risk in terms of romantic appeal. There are only a small number of traits sorta considered universally unappealing but they're on that list. In this instance, Cassandra already being a known character helped. I came across a webcomic (by aimo, I think? AHH I wish I could find it now) that made a joke about Cassandra reading Varric's books. Off-hand, no basis for it, but funny. 😆 And I thought: YES. THAT'S IT. THAT'S WHAT I'M MISSING."

"I sat down and wrote the "fangirl" scene, just to test it out. Everyone loved it, and it served to change my image of who Cassandra was - a view of the inside, at the idealistic and awkward passion she felt, for so many things... AND the Maker. "Yes," I thought. "I could fall in love with this." Who knew Cassandra could be funny? Not anyone, coming out of DA2, yet here we were. It worked so well and her voice came so easily. Miranda Raison was game ofc, and amazing. Though Caroline did gripe that, if we ever met more Nevarrans THAT accent meant we'd have the Tali Problem all over again. 😅 Cassandra's romance is burned into my brain as the time when we THE most awkward conversation with the animators ever. See, that moment during the sex scene on the picnic blanket when she leans back and... there were suddenly these strategically-placed candles, juuuust covering the Sordid Bits. Thing is, they were so obviously placed just to do that. Plus, we'd already decided to do full nudity in DAI, hadn't we? WHY WERE THEY EVEN THERE? Turns out, the nudity thing was still pretty new to the team. They'd forgotten and put the candles there almost as a reflex. So prudish. So Canadian. 😂 I do find it kind of funny that, these days, what I mostly hear about Cassandra is from female fans upset at me because she wasn't a lesbian option. I mean, right? Who wouldn't want that? Technically not my decision, but I guess I WAS behind the companions having set preferences so... fair enough?"

"Some of them do take it to an entitled place, though, like Cassandra *should* have been a lesbian. Why? Because she looks like one, apparently, and that that's a bit of stereotyping which feels... odd? But it's not as if lesbian players are spoiled for choice left and right, so again: fair enough. It did lead to the best end credits VO perhaps ever, and overall I'm pretty happy with how Cassandra panned out. Things never end up like you expect, right? But such is game dev lyfe. ���🖖 Did you know Cassandra was THE most-romanced DAI character, by a good margin? Least, by a good margin? Dorian."

[source thread]

User: "Did you have any hand in her writing for Dawn of the Seeker?" David Gaider: "No, none. Nobody at BioWare had any hand in Dawn of the Seeker, outside of maybe Mike approving the script or direction? Only he could say for sure." [source]

User: "Was Miranda a specific casting choice by anyone on the team (similar to your picks for Merrill/Fenris/Solas), or was she simply a lucky find? I loved Miranda on the BBC series "Spooks", so I was very pleasantly surprised to learn she voiced one of my favourite DA characters" David Gaider: "I don’t remember how Miranda was cast. Auditioned, I expect, and she had a good “steely warrior voice” which is surprisingly uncommon among actresses. The accent she made up was all her, as well." [source]

User: "What's the Tali Problem?" David Gaider: "When Tali was the only Quarian, the actress doing a made-up accent was fine. Once there were others… do we get them all to mimic her? That’s a tall order!" [source]

User: "I'd say Solas is the most popular nowaday, but you need to be such a specific race/gender combo + most straight guys wouldn't go for him, i get hes not on top of the list, but I'd have expected Josephine over Cass." David Gaider: "You can’t go by how fans online talk about playing the game. There is almost zero correlation between the playstyles of the vocal hardcore and the masses." [source]

User: "I was a Dorianmancer. The cut content in Trespasser DLC was sad to read, it definitely felt short/abrupt for Dorianmancers. Anyway to share what was cut at all?" David Gaider: "I don’t know what was cut out of the conversation, as I never played it. I just heard about it after the fact." [source]

User: "Those end credits are truly incredible. Do you remember who wrote them? I'm guessing a combination of Mary Kirby & you?" David Gaider: "I wrote them, but I recall the entire team kind of took part in brainstorming the pieces of it." [source]

User: "I’m very curious- Do you know what direction you would have taken Cole and his story if you’d kept him?" David Gaider: "It's hypothetical at this point, but I suspect I would have been less willing to lose the serial killer aspect... or, at least, would have made that transition occur as part of his arc in DAI. Yet that's easy to say from this side of the divide. Who knows, really?" [source]

User: "With Cassandra you created one of the best characters in DA history." David Gaider: "Personally, my favorite response of hers is where she gets mocked for loving romance and she comes back with a retort about how it's a strength - how loving something and striving for the ideal takes courage. To me, that's central to her core." [source]

User: "inquiry: did you not write any of the Awakening characters?" David Gaider: "I wrote Anders, Justice, and Nathaniel in Awakening - but it was such a hurried project, my memories of it are pretty much a blur. "Yes, I worked on that" is almost all I can say about it, I'm afraid." [source]

[literaryvein-reblogs]

Writing Notes: Compelling Characters

Characters & Goals

“Every character should want something, even if it is only a glass of water.” –Kurt Vonnegut

Characters should almost always have clear goals, even if these goals are not immediately made obvious to the reader.

Without goals, characters lack motivation—that is, they have little reason to do anything interesting.

For this reason, many writers connect the main character's goals to the main conflict in the story. This generally means that the main obstacle to those goals plays a key role in the plot as well (for instance, in the form of a villain).

Often, the main character is most interesting and when confronting his own shortcomings in pursuit of his goals.

There are a few ways to construct this character-plot connection:

CHARACTER-FIRST APPROACH

Constructs a story’s plot for a character that already exists.

It asks a writer to build a character that they find interesting and then assemble the plot around them.

Example: A character who is struggling to overcome a phobia might, as a plot element, come into contact with the thing she fears. Success in this instance would mean that she doesn’t let the fear overcome her.

PLOT-FIRST APPROACH

Starts by defining the major conflicts the writer wants to include in a piece of fiction and then builds a character who will be motivated by those conflicts.

Example: A writer could decide to explore the effect of a catastrophic storm on a city before writing a main character. A character that would feel motivated by this conflict would be one with a connection to the city or to someone living in the city. Therefore, the son of someone who went missing in the storm would likely be a good focal character for this story.

Small Goals & Big Goals

Though it’s important for characters to have at least one big goal, it can be boring for the reader if a character is totally preoccupied with a single motivation.

Strong characters generally have two or more goals of varying sizes that they might confront separately or at the same time.

The reader excitedly anticipates your character's success or failure in achieving their goals.

Believability

Another factor that can contribute to a successful character is an element called “verisimilitude,” also called “believability.”

When writers talk about believability, they talk about whether the constituent parts of a character make sense and feel cohesive.

Example: We might expect a character who gets paid minimum wage to struggle to pay her bills, so if we see her driving an expensive car or spending several hundred dollars on a meal at a fancy restaurant, we would question these details.

There are, of course, stories in which these situations could exist, but the reader would need to know what allowed them to happen (inheritance from a late relative, perhaps, or an irresponsible approach to personal debt).

Suspension of Disbelief

Stories that take place outside of a realistic modern setting will generally require some extra work on the part of the writer to make them believable.

This is because of an idea called “suspension of disbelief.”

This refers to the tendency of readers to challenge details of a story that seem out-of-place, but not to question those details if they are presented with enough contextual justification.

Example: A story contains people who can fly with human-size wings. The reader would need to learn early on that this is a normal event that occurs in the story world. A reader who unexpectedly encounters flying humans three-fourths of the way into a short story could easily be baffled by this development, and might also consider it a cheap cop-out if it's used to resolve a plot conflict.

Adding Physical Detail

In addition to planning your characters thoughtfully, you must also sketch them coherently on the page.

Careful selection of physical and environmental details will make some of your character’s traits visible to your reader without you having to tell them outright what you mean. Examples:

A character who is disorganized might have wrinkled clothing or might consistently arrive late to appointments.

An introverted character might bring a book or notebook everywhere they go and might also stay out of crowded spaces (or feel uncomfortable in those spaces).

Symbolic Meanings

Be aware of the other meanings that a detail can bring into a piece.

A physical detail, especially one that appears multiple times within a work, might also develop symbolic meanings in addition to its literal meaning.

Writing Exercise

In a short vignette, and using only physical details (e.g., characters' clothing, appearance, or body language), make it clear to a reader that a character is experiencing one of the following conditions: worry, hunger, grief, joy, confusion, lack of sleep, anxiety, homesickness.

The word you chose should not appear in your vignette, nor should any synonyms.

Adding Personality

Broadly, “personality” refers to the collection of beliefs, thought patterns, and other mental qualities that dictate a character’s actions.

A personality trait could be the character’s bubbly disposition, their self-deprecating humor, or the fact that they’re always nervous.

When constructing a character, it’s important to think about how she would react in a number of situations.

Here are some questions to help you discover your character’s personality traits:

Is he fond of attention, or does he avoid it?

Is she curious to learn more about a topic/location/person, or does she keep to herself?

How big of a role does fear play in his day-to-day activities?

How does this character react if things don’t go the way she wants them to?

Does he think that he’s more intelligent/less intelligent than others around him?

Does she think she’s average? How would she define “average?”

How does he feel about making decisions?

Does she make decisions quickly or slowly?

Does he tend to regret decisions they’ve made?

It’s helpful to connect these traits to elements from the character’s life or past.

Example: A character who grew up with a controlling parent might have difficulty making decisions once they start living on their own.

Personality traits might also overlap with physical traits.

Example: Talking too loudly or too softly or interrupting others.

It’s also important to make sure that your characters aren’t good at everything they come across.

Doing so will reduce your story’s believability because—let’s face it—no one is good at everything.

To this end, you should allow your characters to fail at something, whether that something is huge or inconsequential.

Writing Exercise

In a short vignette, deliver some news to your character.

The news can be good or bad.

It can affect just the character, or the entire world population, or any number of people in between.

How does this character react?

Who do they tell, if anyone?

How do they interact with the space they’re in (e.g. punch a wall, hug a stranger)?

Try this exercise several times with the same character but different contexts (e.g., the character receiving the news alone versus receiving it in a public place) to see how they react under different circumstances.

CAUTION: Using Fictionalized Versions of Real People

It’s common for writers to borrow details from real life—the shape of a stranger’s chin, a classmate’s clicking of their pen during a quiet exam, or the restaurant server’s shrill laugh, to give just a few examples—but a writer should be wary of recreating an entire person on the page.

There are legal reasons not to do this, of course, but there is also the danger that a story filled with too many real-life people and events will be flat and boring.

Fiction should generally be a healthy mix of the ordinary and extraordinary.

If the mix is skewed too far in one direction, the reader can find the piece too unbelievable or too boring.

Source ⚜ More: Writing Notes & References ⚜ Writing Worksheet: Conflict Lists: 170 Character Quirks ⚜ +600 Personality Traits ⚜ 100 Sensory Words

[leoascendente]

PAC/ Intuitive messages IIII 🔮

Hi my loves and welcome to this new PAC! This time we have the fourth edition of intuitive messages. As always, take a moment to check what pile calls you the most, you could have messages in more than one too. Take only what resonates and leave the rest 🩷

* Don't make life decitions based on a general reading online, use your discernment. Minors dni 🔞

For private readings click here

My blog in spanish here

All pics are from pinterest, credits to their owners

Pile 1/pile 2/pile 3

Pile 1:

🫧 You need to focus on your career and long term goals, things are changing and you need to be ready

🫧 There's a blonde woman around your age you must be careful of, she could be in your same work enviroment or friend group

🫧 An unexpected amount of money is going to land in your lap as a work of magic, buy yourself something you enjoy as a sing of gratitude

🫧 You have a lot of sexual energy, keep it healthy and for singles, use it wisely to manifest your true love

🫧 There's a secret admirer that is planning to approach you with a nice surprise, be open to receive

🫧 Don't worry about those who don't wish you well, you are protected and they are being watched by karma

🫧 A commitment is about to happen, it could be in love or in career, so take it as resonates but I feel it's more related to love and romance

🫧 You'll be more in tune with your spiritual nature, you'll understand better the signs from your guides in your daily life

🫧 Some complications could appear, keep grounded and trust that you are being guided, you'll overcome every obstacle with grace and divine protection

🫧 Your guides will communicate through numbers 1222 or 1212 to tell you that everything is going in your favor, foxes and the scent of flowers will be signs too. Angelic beings are very present in your life, you'll see references to them very often, especially cherubims

Pile 2

🎀 Mercury retrograde will be an amazing time for you, it will bring you unexpected good luck. Check your Mercury's natal placement to know what areas will be impacted positively

🎀 I see a trip or vacations of some kind, maybe it's just having more free time to relax and invest in yourself. It could also mean that something special will happen during the holidays

🎀 Money will be entering your life, if you were scared of not being able to pay debts just know that you'll receive the money you need

🎀 You'll get invited to a night out with friends or a celebration, accept that offer because you'll have an amazing time

🎀 A massive change is about to happen in your life, I think you can sense it too. Rest as much as you can and do things that keep you grounded

🎀 Good things will be happening as a Dharma for something good you did in the past, it's a reward from Universe

🎀 You could loose an important object but it will be a sign that you have overcome a major challenge and the worst is left behind

🎀 You'll receive a major piece of advice from an older woman, for some I see a passed loved one communicating through dreams

🎀 Change your daily routines, there's something about it that no longer works for you and needs to be reorganized. Also, rest more often, your health needs it

🎀 Your guides are showing me grapes, it could be a sign to eat them more often or a sign of material abundance. Dolphins will be signs of upcoming luck and sharks a sign of divine protection. For some I'm hearing to develop your connection with the sea or the water element

Pile 3:

💖 Love is in the air for you my dear! Get ready because you are about to enter into the relationship of your dreams

💖 All your problems are going to get solved, don't stress that much. Your guides announce a triumph over troubles so there's no need to worry

💖 You are on the right path, stop doubting yourself honey, you really need to work on self sabotage or negative thinking

💖 You are about to get invited to a very romantic date, someone is really in love with you and wants to show it 🤭

💖 You'll be getting extra money, your guides are telling you to don't hold too tight to it and simply use it with gratitude. You could have some messages in pile 1 too

💖 There's an spiritual lesson you'll be learning that will feel like a hug to your soul, something you've experienced is going to make sense after receiving this info

💖 Someone with prominent Sagittarius placement will be a benevolent force in your life. I'm also hearing something about the house sagitarius is in your natal chart too, it could be an area of luck

💖 Don't resist change, simply embrace it and remember that it is happening for you to achieve your greatest outcome

💖 Do things your own way, don't force yourself to fit into a label you don't resonate with. Also, doing things different doesnt mean being making them wrong, you are on your own path

💖 Your guides really want you to focus on your confidence and inner power because you have more than you what to acknowledge. Lions and elephants are your animals, 777 your sign that your manifestations are becoming real and you'll see rainbows as a sign of joy and love

[hismercytomyjustice]

I would love to challenge anyone who says nonsense like this about romance/erotica to actually try pen some of their own and then let someone read it.

I will never forget this writing panel I went to once where this lady was talking about a friend of hers who thought she could just go get published by Harlequin Romance because it just had to be so easy. She got a rude awakening QUICK FAST and gave up after she learned about the super strict standards they have in place for their publication.

People seem to think because romance is “formulaic” that it can’t be “that hard” to write. They also seem to think that romance readers will “read anything,” which couldn’t be further from the truth. You think romance readers don’t know when you don’t give a damn about what you’re writing? Think again.

Romance is also one of the heaviest hitters (if not the heaviest hitter) in publishing. Even if you don’t enjoy it, a lot of the genres you do enjoy can probably thank romance authors, at least in part, for there being money to pay authors in other genres to begin with.

God, I get so sick of the “I’m an English major” argument too. So am I. And you know what I enjoy reading and writing most? ROMANCE. Do you know how many Shakespeare classes I took in school? ALL OF THEM. How many Classics I’ve read? TOO MANY.

Badmouthing romance doesn’t make you some kind of high brow intellectual. It just shows what a self-important snob you are. And, shock-shock, romance is overwhelmingly a women’s and LGBT+ genre. So maybe just admit you devalue women and their interests, in addition to likely having some kind of vendetta against LGBT+ rep too.

Lord knows how many LGBT+ (especially LGBT+ romance) books are getting outright banned these days. Because y’know, reading LGBT+ books is what turns the youths gay and trans. That’s what happened to me, after all! Oh, wait, I didn’t read any because LBGT+ rep wasn’t really a thing when I was a kid! And somehow I turned out nonbinary/pan regardless!

It’s almost like controlling access to books that promote healthier relationships and include positive LGBT+ rep is just a pitiful and pointless attempt to suppress both in others! Because that worked so well for the *checks notes* literal Nazis!

Wowee!!!

It's all fun and games and laughing at BookTok until you can't get on AO3 anymore, as someone who likes both romance and fanfic.

[just-a-ghost00]

Santa tell me ~

Today, we're asking Santa about this person's true feelings for you. Do they really care about you? Are they confused? Are they just not feeling it? Let Santa spill the tea for you. Of course, this reading is inspired by Ariana Grande's song, which you can happily listen to while reading your group's content.

Group 1

5 of swords, 4 of pentacles, 9 of cups, 8 of cups, The Tower, 2 of cups, back of the deck Strength

I get a very conflicting energy from this spread. One thing that came to my mind was that this person was not prepared for you to come into their life. And even though a part of them feels like you're a wish come true for them and they definitely feel the connection between you, a part of them can't help but to fear what it means and the implications of it. This person is torn between their heart and their mind. They feel strongly attached to you, in ways that they didn't anticipate. It's like they became attached too quickly and a part of them is like "woah hold on a second, this doesn't feel right". They kinda find it suspicious for some reason that they like you. A part of them doesn't want to admit they do. A part of them wishes they could move on from this connection and close the door, even though it felt magical and just so right. Despite their inner confusion, they feel very protective of you. And I feel like they're grateful that they met you. A part of them holds on to the hope that things could get better in the future but at the same time they doubt it. I also get the feeling that you came in this person's life at a time where they were feeling confused about their own life and kinda closed off. But you opened their eyes about a lot of things and gave them hope. This person was about to give up on a dream of theirs but you prevented them from doing so. This is a very specific message, I feel. You showed this person that life was worth fighting for and for that reason they will forever be grateful and hold you in high regards. You've completely changed this person's perspective and you definitely shocked them in more ways than you could imagine, which may be why they are a little scared of the connection. What they feel is potentially stronger than what they're used to. Maybe this person hadn't been in a relationship for a while and forgot what it was like to be loved. To be honest I feel like there's more to this than what we're shown here and I feel like pulling a couple more cards to get more information. You got the page of pentacles, 6 of wands, Magician and Queen of wands.

They feel happy that they met you because their life took a turn after meeting you. You contributed to this person's happiness and well being, as well as success to some extent. They feel like they owe you a lot. They're also curious and tempted to dive deeper into the connection. They definetely feel physically attracted to you. I feel like this person's feelings for you are quite recent. They developped over time. This person may have not considered you as a potential partner in the past. You may have fell for this person first but they fell harder, I'm getting. I get this feeling of "I did not realize how much importance you had for me until I lost you". For some of you, I'm getting that you cut ties with this person or made a move that really opened their eyes about how you felt about them but most importantly about how they felt towards you. They took you for granted. I feel like, more than how they feel towards you, we're being shown how they feel thanks to you. It's like this person is focused on their own self and not really on you at the moment. They like how you make them feel more than they like you. And I feel like part of this is because this person didn't like themselves much in the past. They are learning to love themselves more thanks to you. So to some degree they feel some kind of affection towards you because of that but I don't feel like this goes any deeper.

Oracle cards | Speak truth, The Outlaw, The Wildling, back of the deck Fate

This person may contact you in the near future to reveal to you certain information that seems to be meaningful to your connection. For some, they may be trying to understand why you cut ties with them or why you said the things you told them. I'm also getting a message of them wanting to travel to gain clarity. Maybe this person is going to tell you that they would like to take their distances as well. But with the Wildling and Fate card I got a feeling like this person had an epiphany about your connection and is wanting to fight for it. Maybe they understand that part of your fate is to separate ways for a time so that you can both better assess what you want out of this connection. Again I got that feeling of curiousity and protectiveness we spoke about earlier. They feel intrigued but also challenged. Being with you, I feel, asks of them a lot of courage and stepping out of their comfort zone which they are not comfortable with at the moment. With all those swords, it gives me that kind of "up in the air" feeling. Kinda like static electricity. There's a tension between you that has not been resolved. It gives me unfinished business vibes. Like maybe you didn't really get the chance to get this relationship going so you both feel puzzled and at a loss as to what this means for you. Really, a lot of confusion surrounding this person's energy.

Group 2

The Lovers rx, Chariot, King of pentacles, 4 of pentacles, Queen of cups, The Empress, back of the deck Judgement

As soon as I started to get the first cards, I heard very clearly "I made a choice. I don't mean to disrespect you but I love myself more.". The cards tell me that, as much as this person likes you, they decided to move on from the connection. This asked a lot of thinking but most importantly a lot of courage. It was not an easy decision to make. This person felt like their stability was being put at risk in your presence and they valued it too much to let it be threatened by something or someone else. This spread really gives me a "I chose myself over you" vibe. I also got the message that this person chose their career over you. I heard "now I see clearly". It's not that they didn't love you. The feelings were there. But they were not as strong as this person's love for themselves or commitment to their job. I feel like this person got really sad making this choice because they appreciate you a lot and you mattered a lot to them. And they don't want to hurt you. I really get a feeling of this person wanting to protect you at all costs but also being in a difficult position because they don't feel safe in this connection. They give me this message of "I need to protect myself and that includes taking my distances from you". This person wants me to tell you that they truly respect you and that they were genuine every time they interacted with you. They want me to assure you that it was never their intention to play with you or manipulate you. They want you to know that them not choosing you shouldn't make you doubt yourself and your beauty. I'm getting the message of "I don't want you to blame yourself for what happens". They don't want you to think that you're not loveable or worthy of a connection because they honestly think that you are beautiful and adorable. I don't know why but the imagery of the 4 of pentacles gave me the impression of someone saying "you'll always be dear to my heart".

Oracle cards | Strength, Movement, Paradox, back of the deck withdraw

It took a lot of time before this person came to the conclusion that they should move on from your connection. Part of this decision could have been influenced by their family or their ancestry. But it could also have been triggered by a significant change in their life. Specifically, I am picking up on someone's career evolving and needing more effort and attention. Like maybe they got a promotion or they were asked to move to a bigger company or to go abroad. And these circumstances were just not compatible with being in a relationship with you. And to this person it was hard because a part of them knows that you are connected and that your meeting happened for a reason. So they were thinking like "why did I meet this person only to have to turn my back on them?". It didn't make sense to them at first but now they know that they have to focus on themselves and retreat their energy, no matter how painful that may be. A part of them hopes that you can understand this decision and that you won't hold grudges against them. Also I feel like a part of them hopes that in the future their circumstances will change and allow them to come back to you, but that possibility is too unsure and they feel like they cannot bet on that.

Group 3

4 of cups, The Star, The Sun, 10 of swords, Hierophant, 3 of wands, back of the deck 5 of wands

This person is a bit guarded around you but the truth is they like you more than they let on. Part of the reason why they are guarded is because they're a bit emotionally unavailable, still affected by past experience. But this person is really intrigued by you. Usually, in the 4 of cups cards, the character depicted is not paying attention to the cup that's offered. But here, the character is curiously looking at it and completely ignoring the other 3 cups. So this tells me that even if other people may be interested in your person, they only have eyes for you. They feel like you complement them well. They're also physically attracted to you. They feel competitive around you, like they have to prove themselves at all costs. This person feels hopeful when it comes to you. Even though they're scared and still hurt, they envision a bright future with you and they are genuinely considering you as a potential partner. They want to get closer to you, get to know you on a personal level. Right now they may be keeping things very light and try to appear as disinterested but certain actions may betray them. This may be someone that you interact with on social media a lot. They think that you're attractive and a lot of people may be interested in you. Which adds to their competitive spirit. Also part of the reason why they're drawn to you is because of how different you are. You and this person may come from different cultures or social backgrounds. They feel connected to you to some extent and though they envision you as a potential partner they may actually be afraid of commitment. So this person may be a bit wishy washy at times. They're making a lot of plans in their head and trying to imagine how they can navigate their way to you. They're slowly tapping into their feelings for you and trying to understand them.

Oracle cards | The Explorer, Nature, Get Creative, back of the deck Patience

I get the message that you inspire this person a lot. Their feelings for you allows them to create various things. Especially if they are an artist or enjoy art as their hobby, you may be this person's muse. When they go on walks, this person thinks about you a lot. I get the message that they only truly allow themselves to think of you and daydream about you when they're alone. This is when they can fully explore the depths of the connection and try to figure out what it means to them. When this person is alone, they're having a lot of fantasies of you. This is when they feel the most connected to you, because they don't let their ego stand in the way in such moments. I feel like this person is truly being themselves only when no one's around. In public, they may try to act tough and pretend that they don't like you. This may be a defense mechanism. This may be very specific but I get the message that this person may have been bullied in the past because of what and who they loved. This is a trauma that this person has to heal. With the patience card, I get the feeling that it will take time for them to fully come to terms with how they feel towards you and where they want things to go exactly. Because I feel like for now, this person doesn't really dare to dream of a future with you, even if they strongly feel pulled towards you. This may be because of societal expectations or pressure being put on their shoulders by their loved ones.

[sinofwriting]

Insane Person - Max Verstappen (I ❤️ MILFS verse)

Words: 667 Summary: Max wants to be sure he can give Pan kids. (Part of the I ❤️ MILFS verse) Note(s): Takes place during the original I ❤️ MILFS fic, before Max finds out Pan’s age. Max is insane btw, this has been a blurb idea since I wrote the original fic and finally it has been written so enjoy, lol.

Masterlist | Support Me! | I ❤️ MILFS verse

“I’d love to give Logan a sibling or two.”

The words so soft had made his heart speed up as soon as he heard them and now thinking about them, letting them play on repeat.

It’s early in their relationship, though they haven’t yet talked about it yet, no matter how much Max is dying to do so. But Max wants to be the one that she gives Logan siblings with.

Which is why he’s sitting in front of his computer and looking at medical studies.

A lot of it is going over his head. The most schooling he sat through was the first four or five years of it. He can grasp engineering, anything to do with cars and their data, but medical terminology goes over his head.

He powers through, he doesn’t know Pan’s exact age, his mother would smack him over the head if he even thought to ask her age, but she’s got to to be mid to late thirties if not early forties considering Logan is twenty.

The studies say she’d be fine getting pregnant, shouldn’t have trouble conceiving, and his cheeks burn at the word, at the image it puts in his mind. They haven’t quite got their, but they’ve gotten close. They throw out the term geriatric pregnancy which makes him flinch because forty wasn’t old, at least not if you weren’t a driver and to see it be called something like that felt harsh, rude. Another one calls it advanced maternal age which really isn’t any better, but it’s just relieving to see that’s still possible. And then a study mentions that if people are having trouble conceiving that not only does the person birthing need to get checked, but both do and a new panic takes over his brain.

What if when it came time to try, he was the problem? It would really be his luck. Things had been going very well for the past few years, it would be his luck that he couldn’t give the woman he loves more kids.

And Logan wanted siblings, the panic grows as he remembers Logan chiming in that he’d love some siblings. Oh god, what if he failed in giving Logan siblings? He wanted the younger driver to like him, to really like him.

His fingers act quickly, wanting to know how he can know if he can have kids and the results make him blink because it couldn’t be that easy.

He just had to provide a sample in a cup?

Max’s brain struggles to compute that after just reading everything that women have to go through to get their fertility checked.

His hand goes to his phone, he rarely if ever called his doctor, but this was important.

He goes through the motions of confirming he is who he is, wondering how weird it must be for other people to do this for him before he finally gets asked why for the purpose of the appointment.

“I want to check to see if I can have kids.”

“Okay, are you and your partner having trouble conceiving?”

His cheeks burn, “We aren’t trying yet. I just want to make sure that it’s possible on my end.”

“Okay, it’s a simple procedure at our clinic and we could see you in the next three days if that works for you at any time we are open.”

“That’s perfect.”

“Alright, we’ll see you in a few days, Mr. Verstappen.”

He gets the results back five days after his appointment, an email sitting in his inbox, and he forces himself to take a deep breath before finally opening it.

There are words he doesn’t know, ones he doesn’t really want to think about, but there at the end, a note from his doctor that says everything looks great, and he shouldn’t have troubles getting someone pregnant and his fist goes in the air, a quiet but excited yes leaving him.

He could give Logan siblings and Pan more kids, thank fuck.

[erinwantstowrite]

bear with me here because i'm gonna ramble about something i've been thinking about for a while... and i'm not complaining, i'm just noticing

sometimes i think we've leaned so far into the vigilante side of the batfam that we miss out on what really makes their characters: detective work. we need more mysteries in their lives that don't lead up to some big bad "we already know who's doing it" or an "end of the world" or "yet again: this fucking guy." we need more stuff where spy movie music plays in the background and dumb adventures that don't lead up to some huge grand event with a big name villain. the shock factor stops being shocking or interesting in any capacity if we're like "Gah! the Joker! ... Again!" or whatever

does that even make sense? like "yeah sure they're blowing up a building again and there's hostages. oh look they're gonna poison the water supply." these aren't bad and that's not what i'm getting at because obviously this is a classic for comics. you need to have characters/antagonists that show up more than once and who can make a story better by being in it. and i did say to bear with me- that's because im tired. so like i hope im getting this across the right way? it's just that sometimes i don't wanna see a huge explosion, i want these motherfuckers solving a regular murder or a disappearance or regular corruption in a local office without it being tied to a grand reveal like "actually this person knows you as a long lost relative" or "they were at that circus can you guess which night they went?" that kind of thing? if you get me? like... more of the small time stuff makes the big stuff important, it makes it stand out more. at some point, the format gets repetitive even if you're switching up the villains. you can make these situations/mysteries still fun to solve for the characters and fun to read for the audience if you do it right

the concept of a detective dressed as a bat and having a sidekick in traffic light colors is inherently goofy as hell??? but that is what is so charming about it??? i think we have lost the balance between them being silly while also being intelligent with important conversations that criticize the world as we see it and teach lessons and can go over dark topics. nowadays it's always end of the world problems or just straight up the most gruesome true crime you can think of?? or they can ONLY do the dark stuff and the criticism without offering a balance of the good in the world. or we keep coming back to the FUCKING JOKER-

like yes they are vigilantes and with that comes a different level of their work, but their brand should be a mix between a black and white detective film that can get very nitty gritty and a classic spy movie, that kind of thing. at the end of the day, it's what makes them so different from the superheroes. that's what appeals to me.

seeing them in the big superhero groups is fun, don't get me wrong. it's always funny to see them standing next to people who are so powerful they never really fit in with anyone but each other, who chose to step up and use their powers for good. the Bats' specialty is Gotham and yet here they are stopping a god or whatever. and they do stop the god or whatever, all the while being an important leader and strategist to their teammates. they're important to have in these cases. but if there's a world ending event every time i pick something up, it's not as fun

the fact that they are so very human and not fantastical is why i like reading them. it's what makes the joke of people, even Gotham citizens, theorizing about them being cryptids, funny. they're fucking weird but that's because they're detectives. people who love to solve mysteries usually have a fatal flaw of curiosity. they forget the bounds between social interactions sometimes because they're used to working through problems or being intertwined with partners that understand them. but they're very much human. so human that it hurts them in many ways. and idk i've just been thinking about it lately and idk what point i'm trying to get across actually

it's just that in my eyes that's how it really is for Batman- a black and white movie narrated by a very serious man who took up a job to help people, one that has a deeper commentary on the world and viewed outwardly as pessimistic but actually has a deep hope for his city and who tries to help even the people who have wronged others. He's a stationary man in the belief that him being a constant can serve to soothe others and help them move forward. He stays in the middle of the path so he can tell everyone what is up ahead. he blends into the Gotham rainy night to serve justice but in a way that saves both the victim and the perpetrator. (the way he tucks a Robin into his cape is the same he does for Gotham with his mere presence.) and his background is actually so important to his story and yet people still somehow gloss over the lesson from it? he lost his parents because of a man who was on the opposite end of the spectrum to where he was in life. and yet he chose to help the people like the man that killed his parents. he could have done anything else with his power and money, but he instead is choosing to bring as many people up with him as he can. He's Mr. Serious that no one else can get a read on. and yet he walks into a room and he's already piecing together your life and what you're going through because he thinks it matters. he comforts people who have lost something or someone or themselves. I picture Batman and I don't picture a man trying to save the world, I picture a detective walking around a crime scene and trying to save at least one person every time he puts on the cape. and he put on the cape and became a vigilante because then he could go out of the bounds of what laws have been set up- and specifically, Gotham has other people in power who are corrupt, keeping the system that way. that's why Batman being a billionare and throwing himself into helping people at the risk of his own life is so important. he knows that if you are alive, you have something or someone to lose, no matter who you are. the dude is a bleeding heart but he doesn't know how to express it, in fear that if he gets too close, if he moves down the path with them, he'll be lost again

and then he's met with someone who should be a complete opposite, but isn't at all, because they're two sides of the same coin. his partner in crime, his son, a boy that is nothing like the black and white world that he sees. and that's the point in his life where he first sees that potentially getting lost is worth the risk. Robin is color and passion that needs guidance to move forward, but can not do so unless the stationary man learns to move with him. the kid is loud and reckless and you'd think he's from a different genre from the detective but they aren't so different, really. not when you look close enough. Dick grew up moving from place to place and seeing the world, knowing so many different people from different cultures. He's been learning to fly and jump and embrace the free fall his entire life. He's clever and he's sharp, and he thrives in the action and adventure. it's that perspective that compliments the stationary man. one is steady and the other pushes. he's the same genre but a different generation. and Batman introducing him to the way of life he chose for himself was another way he could save someone. because let's be real for a second? Dick would have gone down a very dark path had he not had Bruce, who understood, who saw not just himself in the kid but also saw who the kid has been his entire life until now. he saw Dick's parents, he saw the family he had in the circus, he saw the joy he had in what his family was doing. he saw the grief and the fire and the color that Dick's world was made of. because to Bruce, it always matters. Dick had to come to terms with Bruce's perspective to help anyone who they come across, to always give more chances, and it kept Dick from losing his color

what gets me is that the man who lives in the black and white world can actually see many different shades of gray (because black and white always needs the medium), whereas the boy in a world of color and light can get so focused on the bright that he can become single minded. and yet the boy sees a world of color and delves deeper into the lives of the peolle they come across and can be much more open minded, and the man in the black and white world sometimes forgets the shades of grey are right there. they are just like each other. they can exist without the other, but do they want to? because the black and white can be built up into the colored image, like the inking and shadows drawn on a comic book page before the colors are added in. they meet in the middle to complete each other. Bruce has been passing the story over to the next generation for a long, long time, even before his story was complete. and just like with the first Robin, it was so for every Robin afterwards. they each color in the lines differently, but that's what makes Robin so special, so unique. they are an art style that branches into their own life, but can not forget where they started: tucked into Batman's cape and the inky black of his world

and so detective work really frames their hunanity to me. the mysteries they get their hands on, the glimpses into the lives of Gotham citizens that they swore to protect, it's fascinating. it's what makes their story stand out compared to the people who can lift trucks or cast spells or run around the world in seconds. so yeah ig that's what i'm trying to say? that i want to read more of that? in both canon and fanon. cause even the small time villains we see can be like. AWFUL people and it takes out the fun of their gimmicks. and if it were any other day this would be a more coherent post but alas, it is not any other day

[tobiasdrake]

When I realized I was going to be homeless, I used part of my paycheck to buy a laptop computer and a Nintendo 3DS. For the year or so that I was living in my car, I would charge them at work, on the couple days a week I could afford a hotel, and at fast food places that would let me chill for a couple hours as long as I was eating something.

These may not sound like important survival tools but they gave me something to do with my free time other than... y'know, languish in isolation in the tiny confines of a car. They were critical for maintaining my mental health and allowing me to enjoy some semblance of my life.

Idleness can be one of the most dangerous parts of being homeless.

But, separate from that, here's the thing about economic stimulus: The goal is to stimulate the economy. It doesn't actually matter what you're spending your stimulus checks on as long as you're spending them.

From the perspective of the economy, money spent is never money wasted. Money is only wasted when it's stagnant. When it's put into someone's savings account to rot away forever. If it's spent, it's flowing through the economy. That is its sole purpose, and that is what drives the economy: The changing of hands that money undergoes.

The health of the economy does not resemble your personal finances. What's good for the one is not necessarily good for the other.

It doesn't matter if you spent your stimulus on a gold-plated figurine of your genitals. As long as you spent it, the economy was stimulated.

[derinwrites]

Do you have any advice for writing in a web serial format?

Let’s look at this in two sections – the business part, and the actual writing part.

The Business Part

1. Consistency. Consistency in updates. Have a schedule and STICK TO IT.

If your schedule is too hectic and starts affecting your health or otherwise adversely affecting your life, change the schedule; update less often. Don’t update in spurts and then randomly stop. The audience will far more easily tolerate a slow schedule than an inconsistent one; an inconsistent one will lose many readers. You’re not Andrew Hussie and you can’t get away with that bullshit.

There may be times where you need to take a hiatus due to some emergency, life event, or health condition. This is fine – your wellbeing is more important than your story. But you need to be up-front with your audience about this; tell them you’re taking a hiatus and tell them exactly how long it’s going to be. If you can, you should tell them in advance (this isn’t possible for things like a car accident, but is very possible if you’re planning to, say, move house in a month). If you’re taking too many hiatuses, then it’s better to slow down your schedule and update less often. Audiences prefer fast and consistent, but if they have to choose, slow is better than inconsistent.

The #1 helper to consistency is having a big buffer – that is, have several weeks’ worth of unpublished chapters. The length of your buffer is personal taste, but I like to keep mine as long as possible so that if there’s some problem that stops me from writing for several weeks, it won’t upset the schedule. It keeps my stress down to know that I have that leeway. Other writers prefer to only write a week or two ahead, though, so different things work for different people.

2. Decide on your monetisation system early and prioritise it.

The most popular and most effective method for monetising a web serial seems to be the patronage method, which is the one I use. You set up a patreon, ko-fi, or whatever sponsorship system you prefer, and offer rewards to those who support you. Having their names in a credit list and getting access to advance chapters are very common rewards. Some people also lock access to their discord behind a paywall, or offer extra stories or let supporters name story characters.

This model is not the only way to make money from web serials. Some people make money via advertising, or selling merchandise, or use the web serial itself to advertise stories that they sell. You can of course use several revenue streams – you can have both a patreon/ko-fi and run ads on your website (I don’t because I hate ads, but you can), or start selling merch related to your story once there’s a demand for it. Many web serial authors (including myself) sell their completed works as books. But the important thing here is that one of these systems will be your main system, and you need to know what it is and behave accordingly. If you run ads AND have a patreon, are you more focused on ad revenue or patreon revenue? You’re going to have to put your time and attention into one of them over the other. You’re going to have to make decisions that will help one and harm the other. So know in advance which one is most important to you.

You don’t have to monetise your story at all, of course. Plenty of people write fiction on the internet for free every day with no thought to making an income at all. But if you’re serious about this, I would recommend monetising it, because that makes a better and more consistent product. The reason I’m still able to keep writing these year after year is that my supporters pay my mortgage; without Patreon and ko-fi, I’d have to get a different job, and wouldn’t have time or energy to write consistently. Also, the reason I can write and update even when I don’t feel like it, and the reason I always push to make my stories as good as possible even when I’m not interested, is because I owe it to my supporters who are paying me real actual money to read my work. If I didn’t owe my readers anything, none of these stories would ever get finished, because writing is only fun about half of the time.

3. Don’t expect to be able to turn this into a career.

This advice sounds silly coming from me, who has through sheer luck, as well as the generosity and passion of my readers, somehow turned this into a career. But I need to emphasise that that luck is not typical. Most web serial writers will not be able to support themselves solely with their writing. It can make a good side hustle, but if your primary goal is “low barrier to entry work-from-home career where I don’t have to answer to a boss and can support myself comfortably,” then web serial writing is usually all of those things except the last one. There’s no harm in trying to turn this into a career – I did it, as have many other web serial authors – but don’t expect that result, is all I’m saying.

Still, if you can do it, it does have a lot of advantages.

4. Don’t expect to make money fast.

I remember when I finally started making an entire $100/month on Patreon. It was a fantastic day.

It was when I’d been writing web serials for four years.

5. Your most valuable resource is your readership.

Your readership will grow and gather momentum over time. The best business decisions you can make are those that grow your readership and allow your readers to participate in community, even if you have to give up opportunities to make money to do it.

A good example of this is discord. Some people have private discords that only their patrons can access; while this is a useful anti-spam and anti-harassment tool, I don’t recommend doing this if you don’t have a major spam or harassment problem. Some people will pay for discord access, yes, so you might get a handful of extra dollars per month that way – however, you will also get a far less active discord. When it comes to readers, population density is critically important; the more activity, the more people talking about your work together (or talking about anything and bonding with each other), the better. Plenty of people have joined my free discord just because it was there and only read my stories after seeing people talk about them there. Then they go and get their friends to read the stories. Enthusiastic readers are inherently valuable, and the best thing you can do is give them the resources they need to talk to each other and share their interest.

This principle applies to a lot of things. I have a lot of free stories on my website that aren’t the usual web serials, and more than once I’ve considered whether they should be paywalled. The answer I always land on is ‘no’; I couldn’t tell you how many readers have been roped into my web serials because they liked Copy <|> Paste, or The Void Princess, or Drops of Blood. These readers may or may not then become monetary supporters, but even the ones who don’t will increase activity and discussion about the stories, have fun and tell jokes in the discord, and may even produce fanart. A thriving community is always going to be more valuable to you than a few extra dollars; make sure to support them accordingly.

Your readership will start very small. In terms of marketing, this is your hardest time. A big readership does the majority of the marketing for you, but when you’re on your own, it takes a lot to convince anyone to give your stories a shot. It helps if you have an existing readership to leverage, which is what I did – I’d been writing Animorphs fanfiction on AO3 for years, and many of my first readers followed me over from there. If you have such a community that already has faith in your writing, leverage it. If you don’t, you can gain one my writing in a place where people go to read stories similar to your work, such as an appropriate subreddit, or a web serial site like Royal Road or Scribblehub. You are looking to gain as high a number of enthusiastic, engaged readers as possible.

And now, the fun part – the actual craft!

The Writing Part

1. Always remember that you are writing for two audiences

A web serial author has to keep two audiences in mind; the serial readers, and the bingers. You are writing a story that needs to be fun and engaging when read very slowly, at the pace of whatever your update schedule is, but that also needs to be interesting when read all at once.

This is not an easy task.

It’s something I fucked up pretty significantly with Curse Words, which was my first attempt at this. Curse Words has a lot of complicated political stuff happening throughout pretty much the whole story, as well as a complex save-the-world plot that’s reliant on a lot of secrets, mysteries and extremely speculative information. With so many wheels spinning, I decided to make the protagonist not particularly smart and move him very slowly through the plot to make sure that the reader would be able to keep up.

This was a mistake.

‘Pretty slow and simple’ at a novel reader’s pace is torturous at a web serial pace. Readers got a full week to discuss the mysteries and implications of each chapter with each other, doing the detective work of ten chapters between each one. The frustration with Kayden’s slow pace was clear, and he came across as an outright idiot rather than an average teen. Personally, I think this lesson was one of the biggest reasons for the difference in quality between Curse Words and Time to Orbit. Don’t slow down for your audience; they’re already slowed down by your update schedule.

At the same time, though, you don’t want to move so fast that you lose the bingers. You can’t assume that your readers will have time between chapters, or that they will discuss each chapter with other readers, or that they will go back over previous chapters looking for clues. Interested people reading update by update will do this, but bingers absolutely will not. So you still need to make sure that everything is comprehensible on a binge read with no backchecking or outside investigation.

My advice on this matter is to move as fast as possible, but take care to make sure that readers are reminded of everything important a few chapters before it comes into play. That way, both audiences can keep up. If you have to make a decision, it’s best to favour your update readers; they’re your most active community. They’re doing the up-to-date discussion, and probably doing the most word-of-mouth and fanart, although binge readers will do that too (I have plenty of dedicated readers who wait five or six weeks to binge a bunch of chapters on purpose, just because that’s their preferred reading style, and they’re still very engaged). But if you plan to publish your story later as a complete work, you also need to keep in mind how it’s going to read as a binge – and also, new readers will binge the earlier chapters of your story to catch up to the current one, so make sure it’s a good experience for them or they won’t get a chance to become update readers.

Two audiences. Mind your pacing and information reveals accordingly.

2. Chapter length

The general rule of web serials is that the more often you update, the shorter your chapters should be. The generally agreed ‘sweet spot’ is 1-1.5k words, 3 times a week, but this depends heavily on individual style. I update once or twice a week (depending on what stories I’ve got going) and try to keep my chapters between 2 and 2.5k words. If you update once a month, your sweet spot is probably about 10k words.

Don’t hold religiously to what other people tell you the ideal word count is – this will vary drastically with genre and personal style – but it’s best to try to stay fairly consistent. It’s not always possible to stay exactly on target because the best break points between chapters will vary (I’ve got 1.8k chapters and 3.5k chapters), but readers like to be able to predict about how long an update will be and they like it to not vary too wildly too often. As with choosing your update schedule, choosing your chapter length will depend on what suits your personal schedule, and what suits the story you’re writing.

“The shorter the chapter, the more frequent the updates” is a good rule for attracting the widest audience. Short, infrequent chapters will have a lot of readers losing interest between updates; long, frequent ones will have a lot of readers feeling overwhelmed. But the most important thing is finding something that you can consistently output year after year (remember, it took me 4 years to make $100/month; this is a long game).

3. It’s a TV show, not a movie

This advice is less useful in our age of Marvel movie franchises and made-to-binge Netflix series, so pretend I’m talking to you in the year 2010 or earlier. If a novel is a movie, a web serial is a TV show. What I mean by that is that a novel is shaped primarily as a complete experience, whereas a web serial is shaped as a chapter-by-chapter experience.

It’s best, in both cases, to have a well structures and paced story that is made of well structured and paced chapters. But sometimes you have to choose between the structure or a chapter and the structure of the story as a whole; making one better will cheapen the other. When you’re writing a novel, you should choose the structure of the whole, but when you’re writing a web serial, you should choose the structure of the chapter. Web serial readers will prefer a chained series of excellent chapters, over a beautiful story of chapters with mediocre individual structure.

In fact, whether you want a structure to the overall story at all is personal taste. My stories have strong overall structure and move towards a planned conclusion because that’s how I prefer to write (and it also makes the story bingeable, since it’s basically a novel being released really slowly), but plenty of web serials out there have no real planned ending and will wander about for years and years in no obviously consistent direction, occasionally throwing in a big twist or major change to freshen things up. These would make absolutely horrible novels, but make very popular web serials. Whether you write like me or like them, the rule is the same – the experience of each individual chapter takes priority.

Come to think of it, this might be why people call my stories “ADHD crack”…

4. Okay, so how do I structure a good chapter?

I generally try to do three things in every chapter.

- Hit the ground running

- Give them something new

- End on an open question

Hit the ground running – Unless it’s the very first chapter of the story, you don’t have to be coy getting into the action. Open the chapter as if it’s the middle of the chapter; start at full momentum. Catch the high point of the last chapter before it falls. It your last chapter ended with “We checked the fingerprints on the candlestick. It’s Colonel Mustard.” then you can start this one with “But he was in the library at the time!”, you don’t need to recap or slow down or anything.

Give them something new – Every chapter should give the reader at least one thing to talk and think about. A new choice, some new information, a shift in perspective, whatever. People are reading these updates one at a time so it is vital that they feel like they got something out of the experience. A chapter in which nothing is learned will make readers feel like their time was wasted, and they have all the time until next update to reflect on that.

This is also true of a novel, but it’s much more critical in a web serial. A novel with nothing chapters in it is just frustratingly slow-paced; a web serial with nothing chapters in it leaves the reader feeling cheated for long stretches of time.

The thing to talk about doesn’t necessarily have to be a big plot reveal or major advancement. An incredibly cute scene, or sad scene, or funny scene will work just as well. But you have to give them SOMETHING. If you’re giving them nothing, consider cutting the chapter entirely and integrating any important foreshadowing or whatever into the next chapter.

One major hurdle of mine with this rule is recap chapters. If you’re writing a very complex plot over a long period of time, you need ways to occasionally take stock and make sure everyone is on the same page and nobody’s forgotten or misinterpreted anything important. This information can be recapped or conveyed in the middle of an action sequence or something, but I personally find that putting other stuff in the scene makes it too distracting and therefore less effective. I like to literally just sit the heroes down in a room and have them go, “okay, we’re spinning a lot of threads at once right now; what do we know, what are we trying to figure out, and what are our next steps?” This is the literary equivalent of the save point or room full of health packs right before a boss battle. Game designers don’t put that room there to be nice; they do it so that they know exactly how much health you’re going to have going into the battle, and can structure it accordingly.

You can make these chapters entertaining with character banter, but you can’t really introduce new threads to talk about, except possibly as a twist right at the end. Introducing new information mid-recap distracts from the recap and makes it pointless. You might have something similar in your stories, chapters that are essential but don’t give the reader anything new to work with.

My advice for these is to just bite the bullet on this one. Release the chapter with nothing new to talk about. You can get away with doing this occasionally, if the chapter has a clear purpose (I get a lot of readers tell me that they appreciate my recap chapters). Readers who get nothing out of the chapter will shrug and talk about older stuff instead, so long as you only do this occasionally. But a chapter with no new information has a cost in opportunity and in reader patience, so only pay it if the chapter’s worth it.

End on an open question– End the chapter with a reason for the reader to come back. You want them to think about the story afterward and be eager to read the next chapter when it comes out. Adhering to this principle is probably why I have such a reputation for cliffhangers, although truth be told I don’t use nearly as many actual cliffhangers as people say, I just try to end by opening a question. By that I mean, the audience should always end a chapter asking a question, which can be something that will span dozens of chapters (“How can Colonel Mustard’s fignerprints be on the candlestick? Is he being framed? Does this mean that the candlestick was in the library and isn’t even the murder weapon?”) or span a single paragraph (“How will the narrator react to learning that Colonel Mustard lied about never touchign the candlestick?”) This could be the emotional height of a scene, or the point at which new information recontextualises everything. It could be the moment where the stakes are raised or an important assumption turns out to be false. Anything that makes the audience eager to learn what happens next will do.

There should always be at least one open question in your story, more if it’s thematically appropriate. You know how mmorpgs and crafting games and suchlike keep you playing for hours and hours by making sure you’re always near the end of an activity – keep playing til you reach the next level, oh but now we’re nearly at the end of this quest so we should complete that, oh but now we’re just 20 gold short of being able to buy that cool new armour so we should just… same trick. Readers should always have at least one ‘quest’, an open question that they’re following, and should always be close to an answer.

You don’t have to dramatically introduce an entirely new question each time; you can end a chapter by reminding the reader of an existing open question. I tend to be a fan of the Big Dramatic Reveal On The Last Line method (cliffhanger reputation), but you don’t have to do it that way. Indeed, it’s a good idea not to do it that way every single time, lest you get stuck in a rut; every chapter ending doesn’t have to be incredibly tense and snappy. Somebody mentioning that they wish they knew how they could get enough food to make it through the winter before a full paragraph of cuddling and falling asleep in their mother’s arms works just as well.

5. It will help if your story is good, but it isn’t required.

You don’t have to be very good at writing to do this.

It helps to be good at writing, of course, and I assume that since you’re asking me for tips, you’re the sort of person who wants to be as good at writing as you can. But there is some true hack garbage out there doing absolute numbers in the web serial circuit. I try not to harp on about this too much because Curse Words fans get really upset at me when I do, but I think most of us can agree that Curse Words kind of sucks. And that just sucks in an ‘author is still learning how to do this’ kind of way; there’s much worse writing, real bullshit Ready Player One-level writing, trucking along out there brilliantly.

The point I’m trying to make here is that this isn’t an industry where there’s any value in hesitating and wringing your hands and asking yourself if you’re a good enough writer to do it yet. You are. You can just start writing a web serial right now and so long as you consistently update, you’re probably already above average for the market. And your first one probably will suck (mine did), but it’ll teach you how to make a better one. I think that Time to Orbit: Unknown is passably okay, and it absolutely would not be passably okay if I hadn’t written Curse Words first. Just go for it. Try to write a quality story if you can, but if you can’t, it’s honestly not that big of a deal. What matters, truly matters, is that you are committed to improving your craft. And that means actually practicing your craft. Which means writing some chapters and setting up a release schedule.

Good luck.

[gay-dorito-dust]

Hi! :) mayhaps can i request your HC's for viktor x an artist reader. 👉👈 ur angst drabbles have been sustaining my life since season 2

There’s a saying that if an artist loves you or falls in love with you, you can never die.

A saying that Viktor didn’t give much thought until it was very clear that he was your forever muse, your reason to keeping your passion alive through experimenting art styles to maximise the effect you wanted your art to have; almost in the exact same way a scientist would conduct experiments in order to understand how something works and how to properly utilise it.

However each and every one of your art works came out looking like masterpieces that should and probably would be studied by future artists themselves one day, given how beautiful they were.

But also because they all included a man with amber eyes and soft chocolate hair hard at work with his own projects as blue sparks are captured liked shooting stars flying past his beautiful face. He truly was a once in a lifetime experience that you wanted to eternally capture within the pages of your sketchbook.

It literally didn’t matter what he did, whether it was tinkering, experimenting with the hexcore or just simply existing, you wanted to capture as much of Viktor as you possibly can whenever you can.

Viktor, in your eyes, was the kind of man people would kill to create sculptures of and artworks that would be seen in grand museums, within a beautifully intricate frame that only added emphasise to his importance to the artist in question. The artist being you of course.

So needless to say whenever you were with Viktor you made sure to have your sketchbook and pencils in hand as you knew that you’d end up wanting to sketch him for the millionth time that day.

However your favourite sketch of him came when you made him smile, genuinely smile.

The image of his bright and handsome smile was all you could see for hours on end as you found yourself absentmindedly sketching his face, his smile, the wrinkles near his eyes and his wind ruffled hair to perfection.

You then found yourself staring at it as though reliving the moment where you heard his laugh reach your ears like a harmonious melody, swept upon the wind that ruffled his hair and into your ears and your ears only.

To be loved by an artist was to be seen and you saw Viktor in a way that nobody else could, not even himself, and it showed in your work as you made him look like an angel disguised as a human given how frequently you used the colour gold whenever you drew him. From his eyes, to his clothes, everything with Viktor had hints of gold to it.

So much so that you had to get more colouring pencils of the exact same shade of gold so frequently that the manger of the art shop knew your name and the muse of your latest works at this point.

‘Drawing Viktor again I see?’ They’d teasingly ask as you’d shrug your shoulders.

‘Guilty as charged.’ You would reply before taking your things and leaving.

Viktor didn’t pry into your sketchbook, it was your belonging and he didn’t feel it was necessary for him to pry into it, but his curiosity didn’t help him one day as he found himself drawn to the sketchbook that you seemed to had left in his lab.

The first few pages were merely parts of the academy that you frequently visited, from the gardens, to the library, to even the lab he was stood in. Each one was increasingly more impressive than the last with how lifelike you made each one as though he could fall into the scene you had created; a true testament to your talent, creativity and insane attention to detail.

However the further the sketchbook went, he could easily see a decline in inspiration in your art. only for it to pick back up again when you had started drawing him doing the most mundane of things -at least in his mind he thought so- as simple sketches to portraits solely done by oil pastels or only colouring pencils. All just to emphasise his features and the concentrated furrows of his brows, a large variation of colours you’ve used so effortlessly to make up his face in a way that he could never imagine.

And yet Viktor found that there was more artworks of yours regarding him, artworks that seemingly continued endlessly and were just as hyper detailed and colourful as the more of himself that he saw, each one touching his heart in a way that made him realise that this was how you genuinely saw him; an angel in human skin as the way you depicted him was either simply human or an ethereal being coated in various shades of gold.

Through the eyes of an artist, through the eyes of you, Viktor knew that you only conveyed what you believed to be true and the fact that you saw him in such a way was enough to have him struggling to breath, but in the best way possible.

You way you saw him transcended beyond the person he saw each and every day in the mirror. You saw him as a man of infinite beauty, wisdom and strength in a multitude of ways while never shying away when it came to his leg nor disease.

If anything you made those parts of him stand out the most in a way that told him that you found these parts of him a strength and perfection in your eyes. Telling him that you didn’t wish him to be anything other then himself, for he was perfect and so much much that only your art could help describe.

Viktor; a man on borrowed time became a man immortalised within the pages of his artist lover.

He even seen the sketches of him fast asleep against his workbench you’ve done and even then you took your time making it look like he was staring into a mirror of himself.

You’d catch him flicking through your sketchbook but you couldn’t say anything against it as the way his eyes light up and soft smiles upon looking at your latest works, looks that only made you want to draw Viktor even more if it meant this sight becoming more common with the passage of time.

‘You like them?’ You’d ask from the doorway.

‘I love them my dear.’ He replies softly as he presses his forehead against your own, making you smile fondly. ‘But was the drawing of me sleeping necessary?’ He adds playfully as you chuckled.

‘Oh it was very necessary my muse.’ You replied with equal playfulness as you kissed his nose. ‘I saw an opportunity and couldn’t let it pass me by without at least drawing it first,’ Viktor scoffs but the smile upon his lips remained, ‘and besides you looked really peaceful and relaxed that I wanted it to be something I remember. Hoping I get to experience more moments like that to be my muse for my future drawings.’ You finished.

‘I’m glad the to could do that for you my dear.’ Viktor closed his eyes and rested his head further against yours, wanting nothing then to capture this moment within his mind forever, secretly hoping to continue to be the muse of your art projects as your artistic range grew.

‘You’ve always been my muse,’ you said, closing your eyes, ‘you will always will be my muse.’