#I enjoyed writing dialogue that is specifically meant to read like set dialogue but without da pictures

[veryextraincorrectfegbaquotes]

And now, the special edition "Goop Lyn has horrible identity crisis nightmares" story

This one has got lots more dialogue, so if you like reading the Lyns talk to each other then boy is this the story for you!

To say ‘it was a memory, but not her own’ wasn’t exactly a unique thing for Goop Lyn. She has all of Lyn’s memories, underneath her own memories that only really started about a week ago. So for her to ‘remember’ something she wasn’t present for was if anything, painfully normal. But to have a memory that Lyn wasn’t present for either? That was, or at least should be, impossible. But as hard as she tried, she couldn’t recall any time Lyn had this conversation.

“Not in real life but I know what you’re talking about.”

She hadn’t said anything, but he was responding. As she stood there, frozen, trapped in this place and time she’d never been, she could only watch as he looked aside, smiling and bemused. As he looked back, visibly trying to not look condescending and failing, he said something that made her feel sick.

“Wendy buying 52 unique knives would be devastatingly expensive.”

That’s not me. I’m not her. Don’t call me that. I fought to be who I am. Look at me. I became this. I fought to be this. Acknowledge it. Acknowledge me. Look at me.

Every part of her was trying to scream out, demand he call her by her own damn name, but the sound wouldn’t come out. She felt like she was choking, then it got even worse as she felt her form giving out on her, melting away the person she was into the anonymous pile she refused to be ever again. She tried desperately to claw back herself but it just. Wouldn’t. Work. All because Hector had called her Wendy.

Then she woke up. Of course, phrasing it like that implies that ended the situation. She still felt awful, she woke up coughing and fell out of bed trying to get up. She was on her hands and knees, struggling to breathe, but at least she was in her room. Undeniably hers, specifically cleaned and prepared to be hers. It was proof that she was here and that she was herself. Because this was Her room. With her spit on the floor from struggling to breathe. Once she stabilized her breathing, she went to the bathroom to wash her face and calm down.

She walked out of her room, went down the hall and entered the bathroom. It was still late at night or early in the morning, so she had to turn on the light. She turned to the sink, looked in the mirror, and went to hell. It was wrong. It was lying, it had to be. She reached up and pulled at the lie, but it was still there, a bright pink stain on everything she was. She pulled harder, trying to yank it out, like pulling out the lying pink would show the green truth that had to be underneath. She was choking again, her throat not just feeling clogged but visibly in the mirror pulsing and changing.

Lyn’s hair was not pink. Goop Lyn’s hair is not pink. My hair isn’t this. Get rid of this fake hair. Why won’t it come out. Why is the mirror showing me Wendy’s hair. The mirror is wrong. I need to break it.

The next time Goop Lyn woke up, she was bleeding from the forehead and the mirror was broken. The streaks of red blood in her hair briefly made her feel like she was choking again, but they were just streaks against the green. Her green. Lyn was standing over her, looking in the part of the mirror that wasn’t broken while she brushed her teeth. She spat in the sink, briefly looked down at Goop Lyn, said “Hit your head like a dumbass, huh.” then left the room.

Goop Lyn jumped to her feet, rushed out and grabbed Lyn by the shoulder.

“No. We’re talking about this. Lyn meeting.”

“That Isn’t a thing.”

“Well as a 50% shareholder in Lyn inc, I’m making it a thing. And calling one. Bitch.”

“As the other 50% shareholder, I make a formal motion for you to blow yourself.”

“Motion denied, you freak.”

“You’re the bigger freak. Objectively.”

“Can you shut the fuck up so we can go start the Lyn meeting!?” “I thought this was it.”

“Sometimes I’m baffled by just how someone as great as me could have started out as a copy of you.”

“You’re really inspiring confidence in the company, miss 50% shareholder.”

“Shut up and go to the table!”

The Kitchen/Dining area, the most ‘open-plan’ area in Lyn’s (or as is more accurate Lyns) house was the standard place to discuss anything they didn’t want to end up resolving through fighting games or just regular fighting. Since Lyn was more argumentative than she let on and Goop Lyn was exactly as argumentative as she let on, it was a space they used a lot. Lyn slouched in her chair, one arm slung over the back to make it visually apparent she did not care and was not paying much attention. Goop Lyn sat with her elbows on the table, fingers steepled infront of her face.

“I hereby bring this Lyn Meeting to order. Pausing for applause.”

“Go fuck yourself. Meeting adjourned.”

“You should really make a better choice of words around your clone.”

“... Okay you got me.”

“Now then. First point of business. I… had a nightmare.”

“Damn, that sucks. Meeting adjourned.”

“Take this seriously you shitting piece of fuck!”

“Any more cusses you wanna string together or can I go.”

Goop Lyn slammed her fist on the table “It was a nightmare that was one of Wendy’s memories! I was her! Can you imagine why that would freak me out, Hm!?”

Lyn leaned back in her chair and looked up at the ceiling. “... I guess?”

“You fucking GUESS!? I woke up and I still had Wendy’s hair and you GUESS that’d bother me!?”

Lyn sighed, waved her hand to pre-emptively stop Goop Lyn from saying ‘don’t you fucking sigh at me’, then leaned forward and looked her alien clone in the eyes.

“Listen. I’m the foremost expert on whatever the fuck you are. That doesn’t mean I get it. You have my memories, so you know I don’t have any actual experience with your whole deal outside of this. So yeah, I guess dreaming you were someone else and then waking up with their hair would mess with you, I guess because I don’t fucking know. Don’t give me shit about it, alright?”

Goop Lyn paused then looked to the side.

“Maybe I was being unfair because I was stressed out of my fucking head. Maybe. It doesn’t sound like me to make a mistake, but there is a lot of you in here and you do make many, constant mistakes so…” she trailed off, then her eye widened. “There’s a lot of you, but plenty of other people. That’s how I got my strength back, by absorbing it from the mass produced clones. They must’ve put more in me than I thought.”

“Cool, we’ve cracked the code, good job team meeting adjourned.”

“Meeting not fucking adjourned, now we have a theory on why this happened, that doesn’t mean I’m over it.”

“Well get over it, there are other things I want to do today.”

Goop Lyn started moving to hold herself but stopped out of pride.

“You Listen to me this time. I don’t have a lot that’s ‘me’, okay? I’m still trying to figure out exactly where you end and I begin, but I know I like this form. It’s mine. It’s a lot like yours, because I am a kind of Lyn, my own kind. And that means a lot to me, it means pretty much everything. So can you understand why it not looking like it should, looking in a mirror and seeing someone else's hair when there’s already so little proving that I’m me would freak me out?”

Lyn paused for a moment to take it all in, this was a rare case where she couldn’t dismiss something.

“This is like, heavy shit for you huh?”

“The only thing heavier would be Lloyd coming back and yelling in my brain again.”

“Shit dude. I think this is something people would normally like, get therapy about.”

“But that’s not an option for an alien clone living in hiding.”

“And I don’t think they teach shit like that in psychology 101.”

“They’d have to reach at least 709 to start getting into my problems.”

“So what do we actually do about it?”

“... I don’t know if there is anything. I don’t think there’s ever been anyone like me, so there’s no info to go off of. For all I know this’ll never happen again, or maybe it’ll happen every night. I just don’t know.”

Lyn recognised the fear hidden in Goop Lyn’s voice. Only someone who knew her as thoroughly as Lyn did could. They were both intensely prideful and unwilling to show vulnerability, it was beneath them. Even to each other. So she knew that it was taking a lot for Goop Lyn to express this. And since they had no solutions to her problem, all Lyn could do is respond in kind. Even if she hated doing so and thought it sucked bad.

“Well if you figure out anything I should do about it, just tell me. Even if I have to sleep in your bed with you to hold you down if you wake up freaking out again. I’ll look out for ya. Not like anyone else does.”

“You better, I’m only alive and like this because of all your self confidence. You owe me.”

“Yeah yeah, I’ve got your back til death do us part.”

“Don’t fucking say it like that!”

#Lyn #Goop Lyn #Written stuff #I enjoyed writing dialogue that is specifically meant to read like set dialogue but without da pictures

[freshlybakedspiderbread]

Chimata if you feel like it!

General opinion/How much I care about them: i dont remember if it was really soon after or if it took some time for it all to click, but i've really come to adore all of th18's cast, and that includes that Chimata who has one of the best designs ever and I am being completely sincere! 🌈 i love everything about her. Her concept as a god of markets and how that was clearly inspired by real life doujin conventions yet still making it make sense in the setting of touhou, and her personal journey of rising back up to power thanks to the really complicated connection she's struck up with Megumu is so compelling and instantly had me and so many other fans running hamster wheels in our brains for years to come...

Also the majority of her dialogue is just really really funny, between bragging about how amazing markets are (She's right) or getting so offended when the player characters insult her card... She's kind of a mess even moreso than the usual touhou character, and that she's also a final boss and super powerful god makes a fun contrast i like a lot.

A ship I love: the obvious one is chimata/megumu though its a bit weird to talk about in this context because personally what i love about the marketeer quartet polycule is how Megumu is at the center and how the other three reflect and bring out different aspects of her (Although at the same time i also think Tsukasa can easily be the 'center' pov if needed to, because they all think the scheming tube fox is cute!). Going into detail on all that would probably steer the topic away from Chimata too much so i'll just say for now that I think Chimata and Megumu, without either really meaning to, brought the 'best' out of each other. Its just that their 'best' in this case meant giving them the means and confidence to take everything for themselves 😄

(also kind of a tangent but ive also always kinda thought megumu/chimata is similar in superficial ways to how i see yachie/keiki from just the previous game maybe with the dynamics reversed a little. But then following on that thought, momoyo is kinda similar to saki, and then i have no choice but to say tsukasa like some inverse mayumi... Its just nonsense but its funny to me think about)

A non-romantic relationship that I love: as of right now, she's gotta be reeeeeally ticked at Marisa right? Chimata had gotten over that whole thing of attacking her market as a robber and turning her bedridden, but then the stuff with the black markets had Marisa being trusted to stop them and then putting it off to enjoy collecting cards instead 😂

But despite all of that, I think Chimata ultimately would still acknowledge that avariciously human spirit which is vital in those who seek to do exchange, and will probably take Marisa off her personal market banlist eventually....

The NOTP: I actually think Chimata would get along surprisingly well with Momoyo but ive no desire to make something romantic out of it. although... maybe if megumu was somehow their driving motivation???

My biggest headcanon about them: i actually dont have anything too substantial this moment if only because her actual canon has been already so substantial and fulfilling... Though i think after becoming bedridden after UM's ending, she was resting at Megumu's place and was helping herself to the fridge and stuff without any hesitation or remorse 😊

An idea for a fanfiction I would like to write/read about them: well i'll just say for now that i definitely want to do a specific story featuring the market quartet sometime.

anyhow, something about her makes me feel like shes a prime candidate for those AUs where she swaps roles with another character (like megumu or kanako) yet somehow retains mostly the exact same personality and mannerisms.

Something that makes me think of them: i will always think of chimata now whenever i purchase goods and services, and remember to thank her for keeping me alive 😊

#tenkyuu chimata #amemenojaku #also ive liked her boss theme from the beginning and apparently thats not a popular opinion i dont think? well i like it a lot 🎵

[tiderideraa]

KNOWING  YOUR  PARTNER  WELL  CAN  POTENTIALLY  MAKE  WRITING  TOGETHER  A  LOT  EASIER.  (  repost,  don’t  reblog  )

○    name:  chey

○    pronouns:  she/her

○    preference  of  communication:  ooc  i  prefer  im’s  and  i’m  cool  with  sharing  my  discord  ( i’m  flakey  regardless of  platform  tbh )

○     name  of  muse(s):  most  active  atm  is  harry  and  @khozmoh​

○     experience/how  long  (months/years?):  about  15  years  give  or  take.

○     platforms  you’ve  used:  embarrassing  anyway,  habbo  hotel,  facebook,  bebo,  tumblr,  discord

○     best  experience:  i  had  the  best  time  on  bebo,  the  set  up  for  the  site  was  really  good  for  beginners,  i  met  some  incredible  people,  you  could  write  threads  both  publicly  and  privately  on  the  same  platform  and  being  able  to  write  in  the  inbox  meant  you  could  very  easily  go  back  and  re-read  them.  the  only  downside  was  it  wasn’t  very  good  for  having  multiple  threads  at  once  when  writing  and  replying  publicly  so  you  could  only  do  one  public  thread  at  a  time.  it  was  fun  though.

○      rp  pet  peeves  /  dealbreakers:  pet  peeve  is  passivity  ig.  i  get  irritated  when  people  continue  doing  things  they  don’t  enjoy.  dealbreakers  is  racism,  as  an  indigenous  woc  i  deal  with  racism  on  a  daily  basis  and  i  don’t  want  to  engage  with  any  of  that  in  rp,  this  extends  to  racist  muses  or  muses  that  commit  racially  motivated  actions.  even  things  that  have  racist  parallels  can  upset  me,  so  i  try  to  steer  clear. 

○      fluff,  angst,  or  smut:  i  like  them  all  but  i  find  that  i  prefer  when  there  is  a  purpose  to  the  angst.  i  don’t  want  to  write  angst  with  no  end,  angst  for  the  sake  of  angst,  i  want  to  write  angst  that  develops,  that  causes  muses  to  grow,  shift,  reflect,  either  regress  or  progress,  or  to  demonstrate  connection,  intimacy,  vulnerability  and  closeness  to  my  partners  muses.  only  writing  angst  or  only  exploring  one  sided  angst  doesn’t  really  do  it  for  me.

○      plots  or  memes:  another  bi  bitch  moment  where  i  say  both / all.  meme’s  are  fun  prompts  to  explore  or  opening  up  a  dialogue  and  seeing  what  happens  and  can  help  develop  dynamics.  i  find  them  a  lot  easier  than  attempting  to  plot  with  fresh / new  people,  memes  are  good  starter  prompts  and  good  for  exploring  new  ideas  without  having  to  stick  100%  to  one  idea,  i  like  the  flexibility  of  memes.  plots  are  cool  for  ongoing  interactions  and  development,  for  giving  use  a  little  kick  to  get  the  ball  rolling  or  to  give  our  muses  a  specific  arc  for  ongoing  interactions,  trials,  struggles  etc  and  to  provide  a  clear  setting  for  these  things  but  i’ve  found  that  too  much  plotting  can  be  a  bit  rigid.

○      long  or  short  replies:  long.  i  like  reading  and  writing  and  knowing  things.  tell  me  everything  and  i’ll  tell  you  everything,  include  all  the  context  you  want  and  i’ll  do  the  same.

○      best  time  to  write:  nights.  usually  around  6pm-1am  is  when  i  get  stuff  done,  limited  distractions  and  no  interruptions.

○      are  you  like  your  muse(s):  nope.  if  i  go  off  my  active  muses,  i’m  nothing  like  harry,  we  share  no  similarities  or  parallels  at  all  and  i’d  hate  him  if  he  were  real.  cosmo  and  i  have  some  similarities  as  far  as  depression  and  how  we  deal  with  it  but  nothing  that  really  leaps  out  as  being  like  him.

tagged  by :    seen  on  @tricursed​  tagging :    @detectiveconnor​,  @lighthouseborn​,  @rosewiltd​,  @luxoned​,  @coyotie​,  @soulvalor​,  @biteofwinter​,  @lockslei​,  @levered​,  @mimnghs​,  @rotturn​,  @zloslwy​ 

#. ooc . › what's a god to a nonbeliever .

[ifidiedinadream]

1, 4, 8, 13, 25, 26, 27, 39

Paulina/darkerthanblack

thank you friend!! 🖤🖤🖤

1. what font do you write in? do you actually care or is that just the default setting?

whatever google docs default setting is and no i definitely do not care 😂

4. what's a word that makes you absolutely feral?

certifiable. cause it's a false friend word in my language and i thought it meant something else for 300 years (it's in a fob song 🤔) and also same

8. if you had to write a story without either action or dialogue, which would you choose and how would it go?

no dialogue. i could write about a feeling but i guess action would've to happen at some point 😂 i think i could pull that off

13. what is a subject matter that is incredibly difficult for you to write about? what is easy?

i think intense human experiences ive never experienced. grieving, finding out you have an incurable illness that'll kill you soon, but even stuff such as being trans or, say, ace. these are things i don't trust myself with because they're extremely delicate stuff and maybe they are better in the hands of someone who knows what they're talking about you know?

(i guess i can easily write a gay character because i can totally identify with someone loving someone else, but i wouldn't write about their story with coming to terms with their sexuality for example. whereas it's hard for me to identify with the feelings of someone who's trans because i wouldn't know where to begin. same with being ace. maybe if i researched really hard i could trust myself with it but what if i fail to make a proper, just representation? it's tricky).

sex is easy. fluff is easy. cannibalism is easy. mental health issues are easy 🤷🏼‍♀️

25. what is a weird, hyper-specific detail you know about one of your characters that is complete irrelevant to the story?

i guess it depends on the story but i don't think i know some details about my characters if you don't know them as well, I'm boring like that 😂

26. how do you get into your character's head? how do you get out? do you ever regret going in there in the first place?

easy: i go "what problematic trait of mine could i project onto this specific blorbo". it always ends up being an in depth self analysis and i don't always love it 👍🏻

27. who is the most stressful character you've ever written? why?

idk 🤔 maybe damiano cause not only is he italian (writing italians is weird especially when it comes to dialogue!! and he's roman like me so it's even worse), but he's also my uncle's coworker's son and. the amount of stuff i know about the må guys is incredible 😂 (just know thomas used to date my sister's best friend. that's all you need to know, really). it's so fucking WEIRD to write about them

39. what keeps you writing when you feel like giving up?

the only reason i ever feel like giving up sometimes is my language barrier (looking at you mini mental breakdown i had earlier) because i think my english sucks and it penalizes my works. when i get those thoughts i re-read some of the comments i get and knowing people actually enjoyed my stuff makes me think that maybe i don't suck so much 🥺🥺

#answered

[theggning]

I Hate the Alternate Ending of Blind Betrayal, and Here's Why!

DISCLAIMER THE FIRST: Massive spoilers for Fallout 4 abound. This post discusses Blind Betrayal, a quest with suicide as a heavy theme. Content warning applies.

DISCLAIMER THE SECOND: This post discusses cut OFFICIAL content from Fallout 4 that has since been repurposed into multiple mods. I am not criticizing any modders or their implementations of this content. Mods are fun and people can enjoy whatever the hell kind of game experience they want with whatever mods they want.

I am ONLY interested in discussing the original cut content as Bethesda had written it, and how it would have impacted the story and lore of Fallout 4.

So, yeah, it seems there was originally going to be another way to conclude Blind Betrayal (BB).

As described in this Kotaku article (citing this post by Tumblr user tentacle-explosion,) there are unused audio files of Danse’s dialogue that show an alternate ending to his pivotal quest. These lines are the only evidence we have of this ending (suggesting that it was cut fairly early on, as no other actors/characters seem to have recorded for it.)

From what we can tell, in this alternate ending of BB, Danse comes up with a possible way out of the sticky situation re: his identity as a synth. According to the Brotherhood Litany, he is able to challenge Maxson’s authority as Elder via combat. If you agree to this idea, you go with Danse to challenge Maxson. The Paladin and the Elder duel one another, Danse wins, and Maxson dies. Then Danse names the Sole Survivor the new Elder-- or with a hard charisma check, you’re able to convince Danse to take the job himself. It is unknown how the main plot would have progressed beyond this point, as there is no other evidence of what being (or influencing) the Elder would have been like or what choices it would have given you.

There is understandable disappointment in learning that this ending was cut. Choices in games are great, and it could have been fun to have multiple different options for how to resolve the quest. In many gaming circles, people complain that this theoretical ending is superior to the one we got and shouldn’t have been axed. The Kotaku article calls it a “way better” ending, and you’ll see many players lamenting that it wasn’t implemented, saying Bethesda was bad at writing for cutting it, etc.

So why did Bethesda get rid of the Elder ending of BB?

In December 2020, after the Fallout 4 Cast Reunion, Danse’s voice actor Peter Jessop answered questions in a private signing session on his Instagram. Peter Jessop is an extremely kind and gracious man, an avid gamer, and a huge fan of Fallout. During the stream, he reflected on the alternate ending and remembered recording the lines, but stated the content was ultimately cut because Bethesda decided it was lore-breaking.

Peter Jessop is right. Bethesda was right. The Elder ending of BB is a bunch of dumb nonsense. It sucks, I hate it, and I’m glad they got rid of it. And now I’m going to tell you why!

SIDENOTE: King Shit of Fuck Mountain

There is no wrong way to play a single-player video game. If you are having fun, then you are accomplishing the task for which the game was made. Good for you! Play it on easy. Play it on hard. Mod it. Speedrun it. Make up an intricate roleplaying scenario. Perform “challenge” runs. Kill everybody you see. Ignore the story and run around collecting wheels of cheese. Games are meant to be fun and there is nothing wrong with enjoying a game however you damn well please. This is especially true for RPGs like Fallout, which are designed with player freedom in mind.

There is an RPG playstyle I like to call King Shit of Fuck Mountain: a naked power fantasy in which your protagonist is the most powerful person ever, even beyond normal RPG plot significance. Through brute strength, incredible charisma, or having completed tons of quests for world-breaking artifacts and weapons, your character wields godlike influence, able to control people, factions, and the fabric of the world itself. A game enables KSoFM gameplay when it allows the player limitless freedom to gain as much power as they like with zero consequences to plot or storytelling.

A great example of this is the Dragonborn in The Elder Scrolls V: Skyrim. If the player chooses to pursue every questline in the game, one single person can become Harbinger of the Companions, Archmage of the College of Winterhold, Listener of the Dark Brotherhood, Nightingale and Guildmaster of the Thieves’ Guild, hero of the Imperial/Stormcloak army, the chosen one of like, 11 different Daedric princes, a bard, a Blade, and otherwise just, absurdly goddamn powerful in completely unrealistic ways. And that’s not counting DLCs. A fully-kitted-out Dragonborn is King Shit of Fuck Mountain.

There is absolutely nothing wrong with playing KSoFM if you like to. But I’m not a big fan of this style, personally. Sure, my first Skyrim character became KSoFM while I was figuring out the game, but after my first playthrough I preferred my characters become coherent figures in the story of the world. I pick one or two character traits and things that my Dragonborn is good at, focus on them, and make them part of some overall story. My honorable Imperial paladin werewolf is in the Companions, and hunts vampires on principle. My Argonian sneaky archer is a gleeful thief, but would never jive with the College or the Dark Brotherhood. I like creating protagonists who fit into these settings immersively. I don’t care about power fantasies or being in charge. I don’t WANT my character to be all-powerful, because that ruins my immersion and my little story.

Additionally, in a plot-driven story-focused game like Fallout, KSoFM tears the narrative apart. Skyrim is fairly light on story, so the Dragonborn can be the leader of the Companions and the Dark Brotherhood and whatever other factions without any of them noticing or caring. But FO4’s themes, faction drama, and the main thrust of the plot don’t work at all if the Sole Survivor is able to become too powerful or too influential. The Sole Survivor cannot become the leader of every faction, solve every problem, or eliminate every inconvenient bend of the conflict because it makes the lore of the entire setting implode. Thus, the game forces you to choose between factions. You cannot be with the Minutemen and the Nuka-World Raiders. You cannot be with the Railroad and the Institute. And you cannot become Elder of the Brotherhood of Steel.

So if you’re the kind of person who loves playing KSoFM, if you like plots that your character can “solve” with relative ease, or if you just think it would be super cool for your Sole to become Elder regardless of surrounding storytelling, then you might think the Elder ending sounds super cool. You are absolutely allowed to disagree with me here. Install all the mods and write all the fic and have all the headcanons you like. I respect that. There is no wrong way to enjoy a single-player video game. Have fun!

But if you’re a big nitpicky pedantic lore nerd like me, a fan of cohesive storytelling, or if you just want to hear how the Elder ending of BB absolutely fucking ruins Maxson, Danse, the Brotherhood of Steel, and the entire plot of FO4 from a narrative perspective, read on!

1. The Synth Thing

The Elder ending requires the stupid plot contrivance of the BoS forgetting about Danse’s synthhood.

One of the biggest problems with the BoS as an institution is their strict and dogmatic beliefs, which include a widespread dislike of non-human species. Perhaps more than any other non-humans, the BoS hates synths. Synths are, in their eyes, machines given free will, a violation of the sanctity of human life and the ultimate example of technology run amok. To them, synths are not sympathetic, they are not slaves, and they are not victims of circumstance. They are weapons that left unchecked will destroy all of humanity for a second time. Synths are anathema to everything the BoS stands for, and finding out that one of their most beloved and trusted Paladins is one is an earth-shattering blow to their integrity and sense of security.

It is completely absurd that the BoS would allow a synth within their ranks, particularly as they are waging war against the Institute, who created synths in the first place. It is even MORE absurd that they’d allow one to influence their Elder, or even worse, to become Elder. It completely undermines their mission in the Commonwealth, and the core tenets of their extremely rigid beliefs. No matter the Elder, no matter the Litany or obscure BoS law, no matter how valuable the Sole Survivor is as a soldier or how much influence they wield. Danse is a synth. He’s the enemy. He is physically the embodiment of everything they hate.

Not only wouldn’t they trust a synth in general, but the BoS specifically believes that Danse is an infiltrator for the Institute. Even Danse believes that he is a danger, that the Institute may be able to take control of him and use him as a weapon. Sure, we know none of this is actually true, or possible, but the BoS don’t know that. And given how quick they are to order Danse dead without even the possibility of surrender, I don’t think there’s any charisma in the world that’s going to convince them otherwise.

According to Peter Jessop, this, ultimately, is the reason why the Elder ending was cut. He talks about it around the 11:30 timestamp in his Instagram stream, linked above:

“We recorded an ending where you keep Danse alive and you take over the Brotherhood. But there was a question of content… there’s no way the Brotherhood, once they knew he was a synth, would let him be even the right hand of the person in charge.”

Bethesda correctly recognized the incredible narrative contrivance for the BoS to shrug off the reason they’re trying to execute Danse in the first place. Whatever other beefs I have with this ending conceptually, they all come in second to just what a big dumb leap it is to get beyond this first and most important problem.

2. The Complete Death of Conflict

The Elder ending of BB destroys the conflict of the quest, and potentially the conflict of the entire game.

Greed is a poison. There is no such thing as a perfect ideal or a perfect organization. Power corrupts. Humanity has the choice to build back better. War never changes. The Fallout games are full of themes, depicted by the characters and quests and factions we play out.

Blind Betrayal is rightfully praised as one of the most powerful quests in FO4. Not only is it well-acted, but it puts the player in a very difficult position. The BoS has given you clout and glory and free power armor and lots of firepower, but now you see the price: unquestioning obedience. You are ordered to execute your friend and mentor Danse for the mere fact he is a synth. Are you going to follow that unjust order? Are you willing to give up your principles on command? Or is this where you can no longer stay quiet and stay in line?

To be honest, I’ve always thought the fact you can talk Maxson out of killing Danse but still remain with the BoS in good standing was a cop-out. BB goes 90% of the way to forcing you to choose between a companion and a faction, and then chickens out at the last second to let you have both, if your charisma is high enough.

(I believe this has the fingerprints of Skyrim’s development on it-- Bethesda’s writers got nervous about doing another Paarthurnax choice involving the fan favorite Brotherhood of Steel. That’s right. Danse is the Paarthurnax of Fallout. Frankly, I understand why they chose not to go there, but damn, wouldn’t it have been wild? You want to run with the BoS? Then kill your friend and feel the burn. THIS is what it means to follow orders without question.

As for me, I’d pick Danse every time and sleep soundly without the company of shitty bootlicking dieselpunk LARPers- but I digress.)

Anyway, you know what would have REALLY been a copout? If the game asked you to make a difficult thematic storyline choice, and you solved the problem by just not choosing at all.

You are supposed to feel uncomfortable when Maxson orders you to kill Danse, because the game is telling a story about how it is maybe a bad thing to thoughtlessly follow orders without question. It is asking you to think about what the BoS is, what they are doing, and how they are going to run things, if you choose to let them “win” the Commonwealth. It is pointing out that there is no room for gray in the BoS’ black and white. That a good, loyal man may die because of the way he was made, through no action of his own. That soon, you’ll be killing other people on command. The Railroad. Fleeing Institute synths and scientists. Others, down the line. It all depends on who’s giving the orders. Are you going to follow those orders?

Eesh, that sounds thought-provoking and unpleasant and difficult! Let’s just skip it by killing Maxson and making ourselves the boss. Now we get to tell everybody else what to do!

It’s unknown what powers the Elder ending would have granted the player, or how it would have interacted with the other factions. There is speculation that you’d have been able to ease back on the BoS’ dogmatism, or change some of the later events of the game. For instance, perhaps you could talk the BoS down from attacking the Railroad, sparing popular characters like Glory and Deacon who must die in the normal BoS storyline. Perhaps you could have made the BoS a kinder, gentler faction and directed them to run the way you want them to.

If this was indeed the case, then the Elder ending would not only suck the gravitas out of BB, but torpedo the entire main plot.

If you can get rid of any and all downsides to siding with the BoS, why in the hell would players side with anybody else? With the player given total power, the BoS becomes a perfect faction with no drawbacks, no weaknesses, no tough decisions to be made. Screw slumming it with the Railroad or the Minutemen, let’s take over the BoS. Free power armor and a giant robot! Forget the whole intolerance thing, I hereby proclaim the BoS No Longer Problematic! Now to force all the factions to get along, completely removing all conflict and nuance from the plot!

That’s some real anticlimactic “tell Legate Lanius to go home and then he does it” bullshit right there. King Shit of Fuck Mountain!

Look, it might be nice if there was a perfect path like that to take through the game. It would be cool if our characters could be that powerful and the game was that tailored to our individual choices. On the other hand, “I change all the factions to suit my exact liking” might be a fun idea for a fanfic, but it’s an incredibly boring plot for a video game. “I get to make everything in the world exactly how I want it” is Minecraft, not a story-driven RPG with a complex and intricate plot.

It would be great if complex conflicts could really be solved that easily and effortlessly, but hey, you know what? War never changes.

3. The Assassination of Arthur Maxson (Literal)

Arthur Maxson’s death is too significant and fundamentally disastrous for the Elder ending to make any sense at all.

Hero, villain, leader, monster, tortured soul, brutal dictator, immature twerp, bearded sex hunk. However you personally interpret Arthur Maxson, there is no denying that he is a venerated, popular, beloved figure in the BoS. He is the blood heir of the organization’s founder, a powerful warrior, a brilliant tactician, and a charismatic negotiator. He is responsible for reuniting the East Coast BoS with the Outcasts, leading the new, stronger BoS with a sense of shared purpose. There is a damn good reason his name is Arthur and he named his ship The Prydwen, echoes of King Arthur and the legends of his glorious kingdom of Camelot. Arthur Maxson is so beloved that many view him as a demigod, a messiah sent to lead the BoS into a mighty and prosperous future.

So I’m sure nobody’s going to be upset when some wasteland jackass recruited a month ago stumbles in with a synth, kills him, and takes over his job. Right?

It doesn’t matter that it’s “honorable.” It doesn’t matter that it’s done “by the book” via obscure BoS rules. There is no codex or litany or rule so binding that it’s going to overcome the cult of personality around Maxson. There is no way that the BoS is going to accept the death of Arthur Maxson, a man whose reverence borders on worship, especially not when he is immediately replaced by a wastelander, or a synth.

The death of Arthur Maxson removes the unifying glue that’s been holding the BoS together since mending the rift with the Outcasts. Maxson’s death eliminates the one person that both sides of that conflict agreed could steer the organization in the right direction. Some level heads may try to keep the focus on the mission and the Brotherhood tenets, but Maxson loyalists will never forgive the new Elder for his death, and that amount of passionate righteous anger will not be quelled by appeals to the rules. The new Elder’s war on the Institute is basically over before it begins, when the forces splinter and start infighting over the change in leadership.

And this is if the new Elder lives long enough to actually give any orders. I give them around 24 hours after the duel before some angry Maxson loyalist “accidentally” pulls the trigger and “tragically” empties a clip into their back.

24 seconds, if it’s Elder Danse, the dirty synth abomination.

4. The Assassination of Arthur Maxson (Figurative)

The Elder ending of BB falsely pretends that Arthur Maxson is the biggest and only problem with the BoS.

In the Elder ending, as written, the conflict of BB is considered completely and totally solved by the death of Arthur Maxson. The core problem, that Danse is a synth and considered an enemy by the BoS, has not gone away. But by getting rid of Maxson, this apparently no longer matters. Nobody else is going to take offense to Danse’s nature or protest his presence. Nobody else is going to attack him or try to follow through with Maxson’s prior orders. Nope, that meanybutt guy who gave the order is gone, and everybody else is going to welcome Danse back into the fold like nothing ever happened.

I touched on this a little bit on an ask about Maxson a few weeks back, but a lot of people seem to believe that the FO4 Brotherhood of Steel is the way they are purely because of him. That he is the one making them treat non-humans as second class citizens at best, and enemies to be slaughtered at worst. That it’s his fault the BoS is so vehemently against synths and the Institute. That he is the one influencing their imperialistic tendencies, and treating the Commonwealth like territory to be conquered and people to be ruled over by their betters.

He’s not. That’s the Brotherhood of Steel, guys.

The charitable, altruistic, virtuous BoS that many of us met for the first time in FO3 were outliers. Lyons’ group was literally disowned by the rest of the faction because their kindness to wastelanders had gone so far astray from the “core” tenets. The BoS as a whole has always been exclusive, isolated, and seen themselves as “superior” to the average wastelander. They have long disliked or outright hated non-humans (and even Lyons’ BoS in FO3 use ghouls, feral or not, for “target practice” if they get too close!) The rigid dogmatism of the BoS is not something that Arthur Maxson started, but has always been part of their fabric.

Now, it’s true that Maxson is absolutely going hard on the BoS tenets, and extremely dedicated to upholding them. His BoS are the way they are and act the way they act because he believes that this is the way it should be. Is it possible that a different leader may be a little more flexible? Absolutely. Could a skilled Elder eventually show them the benefits of a softer approach and a more generous worldview? Totally. Is getting rid of Maxson and replacing him going to make that happen overnight, or going to make the rest of the BoS who supported him shrug and follow suit?

Nope.

Blaming Arthur Maxson for everything unsavory about the Brotherhood is unfair to him and also foolishly ignoring the deep, massive problems that are far older than he is-- problems that plenty of its members wholeheartedly believe are not problems at all. Getting rid of Maxson does not make the BoS kinder or gentler. Even pretending Maxson isn’t as personally beloved as he is, any new Elder who steps in and starts trying to fundamentally alter the way the BoS operates and what they believe in is going to face some major, immediate pushback.

Like, a full clip of bullets in the back type of pushback.

In the face if it’s Elder Danse, the godless freak of nature.

5. The Un-Redemption of Paladin Danse

Last, and my personal least favorite!

At first glance, Paladin Danse is a steely jackboot, a die-hard Brotherhood loyalist who fully and firmly believes in their cause. Many immediately dismiss him as a humorless brute, or completely ignore him because they think that’s all there is. But if you spend any time with Danse at all, you’ll notice a sort of weariness in him. He is tired, overworked, and his years of service are starting to weigh on him. He has watched friends, comrades, and mentors die in horrible and gruesome ways, and he suffers from PTSD. Though he has always been told that his own sacrifices, the sacrifices of his brothers and sisters have been” worth it,” he’s starting to question if that’s true.

After telling of the incident where he personally executed his best friend Cutler, who’d been turned into a super mutant, the Sole Survivor is able to console him:

Player Default: You did the right thing. Danse: {Somber} It's what I was taught. I don't know if it was right.

This line is an excellent summary of Danse’s entire character arc. He learns to question whether to believe what the Brotherhood has taught him, or to believe in himself. His gut feelings. His sense of justice and his own ideas of what’s right and wrong.

(In the interest of not turning this into an essay about Danse’s character, I won’t even get into how this also applies to his beliefs about his worth as a person. But keep in mind, that dimension is there, Danse just covers it up by making everything about the Brotherhood.)

During Blind Betrayal, after getting the orders to execute him and hearing Haylen’s plea for mercy, we may expect Danse to be ready to fight back or flee. But when you confront him in the bunker at Listening Post Bravo, he’s compliant and suicidal. Danse is so deeply poisoned by the BoS’ rhetoric that his own feelings or will to live don’t factor into the conversation. He demands that you follow your orders and execute him, because he believes, as the BoS does, that all synths are dangerous and must be destroyed.

Danse: {Stern} Synths can't be trusted. Machines were never meant to make their own decisions, they need to be controlled. Technology that's run amok is what brought the entire world to its knees and humanity to the brink of extinction.

{Confident} I need to be the example, not the exception.

Through various dialogue options, if your charisma is high enough, you are able to talk Danse off the ledge. He is able to consider, at least, that the BoS’ merciless judgment of him is wrong and that what he was taught isn’t right. He is a thinking, feeling, self-aware synth, and that makes him as much a person as any human. Danse is no danger to humanity-- and maybe, most synths aren’t either.

Danse is an example, not an exception.

Later on, if you manage to get him out of BB alive, Danse shows further acceptance of his nature. His approvals about synths begin to soften slightly (or many of them do, at least… it’s not perfect.) He is still struggling with his identity and reconciling it with his former hatred, but his dialogue suggests that he’s on the road to being more open-minded and understanding. Along with this, Danse learns that he has value as a person beyond the Brotherhood. He no longer needs to define himself with BoS beliefs or judge himself by how useful he is to them. He learns that he is worth caring about, worth being friends with or being loved because of who he is-- not what he is, in any regard.

[SIDENOTE: Many players, myself included, are frustrated that Danse’s arc leaves off sort of midstream there. Due to the open-ended nature of the game, we don’t get a real conclusion to his arc-- even though much of his idle dialogue doesn’t change and he still espouses pro-BoS sentiments ( an unfortunate by-product of writing for a video game) there is every indication that he’s started down the right path, but understandably has a ways to go.

Also, Peter Jessop agrees with us.]

Meanwhile, in the Elder ending, Danse doesn’t get a redemption. His entire character arc, actually, hits the skids and does a total 180.

He never leaves the BoS. So scratch the need for Danse to ever think about himself as separate from them. He never needs to question what they’ve taught him or whether they’re right or wrong. He never needs to find any worth in himself beyond his use to the BoS. Why would he? He might be the Elder. The BoS is all he needs to care about anymore. The BoS is all he ever needs to be, ever again.

And I think, most horrifying of all, this Danse never needs to change his mind about synths. On the contrary, one of the surviving dialogue files includes Danse’s speech to reassure the rest of the BoS of his stance:

Danse: I want to make one thing clear to everyone. This body might be synth, but my heart and mind belong to the Brotherhood. The Institute is still a tremendous threat to the Commonwealth. They possess technologies that need to be confiscated or destroyed. And even if that means I have to pull the trigger on my own kind, I’m willing to make that sacrifice.

Elder ending Danse doesn’t grow more understanding on the nature of synths. He doesn’t accept that synths are people, or anything more than technology run amok. He won’t even accept that for himself. Elder Maxson wasn’t wrong about synths-- they’re the enemy and they need to be destroyed.

But, see, he was wrong about Danse. It’s okay for Danse to exist in spite of his nature. It’s okay for him to never fully accept his own personhood, and to outright deny it to his kind. Because his body is a machine, but he’s different from the rest because his heart and mind belong to the Brotherhood.

He’s the exception, not the example.

CONCLUSION:

The Elder ending of Blind Betrayal is dumb, contrived, stakeless, character-derailing powergaming crap at its finest and I’ll happily dance on its grave.

People give Bethesda a lot a shit for their writing-- whether it be stuff they left out, stuff they left in, or stuff that they never, ever could have made work due to the limitations of writing for a video game. Plenty of it is well-deserved, or at least worth a discussion. But from the minute I found out about its existence, I have always wanted to extend a congratulations to Bethesda for cutting the alternate Elder ending of Blind Betrayal. It was a good choice. A very good choice to cut a very dumb plot that would have fundamentally altered the story they were telling, and characters that I’ve grown to love. I think the writers deserve some credit and a hearty handshake for the wisdom of this decision.

Now as for why Nick Valentine isn’t romanceable--

#fallout 4 #fallout meta #paladin danse #arthur maxson #blind betrayal #this one was a long time coming #any thematic resemblance to any fics of mine is a coincidence #the blind betrayal manifesto #king shit of fuck mountain #the initial intrigue of the idea wears off if you think about it more than not at all

[hellomynamiseglaf]

🌰Chestnuts and Warm Milk🍂

My List of ~Favorites~ for Interactive Fiction and Visual Novels

(This is a work in progress so please bear with me)

Interactive Fiction:

The Wayhaven Chronicles (WIP Series in Development) - @seraphinitegames  (Look,,, I’m just... obsessed.. I can’t stop thinking abt it,,, and I'm..... sometimes, I read and I think I feel like I know what love is.)

Mind Blind (WIP) - @mindblindbard (I just,, UGH it’s so good. I can't even say that much because my feelings about it are so potent that everytime I see an update I try to tell myself to leave it alone to play larger portions of updates as a treat and everytime my willpower FAILS and I replay the demo like twice in a row)

Demon: Recollect ; Forsaken (WIP) - both by @bathalafiction (whew...WHEW!!! Are you kidding me?? ARE YOU KIDDING ME?? Look. I was attached to Demon: Recollect. I loved it. And then I played the Forsaken WIP and now I can't get over my absolutely BOMB character design for my player persona. Also it's kind of fun being considered a jerk in the game, because it opens up a lot of different options that I usually feel bad about taking)

Shadow Society - @carawenfiction (the concept is so interesting,, I dream of more. Also Quaiel...baby...)

The Soul Stone War - @intimidatingpuffinstudios (also whew!! I really enjoyed it and the characters all picture themselves really vividly in my mind for some reason.)

Greenwarden (WIP) - @fiddles-ifs (reading this is like thick fog.. but in a good way? I don't know how to describe it without pictures but this IF smells like fog over wet grass)

Divine Intervention (WIP) - @divineinterventiongame (the concept?? UGH SO GOOD. For some reason it's always the first game I click to check for updates)

Golden (WIP) - @milaswriting (😈😈😈😈)

Blood/line (WIP) - @bloodlineoffical (simply put,,, LARRY)

Supernatural in New York ; The Bastard of Camelot (both WIPs) - @llamagirl28  (UGH Both of these are so good in their own ways but equally as exciting to see updates for. I haven't consolidated my feelings much further than "my MC for SiNY is so cute" and "Mordred is a child" but they're all generally positive.)

Ace of Spades (WIP) - @steph-writing (I keep thinking about,,, con........)

Nevermoore (WIP) - @asteristories (AHHHHH.... let me say it again for those in the back: AHHHHHHHHHHHHHHHHH)

Son of Satan: The Mortal Coil (WIP) - @sosthemortalcoil (YES.)

Shepherds of Haven (WIP) - @shepherds-of-haven (yes. I just have to sigh because it's very good and I like saying those funny little words of power. But also outside of the game I can only picture this game as a great, grey border collie)

Attollo (WIP) - @attollo (Also a very interesting concept, whoo... I almost forgot how immersive it was untill I played the demo again and was reminded of how 'into it' I was straight off the bat. Also the seperate, short little piece on the blog with Sysba was also really good and I had a dream about it the other day)

Into the Shadows (WIP) - @wynnakang​ (whooo.... I'm sighing again, but louder. I press restart and play the demo again)

A Comedy of Manors (WIP) - @sviyaginthegreat (I kept replaying options that I hadn't chosen before because I wanted there to be more lmao)

Fallen Hero: Rebirth - @fallen-hero (I think there's a sequel coming up? I haven't stopped thinking about this storyline since I finished it omg... the.. the details are really good and I've become ridiculously attached to my tragic villain? Character... she IS the standard for my reusable IF persona, or at least one of my most prominent ones ;-D )

Samurai of Hyuga (WIP series) - (I'm pretty sure multiplechoicestudios.com is the development blog for this game, or at least what I've been checking for updates..... this is a series with four book currently out.... and I've been playing through book 4 at slower than a snail's pace in a desperate attempt to prolong my experience. I really didn't think I was going to like it as much as I did but I got a little too into it and now I'm horribly attached to all the characters)

The Porthecrawl Witness(WIP) - @porthecrawl-witness (I'm pretty sure this is a WIP?? But ugh. SCREEEEEE- it's so good. It's SO GOOD. I really want to punch Talbot in the face. And Asher, if for a different reason. And sort of Staci just to try. Quinn is just a cutie I could never hurt him like that. Ugh but they're all so good and I forgot that I was reading a WIP untill it suddenly was over..... I'mfeeling really aggressive rn as I'm writing this, so please just note that the punch comment is meant as a statement on how interesting the concept and immersiveness of the characters and story is)

Forgotten Names (WIP) - by Alexandra_Zorila on the CoG Forum (turn the volume up. AHHHHHHHHHH!!! Look, look. It's..... delicious. It's SO interesting and I obsessively have a tab open on my computer to check for updates)

OFNA: Birds of a Feather (WIP) - @ofna (the vibes are so grey and smoky but the fog is definitely from a party smoke machine and the room is only dark because the walls are taped with those huge sheets of black construction paper that teachers use to cover their bulletin boards with... the game definitely falls in the 'dark and mysterious' genre but something just strikes me as really funny when I play it. Anyway it's good and it's in a lot if recommended lists for a reason. Also I'm very attached to my American Goldfinch)

More Things in Heaven and Earth (WIP) - @morethingsgame (in the same way that it's fun to play Guenevere in the Guenevere game or Mordred in The Bastard of Camelot, playing Ophelia in the sort-of Hamlet story is really fun. If anyone has read the Missing collection- which I absolutely love- by Margaret Peterson Haddix, this gives me similar vibes for some reason. Anyway, I really want to give Hamlet a hug and make him a flower crown or something)

A Tale of Crowns (WIP) - @ataleofcrowns (It's kind of not even funny how much I love this game... It's hard to even describe why I like it, just that it's so well rounded in terms of the story, characters, dialogue, and relationships. It's such an interesting plotline and it's pretty immersive. Also the first time I read the demo, there was an update as I was reading and the high that sent me on has very rarely been matched. Also Dara running to save my Crown in the tunnel?? 🤚😩🤭💓 ugh. UGH!! That's good food for my fool heart)

Scout: An Apocalypse Story (WIP)- @anya-dev (I'm usually not that into apocalypse themes/plots but I really enjoyed this game, and the plot was very good and intruiging... it really pulled me in and I like my character in the story a lot. I don't know why but it tastes like chikuwa, atsuage, and this specific type of carmelized onions that my mom makes sometimes)

Nothing left to burn (WIP)- @clowdee-works (......ouch. I *knew* what was going to happen and I STILL became attached to Drew)

Smoke and Velvet - @roast-ifs (It's good. And I am VEDY much into my character design. Also the story is really interesting, and I enjoy the setting a lot somehow)

Speaker (WIP)- @speakergame (very fun to play, and each update gets me more interested in the aspects of the plot. I also really like the little descriptions of what the characters think of the player)

The Nameless (WIP)- @parkerlyn (interesting plot, I like the characters a lot, and The aesthetics of this world are so interesting. Definitely had a good time visualizing what everything looked like)

Fields of Asphodel (WIP) - @asphodelgame (I think it's really cute so far!!! I like mythology in general, and the persephone/hades dynamic is *mwah!*... I like the way the story progresses in the beginning, and I think it works well in drawing the reader into the world. I also very much enjoy petting large dogs.)

...there are so much more.. and I have followed so many blogs.........

I'm not sure why I can't find it rn but there's this one WIP game that I really like where the MC buys a manor for like dollar and moves to go live there with her best friend and shenanigans ensue as they try to settle in and fix up the estate

Harbringer (WIP) - @harbringercog (....are you KIDDING me?? I was fully planning on just enjoying the demo and keeping a mental note to update the list sometime later,,, but this game... THIS GAME really made me fold. It's very immersive and regardless of how nervous the author claims to be after releasing the demo, it's of my humble opinion that those nerves can be calmed. It's very good. I was planning on procrastinating and reading a little bit and then going back to this essay I need to write, but somehow I got pulled in and ended up reading through the whole demo and it's apparent that I honestly had no chance of getting through this without becoming invested in the plot.... just... so good.. I'm very excited to see how this will progress)

Visual Novels:

Andromeda 6 (WIP) - @andromeda-six​  (I repeat: Obsessed, I come back every few months to see an update and I fall deeper into the hole every time...)

To the Edge of the Sky (WIP,, probably) - by Ajané (??) on Steam (I think, it’s been a while)

Next on my list to check out: Perfumare by pdrrook

Does.... does The Arcana game by Nix Hydra count as VN?? If so, then yes.

Similarly, the FictIF games are all entertaining, although Last Legacy and Heir to Love and Lies are my favorites rn (and.....unfinished....)

I also don't know if this counts, because I kind of consider Otome games to be their own genre, but on the Love 365: find your story by Voltage Inc. There are a bunch of fun stories, my favorite of which are: the Shinichi Kagari route on After School Affairs and the Saejima and Keiichiro routes on Bad Boys do it Better

..To be continued...

#IF_VN #fis fic recs #interactive fiction #visual novels #game #recommendations

[relatablegenzwriter]

How to write erotic moments or short stories without making it convoluted, cheesy or tacky? I grew up very religious and although i no longer believe have lots of trouble with sexuality in general. I'd like to try writing stuff as exploration cause i find p*rn too exploitive and iffy and dont wanna support that industry. but i'm not really sure what to do to do it "right" instead of dull or cringy. I just sit for hours with a blank paper till i give up

Writing Non-Tacky Sex and Romance

I'll start right off the bat by saying that this is definitely not my writing area of expertise, and I don't know how much I can tell you that you don't already know. So I'm gonna offer a couple of tips and then send you to a lot of posts that might answer your question better than I can! (P.S. I know your question was about sex specifically, but as you can see from the title, all of this can be applied to romantic scenes as well, which I got similar questions about.)

1. Be careful with metaphors. Of course, no writing style is "right" or "wrong", but flowery language can often make or break any scene, especially romantic ones. Many times, the overuse of dramatic, romantic metaphors can overload a scene and make it feel cheesy and cliche. And let's face it, millions of tiny stars aren't bursting around a couple every time they kiss, and we all know that sex is not magical in the slightest. I think the biggest problem with these kinds of descriptors, though, is not that they make you groan with how sappy the writing is, but because they often feel impersonal to your characters. So instead of your character "hearing a symphony swell around them", maybe "for a moment all their worries about [plot conflict/subplot conflict] seemed to move toward the back of their head". (not my best descriptor i could come up with on the spot but you get it) Although, while this will remove the cliche aspect of your scenes, it can still go overboard. Bringing me to my next point…

2. Be realistic. Like I said before, not every romantic or sexual interaction your characters have is going to feel like a Nicholas Sparks movie. There are lots and lots of awkward, ordinary moments. Include these! Of course, you probably won't want to make every moment of every sex scene say "yeah it wasn't that special" (unless of course this is the direction you want your story to take). If your character enjoys kissing or sleeping with someone, say that. But there are very few people whose worldview has shifted after one night together, and I doubt this is true for your characters, either.

3. Be careful about your source information. It's okay to take inspiration from everywhere, but it's important to take everything with a grain of salt. Particularly with sex scenes, writers tend to take inspiration from two major places: porn and WattPad (you know, THOSE fics). Keep in mind that porn is not meant to be realistic in the slightest, and I could go on a whole other tangent about the horrible expectations it sets for sex in real life. And don't get me wrong about wattpad: there are great writers on there and it's a great option to share and read fiction (for free, too!). But a lot of the ridiculously smutty fics, while entertaining and well-written, depict fun-sounding but sometimes unrealistic sex, that may not fit into the fantasy novel you're writing, @sjmaas. (Disregard that last bit if you are writing something akin to wattpad smut) Also, just a little side note that you should never be treating porn or wattpad as legitimate sex ed for real life!

4. Try building your scene from the ground up. I did a post on this a while back, but I used to really struggle to write romantic scenes until I figured out a method that works for me. Basically, you picture your scene as a building that you first need to lay the framework for, then fill in the cement/bricks/whatever, then furnish and decorate. First, I go through and write all the dialogue that will be taking place and mark crucial events. (example: "Hey, can I tell you something?" "What?" "I think you're the best thing that's ever happened to me." [kiss]) Next, I rewrite the scene almost monotonously, in the plainest way actions can be written. ("They held hands." "She took her jacket off." "He walked across the room.") Once I have my "building", then I can go in and add all the emotions and little details. I do this so that I don't have to stare at a blank page, since I already know how my scene is going to go. Then all I have to do is fill in some little details that make the scene more personal to my characters. I highly recommend this to you, since you talked about how you know what you want to write but can get scared of a blank page (hey, me too!).

5. Extra Resources! Here's some people that can probably help better than I can with specifics:

Including Consent In Writing (SUPER IMPORTANT)

Non-Explicit Scenes

Explicit Scenes

Romance In General (with a section containing tons of nsfw writing advice)

Good luck with your story!

#answering asks #writing tips #writing advice #my advice posts #writing romance

[work-of-waking-up]

In Defense of the Psychopath

Alright, wanna venture into my crazy ass brain? I’m going to start by saying one thing that will set the tone for everything else that follows: Villanelle is not a psychopath in the way that we currently understand them. Why am I even bothering to write about a fictional character, you ask? Because representation is important. Media portrayal of various mental and behavioral health topics (including ones that people might not think need to be discussed) is important and this show has a big audience. I also just want to contribute to the conversations that are taking place because I am seeing A LOT of them and the reason for that I believe boils down to the fact that Jodie makes Villanelle so relatable and people want to know what that means and looks like for them. Even those who felt they could relate to Sandra’s Eve, or the relationship between the two, maybe questioned what that meant the further they went down the path with them. “It’s probably a bad thing I relate to a psychopath, right? But she can’t be a psychopath because she cries and she feels things! Psychopaths don’t cry, which means she isn’t realistic so therefore it’s okay that I relate to her! Right? Or are my assumptions about psychopaths and people with antisocial personality disorder wrong? I relate to Eve but look what she is underneath it all...so does that mean I relate to that part of her too?” Not only is villanelles character relatable, but people see the freedom inherent within her, the freedom that Eve sees, and they realize that, at least on some level, they want it too. The show has (unintentionally I think) created a massive dialogue which is super cool and you can tell everyone involved on the show is aware of that now, I mean they have a consulting psychiatrist so I think that speaks for itself. This is less of a commentary on the character herself and whether or not she is a genuine psychopath, and more so a commentary on the conversations she has inspired and why... For the record, this is literally just my opinion sprinkled with a few facts, nothing else.

So, the term psychopath gets thrown around in the show, more so in the beginning, MI6 explicitly labels Villanelle this way, even going so far as to use her in a presentation about psychopaths, although I think that was more so to gauge Eve’s response than anything else. The reality of Villanelle, which we come to learn, is that nobody has been able to get close enough to really know the truth. Anna and Konstantin both got close but we never hear either of them use that word (Konstantin says it once but he clearly doesn’t mean it, it was more of an attempted manipulation tactic). They make it clear that she has, and can, and WILL cause damage, but that’s as far as they go. Eve is getting close and she tells Villanelle when they first meet that she knows Villanelle is a psychopath but it’s obvious from Eve's behavior and things she says later on that she truly doesn’t believe Villanelle is what everyone says she is. It’s easier to label her as a psychopath because that alienates and isolates her and her behavior completely. She is an outlier with behavioral anomalies and therefore it isn’t necessary to look any closer. For MI6 and others (not talking about the shows creators) to label Villanelle as a psychopath is easy, it’s lazy, it’s reductive, it serves a single purpose... a means to an end. They (anyone other than Eve basically) simply do not care about Villanelle’s truth. But as an audience we are lucky enough to see more of her with each episode. The psychopath label begins to fade and Oksana is what’s left. We know based on what she has said that she is aware that people think she is a psychopath, a monster, a person built to kill. It’s not always easy to decide that who you are is different from who you’ve always been told you are, especially given her history. Villanelle hasn’t told us yet if she thinks (or knows) that she is a psychopath, but it’s clear towards the end of last season that she no longer wants to be the person that they (meaning the twelve, Dasha, Konstantin, etc.) created. We see moments where she clearly has no remorse and clearly enjoys what she does, but then we have little moments sprinkled in between where she very obviously struggles, even if its short lived. And those moments are important. We have the moment where she struggles with the choice to shoot Konstantin, saying he is a good person, she thinks. This comes shortly after a conversation she had where Irina tells Villanelle she thinks she is a good person because she is sad, so we know she is thinking about it, we know the awareness is there, and it becomes more and more there as times goes on. I like to think of it in terms of having moments that are pure Villanelle (ie the way she killed Inga in the Russian prison), and then we have moments that are Oksana, vulnerable and emotional. Villanelle is a creation and a mask whereas oksana is the truth. Those moments are starting to really mean something. I'm not even going to start with her trip to find her family, that’s its own thing, but it's a Really Big Thing.

So. Villanelle is not a psychopath in the way that we currently understand and perceive them. Yes, she displays psychopathic traits, and yes, she absolutely has antisocial personality disorder. I read an article where the psychiatric consultant for the show (makes it pretty obvious how hard they worked to make Villanelle as realistic as possible) said that the Villanelle in Luke Jenning’s books scored a 32 on Hare’s psychiatric checklist, but I like to think (and I think a lot of people would agree) that number is a bit high, at least for Jodie’s Villanelle, maybe not even hitting 30 at all (close though, let’s be real lol). The max score is 40 which would be a fully blown primary psychopath. For reference, Ted Bundy scored 39. This checklist is flawed though, mostly created and based off the prison population. Which is why it isn’t used as a proper diagnostic tool. 32 is apparently extraordinarily high for a female (think Aileen Wuornos), which brings me to my next point which is that because it’s hard to measure a lot of the classic traits objectively, there is not a ton of solid data surrounding psychopathy, and even less of it is on female psychopaths. Like most things in life, psychopathy exists on a spectrum, there are levels and layers. It’s not black and white, there’s no definitive test (psychopathy isn’t even in the DSM-5 because as I said earlier it’s extremely hard to measure objectively) and it's important to distinguish between someone who exhibits psychopathic traits and someone who is actually an identifiable psychopath. Chances are high that someone you know displays at least one characteristic shared with psychopaths and this doesn’t make them one.

I think what’s important about this is that mental disorders (mental illness/personality disorders/etc.) of any kind are much more nuanced than a lot of people tend to think they are. That they exist less in black and white and more in shades of grey. Jodie Comer is absolutely remarkable for showcasing that through portraying the different layers of Villanelle. Her performance is a literal gift. We cannot keep thinking and acting like we know everything about how a person thinks, feels, and behaves based strictly and entirely on one label. The thing that has stuck out to me the most, the reason I decided to even write this bullshit babble, is that one of the most searched topics about the show is whether or not it’s realistic that Villanelle cries, and honestly how sad is that? That makes me sad for V. Is it more realistic for her to develop connections and cognitive empathy if she was made into a psychopath vs if she was born that way? Is there a legitimate difference between the two? And how do we even decide which one is applicable for someone? It’s important to add that antisocial personality disorder is not the same thing as psychopathy or sociopathy. You can have aspd and not be a psychopath. Research has shown that about only a third of those diagnosed with aspd would meet criteria to be considered a psychopath. Society is not doing a great job at getting people to understand this. But to be fair, understanding personality disorders specifically has been somewhat problematic, a lot of diagnostic confusion and overlap between disorders. A LOT of work needs to be done. But as far as portrayals go, society has strictly chosen to go the route of giving us psychopathic characters and having them be inherently violent, incapable of remorse, feelings, or change. Poverty of all emotions. Subhuman. They are made out to be so abnormal and unrelatable to the point where the character of Villanelle has sparked so much debate and fascination simply because she exists in a way that actually IS relatable...and layered and beautiful and thrilling. We thought she would be the bad guy and yet we root for her at every turn, we cry for her, we want good things for her! We see her darkness and without question or hesitation we forgive it. She makes us question what we’ve previously been shown. Questioning whether or not it’s realistic that she acts the way she does is less important than questioning our own personal assumptions and beliefs and where those come from. I think that’s awesome. Villanelle is truly a gift. She is hands down one of the most well written fictional characters, which is saying a lot considering when you put something, or someone, in a box it doesn’t leave tons of room for expansion. and I honestly don’t even really need to say this, but.. Jodie Comer.

#killing eve #villanelle #jodie comer #eve polastri #sandra oh #villaneve #feel free to rb #if you want #oksana astankova

[stxleslyds]

MY TOUGHTS ON PART FOUR OF RED HOOD BY CHIP ZDARSKY :)

THIS ONE IS A MESS.

But first a little rant about my feelings about Red Hood in general at the moment.

I am not going to lie, it took me a long time to read this comic, I am kind of tired of reading this book, I feel like I lower my expectations each issue that passes by and I still get disappointed at the result.

Maybe I just love a Jason Todd that is no more and I have to accept the one we have now, but here is the thing, if this is what we get then I just don’t like it, and on rough days I hate it. These are very negative thoughts about one of the two DC characters that I love and I don’t enjoy having them, I don’t want DC to keep giving us this version of Jason or these versions of Jason, each time they change little things that just change the character from the one that he once was even more.

I feel a bit defeated about it and I don’t know, on one side I want to fight and scream so they can finally give Jason the characterization he deserves and for them to give up the bland formula they have going on with him and on the other side I just want them to stop, stop writing Jason Todd/Red Hood and that is so sad, imagine loving a character and wanting the publisher to stop making content with them because what they give is just terrible. I don’t know, this is a rant that I felt like writing before I read the issue (I did skimm it briefly), so don’t take this as part of the review, its just me explaining my feelings right now.

Anyway, I will start the review now, sorry for the rant.

Wonderful, this book is on crack (or should I say Cheerdrops?), the thing with this particular issue is that I had a great laugh, it’s funny but in a good way, it's stupid and it kind of doesn’t make sense, the only way to describe Zdarsky’s writing here is with a phrase that we say here in my country “se pisa el palito”, which means that he lies about something and after some time he reveals the truth himself by mistake or because he got confused, in this case Zdarsky makes Jason say something like “this time I have come prepared” but he is actually not prepared at all and like two pages later (within the same scene) he has Jason call himself an amateur, it's very weird and to me it translates to Zdarsky not liking Jason or just not caring about him at all.

And that sucks and it really bothers me. As I have said before this anthologies book might be called Batman: Urban Legends but the particular story I am reading is a RED HOOD one, I am not here for Batman content, I am here for Jason Todd content.

The fact that we are not getting a Jason-specific story in a Red Hood book is killing me, it would suck if we get, let’s say, a Nightwing book and its all about his relationship with Barbara…That is not a Nightwing book, that’s a Nightwing and (fake) Oracle book.

Anyway, this issue in general is like a connector, the things that happen are all happening because they will be developed in the next issues but what is said here is absolutely absurd so I will be talking about that.

This issue starts with a flashback and Jason from the present (who is currently a popsicle because he fell in Freeze’s trap) having a monologue. The flashback is set when Jason finds out that his birth mother is alive and is being used by the Joker so he (in civilian clothes) and Batman at doing some reckon. What I want to dive into is the monologue because it's interesting but also very dumb so here we go.

“What was I supposed to do? I thought I was an orphan; I carried that sadness and anger everywhere I went and then I found the woman who gave birth to me halfway across the world. I found her…and the Joker. He was blackmailing my mother, forcing her to help him steal medical supplies, which he replaced with a deadly gas, that was being hauled to a village.”

“Batman knew what he had to do. Save people, forever saving people. Batman has always been a master of control, every situation, everyone around him. He’s always known just how to handle everything. Until I came along.”

“How could he be surprised? How could the great Batman not know? I wouldn’t listen to him and he couldn’t hear me. And the fucking cycle continues.”

The first part of the monologue is pretty simple it's basically setting the scene in time and space for the reader and it also gives us a little insight on how Jason was feeling at the time which was quite nice. It sets up the fact that Jason wanted to help his birth mother out of a horrible situation, he wanted to save her from the Joker. (Hear that DC, haters and fanon, Jason was a good Robin and a loving and caring son!!!!!)

In the second paragraph of the monologue I would have assumed that Dick never existed in this universe because the idea of Batman being able to control Robin!Dick or Gotham back in the day by himself is incredibly funny to me but because Dick exists and has been mentioned in this story already I will just take it as Zdarsky wanting to really push the “Jason could never reach the level of good Robin because he was reckless and nothing like Dick” and the “Dick was always completely obedient and Batman’s perfect little soldier” narratives. It sucks man, this is like bad fanon made real and I don’t like it!

During this part we also have a little dialogue between Batman and Jason where the narrative of Jason being so incredibly reckless is explicitly shown once more.

Let me repeat myself, Jason didn’t take on the Joker because he wanted to prove himself to the Bat or to prove that he was as good a Robin as Dick was, Jason did what he did because he wanted to save the last person that he had that he felt was family, he wanted to save the woman who birthed him and that he was hoping he could call a mother. He worried and cared for this woman and then he was betrayed and it ended up ending with him dying at the hands of a mad man that to this day is still alive.

Jason wasn’t reckless for the sake of being reckless, he took the decisions he took because he didn’t feel heard by the man that was supposed to protect him and care for him, a man that had the same feelings of sadness over being an orphan, a man that despite being the greatest detective to ever detective in the multiverse couldn’t understand that Jason felt like the woman that was his birth mother could come first in his list of priorities. Jason was a child and the adult responsible of him at the time bares the fault of his death as much as the mad man that committed the crime.

There, I fucking said it.

Gladly in the third paragraph of the monologue Jason calls out Bruce on his bullshit.

Also, what the hell was Bruce thinking leaving Jason stranded in the middle of the dessert, the man literally takes the only mode of transportation away from him. What the hell.

That’s it for the first glimpse at the past, now we are in the present with Ice!Jason where Zdarsky lies to our faces, he says that Jason is prepared for this situation…I am sorry but I do not believe this.

Anyway, Jason does manage to break the ice but he trips on the iced floor almost as soon as he breaks free and falls in a hole. Are you kidding me? I know this is supposed to be funny but Jason has been written as this incompetent dumbass in this book so much that this is just insulting.

He manages to escape for three or four seconds but he realises once more that the whole thing was a trap because Freeze had actually closed all the exists with ice because he meant to trap the Bat (also maybe Freeze is under the effects of Cheerdrops?), Jason also tries to use his guns even though he had already thought about the fact that they wouldn’t fire because of the cold AND he didn’t pack his explosives, yeah… “I am now prepared”, sure Jan.

The last thing we see in this scene is Freeze getting ready to ice Red Hood once more before we start jumping from past to present scenes as Jason’s monologue continues, he does that a lot in this issue, it’s quite impressive.

We jump into the past and we see Jason going to help his mother in his Robin suit, her betrayal and the Joker being ready to torture and kill a child. From there we go back to the present where Jason manages to ask Oracle for help but not anyone’s he asks for the Batman’s help.

First let’s talk about the monologue that happens across these scenes because it has some interesting takes.

“Stupid amateur, its not going to be okay, not if we keep repeating the same mistakes. He never trusted me, I never trusted him. Neither of us lived up to the idea of ‘Batman and Robin’, the ‘Dynamic Duo’. Because Batman and Robin requires trust, it requires knowing you can’t do it alone.”

Let’s be honest as per the modern take on Batman and Robin (if it includes Bruce as Batman) the dynamic is quite dysfunctional, Batman doesn’t know how to care for a child and children shouldn’t be responsible for an adult’s safety, so the whole thing has been weird for every Robin, its not something that happened only to Jason but here is the thing, in Under the Red Hood (which is canon in this story) when Batman and Red Hood fought side by side Bruce said the following: “…Neither of us has the strength to take him out, it will require skill and teamwork. It happens before I have time to question it, a manoeuvre that comes without thought, executed as practiced and practiced many times in the cave.”

So, him and Jason worked well, they trusted each other and the work they were doing but that is not all, because they are in the middle of a fight the Red Hood doesn’t act recklessly and takes the opportunity attack the Bat when he is vulnerable, he sticks to the coordinated fight because he trusts it will work. Batman’s thoughts confirm that because he continues saying this: “To complete it (the manoeuvre) I’m forced to leave myself unprotected from an attack, an attack from the Red Hood. But the attack never comes, he just takes cover from the blast, like practiced.”

– Batman: Under the Red Hood, chapter 10.

This thing alone, written in 2005 kills the narrative of Bruce’s Batman and Jason’s Robin not working well together.

Secondly, I have to laugh about what it's actually said in the very last panels. I am sorry but it's too funny to me, I know it acts as a parallel to Jason asking for the Bat when he was about to die but this is a man, a grown man that has experience on this job, this situation would have never happened if Jason was written fairly. This is funny because of all the people in the world I would never imagine the Red Hood asking for Batman’s help. Fuck that.

Oracle of course contacts Batman but let me say something really quickly, Barbara and Bruce are both acting like Jason getting in trouble and needing help is an annoyance. What the hell is wrong with these people? Why would Jason work with Oracle or Batman in the first place?

Batman gets in the Batmobile as soon as he can and dares call Jason his son. No thank you sir, I will not be taking that kind of bullshit today. Anyway, the Bat also has a monologue because he can’t be less, here it goes.

“Jason. Dammit, son. I’m on my way, I won’t let you…” (explosions) “You’re alive. In the here, in the now. I know this, like magic…with a curse…You’re alive.”

“I don’t need to be there again, in the past. I’ve learned my lessons, the guilt doesn’t help me, it doesn’t have a hold on me anymore. You’re alive, Jason and I intend to keep it that way.”

To this I have to say the following, the only reason why Bruce is not feeling guilty about what happened to Jason is because Jason forgave Bruce/Batman for not arriving in time in order to save Jason from the explosion back in that warehouse all those years ago. Jason forgave Bruce when the final confrontation happened in UtRH. He did it because he believed that Bruce tried and still didn’t make it.

- Batman: Under the Red Hood, chapter 13.  

And something else, Bruce might have been “keeping Jason alive” but he has harmed him. Rebirth RHatO #25 exists, I don’t know if it's canon within this particular story but I can’t not bring it up if this is what this man has to say.

My take on the Batman and Red Hood relationship is that it shouldn’t exist. Red Hood is not a Batman villain but he IS a Batman antagonist. STOP making Batman and Red Hood work together, with how things ended in UtRH Jason would never work with Bruce again. I am sorry but the concept of the Batfamily with Jason as a willing participant is the biggest lie this fandom and Lobdell gave us.

Enough of my takes, let's go back to the issue because it's ending is closer and the funniest panels in this whole ass book are coming!

Batman does Batman shit and as he grapples out of the Batmobile, he manages to get Ice!Jason out of a truck and everything comes to a stop, the bad guys come out of said vehicle and one of them is going in Red Hood's direction with the intention of killing him, Batman of course saves Jason and starts fighting the rest of the baddies.

I will show you funny panel number one.

You really want to make me believe that Bruce can pull that move, shut up!!!! There is no way! That’s some Nightwing level of leg work, stop it, if the Bat pulls that move he will break something or get stuck like that…

Ahh it doesn’t matter because as Batman finishes defeating all the baddies he goes to Jason’s side and here is where funny panel number 2 comes!

STOP IT, WHAT THE HELL IS THISSS? I am losing my mind over this, have you ever seen something and thought “oh this is wrong wrong” like what? This interaction is so wild to me, everything about it makes no sense…Imagine putting Jason Todd in such a vulnerable position that he is, I don’t know, happy or glad that the Bat showed up and that Batman would say that he will always be there for Jason, this shit is hilarious.

But that’s not the end, at this point nothing should shock me (as far as character designs) but this dude shows up…

Who the hell is this guy, and why does he look like that, why are all these new character designs the same and horrible? He reminds me of the weird discount-Joker-looking dude that we had in Rebirth RHatO #52

Anyway, the new dude that will be called Cheer (apparently) and Freeze ice Batman as well and that’s it, our Red Hood related suffering is over up until next month!

This one, this one was wild, I don’t know what else to say about it…I am honestly drained after reading the issue and writing this.

Let me know what you thought about this issue and if you want to read my reviews of the previous parts I will link them here! Part 1, Part 2 and Part 3!

#jason todd #red hood #robin jason todd #batman urban legends #urban legends red hood #red hood outlaw

[inmyarmswrappedin]

So, because Fatou’s season ends today and, as far as we know, Druck hasn’t been renewed yet, I want to go over the things I feel the team did well in this season and the things I hope they take with them when they sit down to write the next season (which I’m manifesting will be Ava’s).

I think that s5 and, perhaps to a bigger extent, s6, were the team’s attempt to address fan feedback for and criticisms of s3 and s4. So I have hopes that, after possibly the most scrutinized season of any Skams, they are still willing to read even more feedback and sit down once again to craft a couple more seasons (possibly even 3 or 4 more seasons!).

So, without further ado, things that were done well! (Do I have to add “in my opinion”? Do I??)

I liked that for both s5 and s6, the thorough-line for the season wasn’t made obvious or shared in a press release, but rather it was up to fans to connect the story threads for themselves.

I loved that the team sought to address one of the biggest criticisms of s3, that is, that Matteo was given so many symptoms of a mental illness, but it ultimately went unaddressed in the narrative. They did this by giving Nora a dissociative disorder, and Fatou dyscalculia. (Matteo has been headcanoned as being mentally ill and having a disability.) It allowed the teams to develop both fan theories into full-blown seasons and give each of them the importance they deserved.

I have said this already, but I really appreciate that the team chose misunderstood, misrepresented and underrepresented mental illnesses and disabilities. I feel like s5 and s6 will be referents for many years, because they really took the time to portray a dissociative disorder and dyscalculia in a down-to-earth, unhurried way that isn’t meant to shock and awe, but simply allow us to understand why and when Nora and Fatou will struggle. Druck got the viewers to anticipate when Nora and Fatou would struggle, and that’s the first step in being able to anticipate and accommodate the needs of the Noras and Fatous of the world. I really can’t overstate how important this is and what a difference it makes in a real, tangible way. These seasons aren’t meant to be enjoyed for voyeuristic reasons, but they will legitimately help people.

One of the biggest criticisms of s4 was that Amira and Sam didn’t connect as women of color. In fact, it seemed like in s4 Sam was treated as another white friend, when in s2 both she and Amira were the victims of Kiki’s racism. The team addressed this by giving us Ava and Fatou’s friendship, which I want to say might be the first friendship between main characters of color where their race is a substantial reason for their bond. (There are the Sanas with their Jamillas, but the Jamillas aren’t main characters, and then there are friendships like Jo and Megan and Zoya, or Imaan and Liv, or Luca and Yasmina, but iirc in every case their bond as women of color isn’t made explicit.)

Another criticism of s4 was the way Kiki turned into the world’s most understanding white friend offscreen. The team addressed this with the Ava and Mailin storyline, which I think was wonderfully and subtly set up in s5, then built on with the biology test leaked answers.

On the topic of race, I think a major criticism of s3 was that David’s ethnicity wasn’t acknowledged (to the point where a white actress was cast to play his sister gvhvhv). The team has made up for this with Josh (more in the s6 sm than in s5, but I still count it) and with Kieu My. Fatou and Kieu My bonded over being first/second gen children of immigrants, and in doing so, they acknowledged that these characters aren’t white and have different experiences than white Germans.  

The first 6 episodes of this season were some of the finest writing in the Skams. The storylines all connected and built on each other. The motifs were just so good and beautiful and fitting. The themes were all clearly defined and easy to follow.

The tortoise plot was one of the most fun and imaginative storylines in any Skams, it connected Fatou and Ismail in a believable way. And not to rave about a fucking tortoise, but animals can be really uncooperative and that tortoise delivered every fucking clip. Druck has a reputation for being one of the most depressive versions of Skam, but the Maike/Burger plot was just plain fun.

I feel like some of the old gen’s instas were a bit self-indulgent. I’m thinking specifically of Matteo’s memes and how they they weren’t necessarily the kind of memes a gay dude born in 2001 would pick, but someone a decade older. I think this is much better done with new gen. Fatou’s memes reflect her age and her sexuality, and not just that, but Ava, Mailin, Kieu My, Josh, etc. all pick memes and even focus on different aspects of recent news, based on their gender, race, personalities, interests, etc.

I appreciate that the team found a way to fit a sex scene between Fatou and Kieu My to add to the small catalogue of wlw sex scenes on Skams (I’m including the scene in lovleg or we’d only have two lol). While I understood the reasons eskam opted not to include one, I thought there were ways to feature a sex scene that didn’t sexualize the actresses and didn’t require nudity. Cases in point: the lovleg scene, and this scene in Druck.

And it also needs to be said. This is the first original season with a main of color, and the third season overall (after Liv and Imane) where 10 episodes are given to a character of color and no one else. Of the three, it’s certainly the season that loved and respected its main the most. The bar is so low it’s in hell, but Druck did clear that bar!

With all that said, let’s talk about the things I would really want the team to address in following seasons:

The thing I most want them to fix might be small or unimportant for a lot of people, but I think it’s at the core of why the season has been unenjoyable or certain plot points haven’t come across the way the team wanted, for many people. I am talking about the overly expositional nature of the writing.  It appears as if the team approached the writing of the clips with the intention of hitting each beat as noted in their agreed upon outline, and absolutely nothing else was to be added. This is an issue both in s5 and s6. It’s just less noticeable in s5, because s5 is setting up stuff for Fatou’s season, and possibly even seasons that haven’t been written yet. The fact that absolutely every second counts makes for a stressful watching experience for me, because the narrative tension is always heightened. Whereas with Skam, the narrative tension would build throughout the clip. Take the Pride scene in Skam, for instance. The clip allows for Isak and Eskild to get increasingly more agitated as they butt heads. I feel like if this Druck team had done the Pride scene in s5 or s6, the clip would’ve started with both Isak and Eskild already on edge, and cut much of the dialogue that got them there.

On the topic of naturalistic dialogue, this season doesn’t have it. Here is an example from ep 10 clip 2, Wieder vereint/Reunited 11:37.

Fatou: I’ll get a certificate too and bring it over to you. And I checked it, I only have to change one course and my schedule will work.

Teacher: Miss Jallow, you are not the first one to come to me with an epiphany. We could fill entire school weeks with the lessons you missed. In addition, Doctor Steinberg told me about your, well… activities. You don’t have a lot of arguments on your side. 

Fatou: But I’ve spoken to all of the teachers and they said they are okay with it. 

Teacher: You seem to have friends among the teaching staff. Mrs Pavlovic put in a word for you. Okay then, do it and go before I change my mind. [translated by @kieu-tou! Thank you!] 

Like. This is the bare bones version of a dialogue. This should be the first draft, not the final version. The coordinator goes from absolute no to yes, with just one line from Fatou. The coordinator gives reasons that would necessitate more than one sentence of counterargument, like Fatou’s absences and the Biology test leaked answers. The coordinator even says Fatou doesn’t have a lot of arguments on her side, and yet it takes Fatou one line to change her mind!

And of course we viewers don’t want or need a lot of time with the coordinator. And particularly at this point in the season, no one would enjoy a naturalistic dialogue with the coordinator of all people.  But my point is that this is an issue with the dialogue all this season (and last season as well, but this season has been more scrutinized), the reason I picked this example is because of how easy it is to see here.

Which brings us to the pacing of the clips, and specifically the Friday clips. Because the script goes straight to the information the team wants to convey to the viewers, skipping the build up to it, many Friday clips have fallen flat, felt abrupt, and have been, tbh, unsatisfying. Again, I had this issue in s5, but as that season went on, I felt like the team had a better grip on Friday clips. But then they did it again in the first Friday clip this season, and so I think this is something the writers really should work on. The first Friday clip in Isak’s season closes on Isak being sandwiched by Emma and Even on a bench, visually setting up the love triangle, or more accurately, the personifications of who Isak should want to hook up with and who he really wants. But in order to get there, we’re shown a good amount of info, from the way Vilde, Eva and Sana are handling Noora’s absence, to Chris and Kasper, Even hovering around Isak, Emma trying to impress Isak, Isak escaping and, like, draping himself on the walls because he’s so over it all. Isak playing a game on the bathroom to stall for time. The paper towel maneuver to immediately give us a sense of what a weirdo Even is. A conversation between Isak and Even that gives us some clues about Even’s shame, as well as establish interests in common (like weed), and this is all before Emma even joins them! Just think of all the stuff we learn about who Isak, Even, Emma, Eva, Vilde or Sana are as people, before we get to the point of the clip! Fatou’s season simply didn’t have that. Compare it with the first Friday clip of Fatou’s season where the cashqueens quickly talk about the leaked answers, one of the major storylines this season that only gets a couple lines, before Fatou says she doesn’t want to talk about school (Fatou’s struggles with school, another major storyline), and then we’re onto the point of the clip, which is that Kieu My likes girls too. AND FADE TO BLACK. When people say they want longer clips, what they mean isn’t artificially inflate the clip length or add more plot stuff. Just let us watch the characters interact with each other so that we get a feel for how they relate to each other. I know I wish we’d have gotten more of Ava and Fatou interacting with each other before things turned to shit, and Ava with the other girls, so that I know why they all like and value Ava so much. I wish we’d have gotten more of Kieu My talking to the cashqueens about, like, why she didn’t make use of the biology test answers, instead of getting it on a chat. Or food combos they don’t like. So it makes more sense that later on Kieu My actually thinks she and Fatou are friends.  And every line doesn’t have to count. In Skam España, the characters are constantly talking and not everything they ever talked about ended up being relevant. When one of the characters lied about her house undergoing renovations to hide the fact that she was poor, the characters joked about Italian marble and put on bad Italian accents and made that Italian hand gesture. None of this was important to the plot because those renovations weren’t real to begin with, but they made viewers feel like these were real friends joking around, instead of characters needing to hit every storyline beat in a clip.

I have this joke with my friends about Druck always going 🤪🤪 in the last third of every season, in which a season that was very tightly written and cohesive suddenly pulls something inexplicable and pretty much impossible to resolve in 1-3 episodes. Hanna’s season suddenly switching to Mia, Björn creeping on Mia in episode 9! of a total 10, David getting outed in episode 8 and then disappearing for a whole week, Amira’s season pivoting to Mia and Hanna. It has happened in every season except Nora’s, so I thought the team had learned its lesson, but then the forgotten date with Ava happened. To be clear. It really makes no sense that Nora would have hung out with Ava several times since Tuesday, and the topic of the cashqueens being officially introduced to Kieu My wouldn’t have come up. it’s just not realistic.gif I feel like at that point the writing for the rest of the reason became super contrived to keep Fatou miserable and apart from Kieu My and Ava to artificially delay the reunions until episode 9 and 10. Why add a cheating insinuation and the main checking her partner’s messages in episode 8 if you know you won’t be able to properly resolve it? Why make Kieu My mock Fatou’s “uhm” if it’s not going to be addressed in their reunion clip? Kieu My had taken the initiative for a lot of the relationship, so it’s okay for Fatou to take the initiative when it comes to making up. You don’t have to add things that can only be resolved through an expositional info dump. (Please no more exposition than it’s necessary! I think we’ve established that at this point lol.) In the case of Fatou’s season, this is even sadder because I feel like Kieu My’s intimacy issues could’ve been the reason to drive them apart for two weeks, rather than the Maya/uhm stuff. This could’ve also been resolved through Fatou and Kieu My explicitly negotiating their boundaries and how they want to be comforted and how they want to comfort each other, which I thought was the issue with Fatou rejecting Kieu My’s attempts to help while wanting physical touch, while Kieu My didn’t want to be touched but rather seen.  

There are going to be many thinkpieces on why a myriad of stuff didn’t work for people, so I’m going to keep this simple and address one last thing. I think that choosing to focus on Nora’s mental illness and Fatou’s disability is a great choice that doesn’t complicate the themes too much, but Druck (and all the Skams, but I’m invested only in Druck succeeding at this point) still struggles with being intersectional. This is the major reason why the Ava/Mailin storyline ended not with a bang, but a whimper. There just wasn’t enough work done to connect Fatou’s struggles not just to her disability, but also to her race (and even her sexuality). I think that if people really want (and lbr, it’ll be mostly poc who will put in that effort and work), they can see how Fatou’s race affected the way other people and especially adults reacted to her, but this wasn’t made explicit. If Ava and Mailin are going to argue about racism all season, why not connect that with Karin firing Fatou from Aquarius? As it stands, Karin fired Fatou because of a disability neither of them knew Fatou has, and that was the resolution to that storyline. Why not make it explicit that the Physics teacher had preconceived ideas about Fatou because Fatou is black? Why wasn’t Fatou’s disability addressed in the meeting with the coordinator? Why didn’t Fatou express to Mailin that Fatou, too, had issues with how Mailin was acting wrt racism? It felt like, with the way the season was putting so much emphasis on racism, all these threads were going to be connected. In the end though, it almost felt as if only Ava is affected by racism (aside from Mailin mentioning Fatou in the last episode). It’s not like talking about how racism affects Fatou is going to make the topic redundant for Ava’s or Ismail’s season. As a light-skinned black lesbian with a disability, Fatou’s life is going to be impacted by racism in a different way than Ava’s will, as a dark-skinned black fat straight cis girl, or Ismail’s, as a Turkish-German possibly Muslim possibly non binary person. All these experiences are specific enough, and different enough, that they can be touched upon in different seasons without becoming redundant. The fact that Fatou’s season almost seemed to forget at times that she is a black lesbian, doesn’t bode well for Ava’s and Ismail’s season to acknowledge all their struggles.

The bottom line is that this season really was great and did a lot of good, and I feel like the writing just needs to be tweaked a bit for further seasons to be even better and more enjoyable overall. I am very pleasantly surprised by how the team took s1-s4 fan feedback to heart and worked to implement suggestions, and so I really trust them and hope they keep working on the show. It’d be a shame if Druck wasn’t renewed, with this team at the helm.    

#druck #this post is 3K+ words in word I'm so sorry #but I really hope it makes its way to the writers and is helpful

[drowningbydegrees]

Fanfic Tag Game

Thanks for the tag @lokibus! <3 <3 <3

How many works do you have on Ao3?

54. I've written quite a bit more, but I just can't be bothered to carry over most of the fics from my LJ days. Also, once upon a time I had a super insecure streak and I went on an orphaning spree, so... ¯\_(ツ)_/¯

What’s your total Ao3 word count?

Apparently 457,241! Kinda same as above.

What are your top 5 fics by kudos?

Though I Try Not To (The Witcher)

I'm so weirdly pleased about this. I fell into Witcher fandom totally by accident. I don't usually do fixit fics, but I couldn't help myself. This is, I think, the only fic to date where I've started posting as a WIP and actually followed through and finished.

Where All Roads Lead (MCU)

If there is one plot device I'm just eternally a sucker for, it's time travel shenanigans. This was one of the two time travely fics I wrote for Stucky fandom.

For The Space of a Heartbeat (The Witcher)

I'm honestly really surprised by this? This was totally just a self indulgent spur of the moment kinda thing, and it's only a couple thousand words.

Even in the Dark I Know You (The Witcher)

Okay, I lied. There were two WIPs I actually followed through and finished. This started as a random oneshot for a whump week thing, and then the prompt for the next day fit so well with a follow up chapter that this just turned into a whole story. I really enjoy subverting tropes and with witcher biology I see a lot of sensory overload kinds of fics, so I decided to play with the idea in reverse.

Even if it Hurts (Even if it Makes Me Bleed) (The Witcher)

So, most of the time when I settle into a fandom, there's one fic idea that I feel like I cannot leave without writing. For Witcher fandom, this was that fic. I have a lot of complicated thoughts about soulmates as a romantic concept, even more so when you're involving characters like Geralt, for whom fate is so often a double edged sword. This story was very much an excuse to dig into what soulmates mean for personal agency under the guise of a narrative. XD

Do you respond to comments, why or why not?

Admittedly, I do this with embarrassing inconsistency. Basically, what happens is: * Something gets a good response. * I respond to a few comments and then find myself overwhelmed (mentally, not as in there are a truly overwhelming number of comments). * I step away for a bit. * A month later I realize I still haven't replied. Cue paralyzing indecision about whether it's too late to reply. * Rinse and repeat.

I do want to! And I'm working on it. I've gotten a little better about it, but my apologies to anyone who I haven't responded to. Please know I'm not intentionally ignoring you. ;_;

What’s the fic you’ve written with the happiest ending?

Oh hmm. I had a reputation for a really long time as primarily an angst writer, but pretty much all my stories have a happy ending for some given quantity of happy. I guess it kind of depends on how one qualifies that.

Noonwraiths and Other Woodland Forest Creatures maybe. It's got a got a pretty fluffy ending.

What’s the fic you’ve written with the angstiest ending?

It's a tossup.

I, The Paradox, which is my other time travel fic from my Stucky fandom days, with a paradox (shocking) that lands Steve with two versions of Bucky. For plot purposes even! It's not a particularly smutty story. It ends sort of ambiguously. There's a sequel outlined that was meant to resolve said ambiguity, but alas, it's still sitting in my WIP folder.

Truth in the Periphery. It's a psychological horror story I wrote for an event. I think it's the only fanfic I've ever written that was really intended as a hurt/no comfort kind of story.

Do you write crossovers?

I haven't, but not because I specifically don't. I've just never had an idea that felt compelling enough to follow through on.

have you ever received hate on a fic?

Maaaaybe once or twice a long, long, long time ago, back when FFN was still the best option for posting outside of LiveJournal. I don't think it was even about the writing. I think it was someone was mad that my much younger self tried to sneak smut onto FFN.

Do you write smut? if so, what kind?

I have such a love/hate relationship with smut in my own work. I used to write it a lot because I felt like I had to. It was until I came to terms with being more or less ace irl that it occurred to me why I didn't enjoy writing it. Weirdly, I like reading it just fine.

The thing is, while I don't really care for the physical aspect of it, I like the emotional touchpoints of it, so I do still write smut sometimes. It just tends to be a little cursory in terms of action details and heavy on character dynamics.

Have you ever co-written a fic before?

No. But I used to RP a lot, and it's always been a lot of fun, so I wouldn't be opposed to the idea!

What’s your all-time favourite ship?

Oh shoot. From a romantic standpoint that varies so much depending on what fandom I'm currently feeling enthusiastic about. It's pretty much always a specific character that draws me to a fandom, so I think the most consistent ship I have is favorite character/unconditional love and support. XD

What’s a wip that you want to finish but don’t think you ever will?

The sequel to I, The Paradox I mentioned earlier.

What are your writing strengths?

If there's one thing I feel like I have a consistently good handle on, it's emotional impact. I put a lot of thought into why people make the choices they do and how they relate to each other, and I would like to think I'm reasonably adept at leading readers to the emotional response I'm going for.

What are your writing weaknesses?

Descriptions. I'm just forever in awe of people who can just write settings/action naturally. It's a constant effort for me, and it's the thing I always feel like I fall short on. I can write navel gazing in my sleep, but an action scene? Pfftttt.

What are your thoughts on writing dialogue in other languages in a fic?

Very situational. Kind of like in movies and television. I don't have any kind of always x or y opinion on it though.

What was the first fandom you wrote for?

Inuyasha. It was back when I didn't have a computer of my own and would write at the library, so the only record of it was the site I used to draft and post to that is now defunct. No one is happier about this than I am. 😂

What’s your favourite fic you’ve written?

I think I'm genuinely pretty proud of everything I've written in the last couple of years, but if I had to pick right now, it'd be It Doesn't Break But it Bends. It's a time loop fic. Someone left "Recommended but you will sob." as their bookmark note for it and I think that might be my crowning achievement in fandom.

Tagging (if you want!): @mikkeneko @goodheavensgwen @writinglizards @plotdesigner And anyone else who wants to <3

#things I'm tagged in #my fic #about me

[sevensided]

how did you get into writing fic? i'd love to start but idk even where to begin! I loved adats so I was wondering do you have any advice?

Oh my goodness! I am so flattered you’ve asked me this. Yes, I can absolutely help. I’ll throw a bunch of rambling under the cut.

I started writing fic probably when I was... sixteen years old? A lot of my early works were oneshots. I couldn’t figure out how to do anything plot heavy for the life of me, so I just stuck to AUs or whatever I felt like. I wasn’t in any particular fandom -- I really wrote whatever I had ideas for. I remember I tried once to do a plot-heavy story and I received a review absolutely ripping it to shreds. Like, it was so cruel I cried lol. I ended up deleting the fic. Years later, I get what they were trying to say (basically, more substance, less style), but at the time it cut to the quick. Really, it was only when I was in my twenties that I started writing work that was longer and/or better.

The fandom that helped me actually write plot heavy work was a historical-based fandom. As I’m a historian, it was perfect. I got to use my research skills and knowledge to create works that, above all, aimed to feel authentic. I mainly read historical fiction, so I was familiar with how that genre worked. Miraculously, people loved my work. I think I wrote about ~200k in the period of a year? These were several short stories (20-40k) and a few oneshot filler fics. While I was part of this fandom I also helped organise a Big Bang which was a lot of hard work but was extremely rewarding. Along with that, I interacted mainly with other fic writers, so I spent a lot of time chatting to people about ideas and encouraging other writers, and it just created a lovely medley where no concept was impossible or any line of dialogue too difficult. We supported each other and it was truly like a little commune. I gradually stepped away from the fandom mainly because it was just a part of my life at a very specific time, and almost as soon as that time was over, my love for that story/ship faded, but I firmly believe I figured out a lot of how/what I do now purely through that experience.

Regarding ADATS

With ADATS, it stemmed entirely from wanting to “explain” three months in canon (at the end of season three). I was interested in the idea of season four setting up Will/Mike in canon, and I wanted to test the source material to see if I could draw from what already existed to create something authentic. I began with that simple idea: what happened from July to October in 1985? Then I thought about the major themes I wanted to hit -- family, friendship, coming of age, sexuality -- and I nested them around the bigger concept: how do I get Mike from being ostensibly straight to realising he is gay? That meant thinking of two steps: Mike discovering his attraction to guys; Mike discovering his attraction to Will. Those two concepts were separate “arcs” that needed addressing in different ways. Balance was key to weaving them together and making the reader feel like they knew what was coming (and that they felt smart for putting the pieces together) without just rushing through and going “now kiss!” That’s partly why ADATS needs a sequel, lol: because it’s not finished!

Writing process

The first thing I do when I start to get an idea is I write it down. Sounds obvious. But when you have a killer line of dialogue come to you in the shower and you think “I’ll remember that” -- reader, you will not remember it. You gotta get it down ASAP! I do that the whole way through, as generally I’ll be thinking of scenes I’m stuck on and then it’ll just come to me and I’ll quickly jot it down.

The next thing -- or what I do in the meantime -- is start structuring. I plan. I try to plan a lot. Sometimes it’s okay to write “and something happens here to get them here”, because you’ll figure it out later, but for the most part I’ve discovered that planning is like gold and you can’t get enough of it. I break my work up into generally 3-4 parts/sections, and I treat each section like a mini story. So each part needs a conflict and resolution, and it needs to flow into the next section. You need to have a feeling of things evolving and maturing. Once I’ve planned those little bits, I start thinking about the bigger plot arc and how I can drop in hints along the way. I’m probably not a subtle or skilled enough writer to yet pull off that sort of gasping twist you get in really excellent books, but I’m trying to get there. It’s hard, is what I’m trying to say, but that’s okay, because we’re all learning.

Then I generally do aesthetic stuff. Sounds stupid, probably. But nothing helps me get more into a mood than doing a Pinterest board or -- most of all -- making a Spotify mix. I start thinking about the vibe and the general atmosphere, and then I almost exclusively listen to that mix when I’m working. Sort of like muscle memory? Just to get the creative juices associated with that particular selection of songs.

Another thing I’ll do along with plot structure is character structure. This is a biggie. I mean, a story is nothing without characters. So I’ll just jot down a bunch of bullet points of characters and particular aspects that I want to highlight or remember. I hate continuity errors in fiction. Like, if someone says they work on Maple Street but later in the fic they’re working on Pine Street. I hate that. So I keep note of specific things that my main character might notice at repeated points in the story (colours, places, smells, names, sounds -- so they’re all consistent even as the narrative evolves). That’s another thing -- your characters’ motivations. Not everyone is going to be a huge player, but they all do serve a purpose. The most important character is obviously your main character. I personally think it’s important to let your M.C. be an arse at times. They’re going to be mean, they’re going to misinterpret things or fly off the handle... just let ‘em. Let them be wretched humans, and then bring them back and make them realise what they’ve done. Let them learn! I love consequences in fiction, lol.

At the same time, I’ll probably start writing. We’ve already written down some snippets of neat dialogue or descriptions, but now we should start the actual process. For me, I used to start at the beginning. Usually this was the most fleshed out anyway: I’ll have a clear idea of the beginning and the end, but nothing in the middle. These days, if I have a scene in mind that I can’t forget, I’ll just write it. It will possibly get scrapped or rewritten, but that’s okay, because at least you’ve got it down and now you can devote your brain power to something useful (like figuring out what the middle is supposed to be). I’ll have half a dozen of totally out of context scenes just littered in my Word document that I’ll add to as I go along. Eventually, though, you’re going to start writing properly, and that’s when you write your opening scene.

Opening scenes: super important. Every time I write a scene I think: what is the point of this? What do I want the reader to learn or takeaway? Sometimes you do have filler scenes, but they also serve a different purpose (perhaps to establish a group dynamic or to explore/describe a character’s surroundings). Mainly, though, every scene should push something forward in some way, whether it’s character development or a plot point. So, with an opening scene, I always think you have to establish: where you are; who you are; what they are doing; where they’ve come from (in a philosophical and practical sense); and where they’re going (ditto). That doesn’t have to happen in the first paragraph -- that would be silly. But if you sprinkle that information in over time it’ll gradually build up a picture of your character and that way the reader can get an idea of who they are. You basically need to give a snapshot of what your story is about. This also goes back to the character creator stuff: where they are at the start should be different to where they end up. How that happens is, of course, because of plot, and because you’ve structured everything to the nth degree, we’ve got a very clear progression of that character’s growth (/s easier said than done lol).

General advice

Write down everything: every idea, a bit of dialogue, a description, whatever. Write it down. Doesn’t have to be neat. Just has to be on paper. You can’t remember everything, so if you’re spending time trying to hold those things in your head, it’s taking up space for new ideas to come along.

Structure, plan, structure, plan. Sometimes it’s boring and I hate it. Other times, when I’ve not written in a few days and I open the Word doc and think wtf is this supposed to be, I am very grateful for Past Me for leaving such detailed notes. Seriously, it helps so much. Oneshots don’t really need planning, in my experience. You just get those out there. But multi-chaptered stories really do, even ones that “just” focus on a relationship.

Whatever you want to write, commit to it. Space goblins invade Hawkins? Do it. Eleven and Max find themselves in a cult akin to Midsommar (2019) and must escape? Yes. Just... whatever you want to do, remember that you’re writing it for you. Write what most interests you, what makes you when you reread it go AHHHHH I LOVE THIS!! Because that makes it a thousand times easier to actually get on with the writing when you enjoy what you’re doing.

Write a lot. Every day, if you can, or at least at designated times. Occasionally I have a very specific headspace/vibe I have to be in, but sometimes it just hits me and I’ll say to my partner “I need to write now” and just disappear, lol. The more you write the more you write. It’s so, so, so true. Cannot emphasise this enough. When I wrote that ~200k in twelve months? It was because I literally wrote every. day. Or near enough. Remember that some days you’ll write 200 words, and other days you’ll write 20k (this happened to me with ADATS -- part of the reason I finished it so quickly was because I had sprints of writing 10k+ at a time that only happened because I was in the rhythm of it). Write, write, write. Who cares if it’s crap! No one will see it until you are ready. In the meantime, just write!

Probably last of all (although I could go on and on) is connect with other writers. If you’re struggling to start, sometimes just talking about it can help a huge amount. I hope it goes without saying that you can message me whenever you want, anon or not, and I will talk to you. We can talk about ideas or I can beta stuff, whatever you want! Find like-minded people and talk to them about what you want to do. Another thing this helps is in advertising your work when you do publish. I see a lot of first time fic writers get super down because they publish their magnum opus on AO3 but no one comments. Honestly, it’s because no one knows you’ve published! You don’t have to be tooting your own horn every which way, but just actively talking about your work and even collaborating with other content creators with get you hyped and other people too (and the input and encouragement other fandom members give is just... out of this world. Anon messages helped me finish ADATS when I was really worried I wouldn’t [that’s the truth]. Seriously, support is everything). When you have people excited about your work, you get excited. It’s really as simple as that.

I could go on but this is already horrendously long. I hope even a bit of this helps! If you want to chat or have any more questions, just hit me up any time.

#writing tips #writing help #writing advice #answered #i really hope this helps/answers your question! #i can do something more structured if you want #otherwise here are just my initial thoughts #Anonymous

[meetmeatthecoda]

I absolutely ♥️ADORE♥️ Scripted and would love to read your director’s commentary for it!

Oh, anon!! 😍 I'm SO THRILLED that you loved Scripted so much, that makes me so happy!! 🥰 Especially that you loved it enough to want to read my "director's commentary" (that phrase makes me laugh, you'd think I created a feature length film all by myself 🤣), so I think I'll skim through the fic - it's been a while since I re-read it - & make a bullet-point list of any special BTS info I can think of 😊 Anddd I'll also put it under a read more cause you know me, I never use one word when one hundred will do 😂

So, the fic itself was inspired by the ending of 5.08 where Liz wakes from her coma to Red reading to her in an armchair as he had been for the past 10 months, it's fine, I'm fine but she still has a ventilator in so she can't talk & instead has to write "how long?" on a piece of paper & her handwriting is super shake-y bc her muscles are so weak (I think Red even helps her hold the pen? It's clearly been a while since I re-watched the ep whoops but ugh, be still my heart.) For some reason, I just latched onto the idea of a mute Liz, really suffering with the implications of everything she went through (since her recovery was so glossed over in the show boo) & Red 1000% being there for her. Mostly, I just wanted to dive into the dynamic of Liz letting Red care for her the way he's always wanted to (without Tom & Agnes btw) to the point where their relationship is unhealthy in its reliance, but neither can see it bc Liz is blocking things out (& unknowingly falling in love with him) & Red is just so thrilled to be able to love & care for her (while already deeply in love with her obvi). So yeah, that was the kind of dynamic & closeness I wanted to explore between them & it was... really fun 😊

The idea of the coma providing the perspective Liz needed to see that Red has always had her best interests at heart & clearly loves her (in addition to the fact that he never left her side or gave up during those 10 months lol peak romance tbh) seemed very organic & logical to me.

I liked the idea of Red & Liz playing board games as a way to pass the time & get to know each other better. It's the kind of casual interaction we were never gifted with in the show & I think they're both competitive in the right circumstances, even if its playfully so.

I liked the idea of Liz being urged to learn ASL, as I'm deaf in one ear & would dearly love to learn it at some point.

The detail of Red sleeping on a cot close enough to Liz's hospital bed that they can hold hands in their sleep was a total guilty pleasure addition & I'm not sorry.

I loved the scene in the beginning where Red is talking to Dembe on the phone in the hallway & Liz is practicing her letters. She's purely doing it so Red doesn't worry & I loved the idea of her being apathetic to everything except Red's concerns, plus I added in the parenthetical of (Red sometimes squints at her k's.) bc I thought it represented that well, but also bc it was just cute af. I also added the little detail of him waving at her through the window at the last minute bc I thought the scene needed something else & once I pictured that, it was too adorable to leave out.

Red handling all the details of Liz's care & transportation without asking (bc he instinctively knew that's what Liz wanted) only to turn around & panic about excluding her seemed like a very RED thing to do & I like how it emphasizes his well-meaning intentions, respect for her preferences, & desire to see her happy, even if she did actually want to leave him lol as if.

I liked the visual of Liz stumbling into Red's arms as she stands from her hospital bed to leave with him (sets a precedent for later) & I also loved the visual of a pen in her ponytail & of course Red using it to flirt a little bc come on.

I remember struggling to write the car ride transition to the lake house. I usually get ideas & visions for specific scenes, moments, or bits of dialogue, so those kind of transition moments are hard for me sometimes. But I liked that I settled on Red helping to ground Liz through touch (again, sets a precedent for later).

Red & Liz playing hangman in the car with Red using the word "fedora" & drawing a suited hangman made me giggle.

I can see the lake house very clearly in my mind, complete with the willow tree, bench, & tiny house (included bc I desperately want a tiny house in real life) & I really enjoyed describing the interior & imagining the joy Red would get out of decorating it with Liz in mind.

Their first night in the house where Liz has her nightmare & Red comforts her - that was a scene I had in mind very early on & I love how it turned out, especially with Liz mouthing "stay with me" into Red's neck, that part gave me All The Feels™.

The "morning after" scene where Liz realizes on some level that she's too dependent on Red is an important moment in the fic & the off-hand detail that at least "she's not going around murdering people & calling it therapy" was a bit of shade to Ruin (which I don't think I ever saw bc I was kind of appalled with the idea lol) I think I posted Scripted after Ruin aired... if not, I guess I'm psychic?? LOL

The breakfast scene - & the fact that Red is preparing every breakfast food known to man bc he's nervous too - is near & dear to my heart. I think that's a pretty pivotal scene since they kind of reach an unspoken agreement & peace &... "things settle after that first breakfast."

I liked the teeny little parenthetical section that comes next as well, which acts as a sort of middle point for the fic.

The next large chunk of the fic was pure indulgence for me. I LOVED writing about all the different things they would do together when it was just the two of them, it was basically a collection of Lizzington headcanons & that's how I sketched them out LOL Here's some notes on them:

I came up with the jigsaw puzzle headcanon (that Liz is bored by them bc they're easy for her bc she's a trained psychologist & easily sees patterns in things) late in the editing process but loved it so much that I included it.

Liz's sandwich preference is actually mine LOL

The Monopoly banter was fun af to write bc I love that game.

The love notes Liz leaves around the house for Red is still an all-time favorite headcanon of mine.

I loved the idea of Red reading to Liz in a foreign language, holding the book only for looks, but not actually reading from it at all & instead professing his love for her. I think I've even used that headcanon in another fic LOL

Their movie nights were also something I was dying to include, especially since they include snacks & cuddles.

Their co-sleeping habits were also something I wanted to include & Liz's newly tactile nature is both a symptom of her dependence on Red & also a guilty pleasure thing for me bc we all wanted more of Red & Liz touching on screen, plus I felt obligated to explain through Red that it wasn't sexual in nature (though if I ever get around to writing part 2, that will change 😉)

Dembe being the one to observe & interfere in their situation was an early scene I imagined as well, that was always going to be the climax of the fic (or at least part 1). I so enjoyed writing about Red & Liz's relationship through his eyes bc he just loves them both & only wants to help them.

Another pivotal scene I imagined early on was Liz having a panic attack with Dembe when she discovers Red has left & that was super engaging to write, as well as the reunion between them which... I pretty much wrote the whole fic with the goal of getting to that lovely angst LOL

Red's resolve to finally urge Liz to speak was heart-breaking to write (so naturally I loved it lol what's wrong with me) & in particular the detail of them eating fruit for lunch before he broaches the topic with her & the parenthetical about it being "a sign from the cosmos that they are meant to be together just because they don't eat each other's favorite fruit" made my heart happy even tho it's stupid LOL & when Red asks her if she would ever try to speak again & she responds with a simple written "Why?" that was a huge moment that I loved the angst of, of course. As well as the absolutely gutting: "Lizzie, I miss your voice."

I liked that Liz needs some time to think & accept everything Red forces her to realize at the end, that was super important to me in the resolution of the fic/part 1 & I tried really hard to include both their mentalities there at the end.

The fact that Red hasn't had a drink since he started caring for Liz also made my shipping heart happy.

And - lastly - the fact that the only thing Liz actually says in the whole fic is Red's name? Yeah 🥲🥲🥲

Welp, there you go, anon, I'm not sure if that was interesting to you at all, but I certainly hope so!! I know that was a lot but... it's a long fic, my longest ever, so I figure it's warranted, right?? 😂 Anyway, thank you so much, both for the compliment of loving Scripted AND for wanting to read more about it, anon, you are so sweet!! 🥰 I hope you enjoyed this & much, much love to you, my friend!! ❤️

Fanfic Writers: Director's Cut

#The Blacklist #Lizzington #fanfic #Scripted #ask game #fanfic writers: director's cut #mine #ask #anon #thank you so much for this my friend!! #:D #i hope you enjoyed this #:) #much much love to you!! #<3

[petitommo]

re: (not so) small rant about Theo, Liam and season six of Teen Wolf

(original post by @livingbythewords, you can find it linked here. i originally wanted to reply to the post, but replies are turned off. i’d reblog it, but it’s pretty long, so i wanted people to get to choose whether or not they wanted to read it...)

i saw this post in the liam tag when i woke up yesterday, and i kept sporadically thinking about it and discussing it with people (and in my own head), and i definitely have some thoughts about it, not gonna lie... still, as i said, absolutely feel free to ignore this if this ain’t your cup of tea at all, but if you wanna hear my thoughts about 1. livingforthewords’ post and 2. theo, liam and season six of teen wolf, feel free to look under the line break :)

(i’ll be posting some of the lines from the original post for context to what i’m saying, but if you do wanna read my answer, i recommend reading the original post as well! let me also preface this by saying this is in no way meant as hate towards the creator, sceo as a ship, or scott mccall as a character. i found some parts of this post had traces of what i’d consider to be a harmful way of thinking about fandom and shipping, and i wanted to adress it.)

the post mentions early one that liam brings theo back to use him, and that as soon as he finds out theo no longer has josh and tracy’s abilites, he wants to send him back. that the only reason he doesn’t is because theo remembers stiles. with this, you say that you see thiam shippers claim that liam does it from the goodness of his heart.

personally, i’ve never seen claims that that was the reason liam did it. i have, however, seen (and personally think this myself) that theo coming back from the hell he’s been put in by the hands of liam, might make theo quick to develop a bond or feeling of gratitude towards liam. there’s no doubt in my mind that theo understands why liam did it — but even then, it still got him out of there. in canon, no other pack member but liam even entertained the idea of getting theo back — i think theo is very aware of this, as well — which in itself automatically makes liam the safest pack member for theo to latch onto, from the get go.

Liam distrusts and despises Theo – and it never changes throughout the course of the show.

again, with the basis of liam and theo’s developing aquaintance in season six (heavily conveyed through non verbal communication - both in the form of touches/glances/body language and the things written between the lines; the things not specifically worded, but definitely said through their dialogue), there’s a lot that can be up for interpretation.

when i watched the show, i saw two characters who, yes, clearly had a shared hatred towards each other, learn how to work together and develop a tentative trust (that only grew throughout the season). i saw two characters that shouldn’t work together, work together insanely well, to the point where no verbal communication was strictly necessary.

my point is, thiam as a ship is heavily influenced by interpretation of what you see in their dynamic, and i find it troublesome that you look at other people’s interpretation and publicly say;

However, shipping someone and having fun with it is not the same as twisting into knots to try to prove that canon supports something, when it doesn’t.

especially when you follow this up by saying;

Yes, there is a person who acknowledges that Theo has changed. Who trusts and supports him even when they have no reason to. Who is always there for him and tries to treat him fairly even after being incredibly hurt and betrayed.

But that person isn’t Liam.

because you and i watched the same show, and we clearly have majorly different interpretations of season six; of theo’s relationship with people post-hell; of liam dunbar as a character.

however, i am not gonna claim that you’re wrong, and i’m right. your interpretation is entirely different from mine — and yes, based on what i saw, i do personally think you’re wrong, but here’s the thing; i understand that interpretation of this is just that; interpretation. theo isn’t canonically linked with anyone, therefore i cannot say that thiam is right and sceo is wrong — even as that’s my personal view of it.

back to the theo and liam and thiam shippers adressed in this post;

i want to preface my response to this with the fact that i myself have been/are in healthy BDSM dynamics. i have also jokingly said that theo ‘probably enjoyed it’. i have online friends who have joked about theo enjoying it. and here’s the thing; none of the people i know seriously think theo, in that exact setting, enjoyed it.

a great thing about fandom and shipping is the exploration and discovery of one’s own sexuality. we often talk about it openly; we discuss it with people, we’re ‘horny on main’, we learn from fellow shippers, we read fanfiction. we joke around with stuff.

there’s no doubt in my mind that people do not think theo raeken got pulled back from hell, chained up and forced to follow liam and hayden around, and actually enjoyed it at that moment. however, can i personally see theo as a character that would enjoy being chained up in other situations? yes. a lot of us do. and so we joke about it.

joking about certain aspects of a BDSM relationship when you’re looking at/reblogging things from canon does not undermine how important a proper and healthy BDSM dynamic is.

the post also touches on theo being a traumatized kid with unhealthy coping mechanisms. this is, without a doubt, the core of theo as a character. however, by putting it in the context of why it’s wrong to joke about him being a sub/rope bunny, feels so misplaced to me. a lot of kinks develop from the trauma we have (talking from experience). a lot of kinks develop at — seemingly — random (talking from experience). being traumatized doesn’t automatically mean we develop kinks, sure, but it also doesn’t mean we do not develop kinks.

without a doubt - chaining him up and dragging him behind them was not a kind thing to do; i don’t think anyone disagrees with that. but at the end of the day, these are characters. theo is a character we’ve barely gotten to know, especially post-hell theo, so he develops in our mind, we have headcanons, we think of personality traits that weren’t shown in canon. some of those pertain to his sexuality, and that’s okay.

this also pertains to your gripe with people looking at canonical depictions of thiam and seeing it as love. again, even in the thiam shipping part of fandom, we have majorly different interpretations of certain scenes, and that’s okay. i’ve touched upon the importance of acknowledging that thiam as a canonically hinted at couple is all up for personal interpretation of their canonical depiction; this also means that people will see things very differently.

the original post was mainly aimed at theo and liam as a ship, so i won’t get into the comments about liam as a character that much, but i will say this;

even you yourself mention that liam absolutely has reason to resent theo. but, you go on to claim that liam doesn’t have as much reason for resentment as other characters.

liam might not have been personally wronged by theo in season five as much as other characters, i will agree with that. but, he did watch theo’s actions and influence in the things done to mason, to hayden, to scott. all people he loved. this, in itself, is reason enough to build resentment towards a person.

it’s also important to remember that theo lessened liam in his mind to the beta with anger issues, stripped away every complex part of liam and simplified him into this one trait that liam himself has struggled with and tried to distance himself away from.

liam struggling with being depicted as a monster — pre supernatural; because of IED, supernatural; as a werewolf — has been canonically shown so many times. it’s gotten us the line of «you’re not a monster. you’re a werewolf, like me.». we’ve been showed, time and time again, that liam has a complexity within him that is constantly undermined — by brett, by stiles, and yes; by season 5 theo.

sadly, i also see liam simplified and put into the box of beta with anger issues by the fandom. this also, from what i’ve read on your blog and from statements about liam in this post, includes you.

how does that change in season six? let’s get back to the claim at the start of this post; of thism shippers claiming liam is the only one who trusts and supports theo, and look at it this way; theo — previous homicidal maniac out to ruin the pack (put simply; we’re both theo apologists, we know there’s more to him than that) — is one of the first people to look at liam’s anger and not let it be his only character trait.

the post mentions glances in the truck scene; this is what the truck scene (in my mind) is really about. theo acknowledges — even if not explicitly stated — that the anuk-ite’s ability to raise fear in people, raises anger in liam. he sees that liam’s anger is a direct consequence of the anuk-ite; he sees that the fear instilled in liam translates into anger; because of IED. this lets liam be a character that has IED, instead of just liam - the angry character.

this, again, is my interpretation of this scene. you might not have seen it that way. once again proving that this is a ship based on interpretation.

claiming that interpreting scenes is twisting canon until it fits your idea of it, is such a harmful way of looking at shipping. i have never interpreted anything romantic between scott and theo in canon, and could, in turn, claim that you twist canon until it fits what you want. but i’m not going to, because your interpretation of things doesn’t have to fit mine.

you can’t write a rant about thiam as a ship, state that you don’t want to tell anyone who to ship and that certain ships are wrong, and then undermine every interpretation anyone has had about liam and theo as a ship.

we’ve all seen the same season of teen wolf, we’ve all seen the exact same scenes (there are no version of the show you watched); but we’re all very different people. we interpret things very differently.

AND THAT IS OKAY.

do not undermine people’s ship. if you hate thiam, just stay away from it. don’t expose yourself to it. ignore it for all it’s worth.

it’s that easy.

#feel free to ignore this ppl :) #just had to get it off my chest #thiam meta #of some sorts?

[thelivebookproject]

Talking Books With @thereadingchallengechallenge!

[What is this and how can I participate?]

Hello again!

Today we talk with the queen extraordinaire of #LoveOZYA. Get ready, because this is a long interview: we discuss books she likes, accurate portrayals of disability, and reading under the radar.

Important note: I haven’t changed or edited any of the answers. I’ve only formatted the book titles so they were clearer, but nothing else. Because I’m incapable of shutting up, my comments are between brackets and in italics, so you can distinguish them clearly.

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[Image description: a square titled “Know the blogger”. Name & pronouns: Em, she/her; country: Australia; three adjectives to describe her: easy-going, verbose & curious /end of description]

1. What was the last reading challenge/bingo/readathon/etc you took part in?

Oh dear, I don't remember! I think it might've been the "Booklr Reads Australian" event I ran in 2019? I'm very much a mood reader so I find it difficult to stick to specific reading challenges. But I set my own little challenges for myself each year :)

2. Last book that made you laugh?

I've been listening to the audiobook of Howl's Moving Castle by Diana Wynne Jones before bed and I keep having to bury my face in my blankets so I don't laugh and wake anyone up 🤣 Howl is the walking disaster I'm looking for and I am thoroughly enjoying reacquainting myself with him and Sophie's antics.

[Everyone says they laughed with this book and I don’t remember laughing when I read it???? Like, it was fun, but not laughing-out-loud fun. Am I broken?]

3. Do you read graphic novels?

I try. I have my favourites - Heartstopper by Alice Oseman 😍 - but I'm visually impaired so if the font in the dialogue and text is too small, I literally can't read it. This has meant I've missed out on iconic stories like Nimona by Noelle Stevenson. I've tried to think of a way to bring attention to this issue but I haven't come up with anything yet. 

[Oooof that’s hard, I’m sorry. I don’t really read graphic novels because I’m not usually interested, but not being able to read them because you can’t... Perhaps having transcriptions of the dialogue in a bigger font would help?]

4. What are some books related to a topic you care about?

My ultimate passion when it comes to books is finding accurate representations of disability. With roughly 1 in 5 people around the world having some kind of disability but only around 2% of media including disabled characters, there's a major issue with this. Especially when you consider the fact that a significant amount of disability representation is inaccurate at best and actively harmful at worst. Finding good disability rep has been an enlightening experience during my blogging journey and I've found some great books that represent disability authentically and sensitively. 

On the Edge of Gone by Corinne Duyvis - a stunning sci-fi novel about an autistic girl in Amsterdam trying to make it to safety when a meteor endangers life on Earth. Corinne Duyvis is autistic herself and is also the creator of the #OwnVoices hashtag which is now used across the publishing industry.

History Is All You Left Me by Adam Silvera - I love a sad story and Adam Silvera writes them like no one else. I loved this story about a boy grieving his first boyfriend while trying to cope with OCD. Silvera writes about mental illness a lot, always with care and respect, and writes beautiful queer romances alongside it.

RUN by Kody Keplinger - I loved this book about two best friends, one of them visually impaired, running away from home to try and seek their fortunes away from their controlling families and tight-knit community. Disabled (and queer) herself, Kody Keplinger is a fantastic author who writes some of the most realistic teenagers I've ever come across. She writes about heavy topics like sex and abuse with such care and realism without it ever feeling sensationalised or over the top. I'd recommend any of her books but this has been my favourite so far.

Everything I've Never Said by Samantha Wheeler - A short, Australian novel, this follows 12-year-old Ava who is living with Rett Syndrome and desperate to find a way to communicate with her loving family. I found this book incredibly emotional to read because of how well Wheeler explained the difficulties disabled people (and their families) face while trying to seek even the most basic of aides and assistance. She didn't pull her punches in showing the ableism and abuse Ava faced in the community, from her doctors, from support workers, while also showing how empowering it is to connect with other disabled people and feel pride in that identity. 

Unbroken: 13 Stories Starring Disabled Teens - edited by Marieke Nijkamp, a disabled writer I love to pieces, this YA anthology features a broad range of disabilities in characters whose identities range right across the board. If you want to learn a little about a lot of different disabilities, from authors who share those disabilities, this is a great book to pick up because it beautifully illustrates how disability intersects with other kinds of identities as well.

If you're looking for other books featuring disabled characters, check out Disability in Kidlit for in-depth #OwnVoices reviews or my "Disabled Characters" shelf on Goodreads. 

5. Who do you share your passion or your reads with?

Mostly booklr. When I hang out with friends - remember doing that? - we usually catch up on what we've been reading or we visit a bookshop and I spit recommendations left, right and centre, but for the most part, I just share my reviews on tumblr and Goodreads. Which I enjoy - I love knowing that someone's gonna see my review and get a different perspective on the book than the blurb or how the publisher has marketed it. 

I learned early on running my blog that books so often only tickle our fancy because of their blurb but when a blurb completely contradicts the actual story - like, say, The Raven Cycle by Maggie Stiefvater - we can miss out on books that we'd really love. So when I write reviews, I always try to present my reads a little differently than the official blurb has in the hopes that maybe someone will give that book another chance. 

[I should write blurbs too, but I’m too lazy. I usually just copy the blurb off Goodreads when I review, and then just explain myself what’s going on if I think there’s something missing]

Free space to say/add/recommend anything!

In my search for accurate representations of disability, I have also discovered loads and loads of authors who fly under the radar around here. I love boosting these quiet voices of YA but I thought I'd share a few tips to help other people find these lesser-known books on their own.

Look for authors who aren't from America: I know, I know - the market is saturated by Americans, but it isn't too hard to find lists of books and authors from other countries if you know where to search. If you aren't already acquainted with Goodreads' lists feature, go check it out under their "Browse" tab. Search "UK YA" for books from Britain, search "#LoveOzYA" for books from Australia (and sometimes New Zealand). There are usually yearly lists and if not, there are definitely lists of popular books from other countries. It can be hard to buy these books from overseas but request them from your library, order them through your local independent bookstore - they are always happy to help you find books off the beaten path. 

[Good moment to say that you should also read translations!!!! Not everything in this world is written in English, and there are very good books out there you all are missing out on because you don’t branch out!]

Use Goodreads "Readers also enjoyed" feature - carefully: If you use Goodreads on desktop, you've probably noticed the little slideshow in the top right corner of a book's info page with a stream of similar books. But did you know that it tends to group books from the same country together? If the book's American, it shows other American books. If it's Australian, it only suggests other Australian books. An excellent example of technological bias for anyone taking media courses but not too helpful for us bookworms searching for an obscure new read. The easiest way around this is to find one book from a different place and then just scroll through the other books, seeing what strikes your fancy. Go down the recommendations rabbit hole and see what magical land you end up in.

Look at the end of Goodreads lists, not the start: Back to those lists, you'll notice that they're sorted by votes, with all Goodreads members allowed to add books and vote for the ones they love or care about. So, naturally, the most popular books end up at the top - this is most evident looking at the "YA Releases by Month" lists. But if you go to the end of the list and work backwards, you're sure to find some interesting novels that only a few people have heard about before. 

Sort your TBR by number of ratings: We've all done that thing where we hear about a book, add it to our TBR, and then promptly forget about it. Use this infinite bookworm problem to your advantage and sort your TBR by the number of ratings a book has, using the bold column titles on your shelf page. You may have to add the function by visiting your Want to Read shelf and selecting Settings > Visible Columns > activate "Num Ratings" > Save Current Settings.

Book shopping? Check the Bargain section: A lot of my early unknown YA discoveries came from looking in the bargain sections of websites and bookstores. Often cheaper, because the bookseller is trying to clear space, it can be really interesting to see what books you find in these sections of stores. You don't always have a lot to choose from but you can often be pleasantly surprised by what you'll find and you're almost guaranteed to come across authors you've never heard of before.

[This is actually a super neat trick, I’ll definitely try it next time!]

All sound a little overwhelming? No worries! I have several lists of "under the radar" recommendations available on my blog if you just want to pick out a few titles to get you pointed in the right direction 😊

You can follow her at @thereadingchallengechallenge and on Goodreads.

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Thank you, Em! This gave us lots of food for thought and your links are super handy.

Next interview: Wednesday, 23rd of September

#talking books with #booklr #september 2020 #thelivebookproject

[jlf23tumble]

Hi! I've seen you rec fics before and I'm wondering if you have any recommendations for Harry Styles fics that deal with gender. Like Harry being either nonbinary or that being the focus of the plot in some way. Thanks!

I have GOT YOU, my friend! I answered a similar ask a long time ago, so I’ll bring those recs over, plus add newer ones, just to keep us up to date. Same caveat as before, though--these fics delve a bit deeper into the genderfluid side of the fine line rather than just the “harry in panties” side because I think you’re more interested in the former, but if I’m wrong, let me know! Enjoy!

Us, Me, We, @homosociallyyours, 2.3 (Harry/Harry, Harry/Louis). Featuring Harry trippin’ balls and truly seeing “her” in the mirror.

you make me wanna (how deep is your love), orphan_account, 2.5k (harry/louis). As the notes say, “straight up porn,” featuring trans Harry.

Friendly Fire, @vondrostes, 2.6k (Harry/Ny). Look, you’ll see a lot of Terran here, I had to hold *back*, but he writes tons of pairings, so there’s something for everyone, and I rec it all! In this case, Harry learns an important lesson about why he shouldn’t date straight women.

No Control, thegirlwthekittentattoo, 2.6k (Harry/Louis). The dialogue here is EVERYTHING, it’s cute and hot and emotional yet still funny, like Harry’s bra being named Christi with an “i”, and I loveeee how much is packed in here.

Silent Night, @sulkingroom, 2.7k (Harry/Xander). I’m 99% sure this is Melissa, not orphan_account, but she’s another author who writes stunning fics that play with gender, this one featuring trans Harry at Christmas.

She, Myself, and I, @vondrostes, 3k (Harry/Nick). Angst city, with Harry telling Nick exactly who “she” is.

Every Drop of Rain, haemophilus, 3.3k (Harry/Taylor). Told through Taylor’s eyes, a fascinating look at Harry and his gender journey. (I highly rec this author’s work in other pairings for similar vibes!)

if they find out, will it all go wrong? blankiexrry, 3.4k (Harry/Louis). Gender exploration behind the scenes when the D played MSG, plus extra kink added!

The Assassination of Harry Styles’ Dignity, wishforwishes, 3.5k (Harry/Nick). This one was in the pubefest, and it’s gryles angst hours gorgeously done as Harry ponders shaving past and present (highly rec this author for gender exploration in other pairings, too).

She Feels So Good, Zedi, 4k, and its sequel, Turns Out She’s a Devil In-Between the Sheets, 3k (Harry/Louis). Mannnn, this universe is so good! Part one is behind the scenes of the Late Late Show after Kiwi, and part two is sexi times in Italy. I utterly adore how this Harry shifts right along with her pronouns.

Fertile Ground, Blake/ @newleafover, 4.4k (Harry/Louis). Jesus wept specifically at this story, CHRIST, so much dysphoria-related angst!! The sheer number of moments guaranteed to make you stare at the wall for one (1) hour, help!

into joy i’m sailing, @hereforlou, 4.6k (Harry/Louis). The tenderness LEAPS off the screen in this one, Harry forgets he’s wearing a dress when Louis comes over for dinner, and I peel my heart out of my throat every time.

weird honey, orphan_account, 5.4k (Harry/Louis). I’m a big lurker in fic comments, and these ones give me joy because big names from a time when this Harry drew even more hate than today are here, spreading love and support--who was this author? This story is so GOOD, I’d love to know what else they did! (In this case, a sex toy helps Harry deal with not having a vagina.)

violence of my own touch, 14hrflight/ @got2ghost, 5.2k (Harry/Louis). Chi is yet ANOTHER author to read for spot-fuckin’-on genderfluid characterization (here, it’s alpha/alpha with all kinds of bdsm, dysphoria, angst, and more).

it’s you i want to take apart, orphan_account, 5.9k (Harry/Louis). This author--in the year of our lorde 2012--watched the nail polish interview and created a work of art that went even deeper, their MIND!!! What else did they foretell??!!!!!

Love at Home, @vondrostes, 6.9k (Harry/Xander, Harry/Zayn/Xander). This fic is HYPER-current, like, mid-quarantine, and it features some Zarry history, some pregnancy-related dysphoria, and so much more, plus horses!! (The horses aren’t actually all that involved, I just love to see ‘em.)

Vinyl and Lace, objectlesson/ @alienfuckeronmain, 7.5k (Harry/Louis). This one kills me because it’s XF days, and you get the full-on sensation that this is meant to be kinky play funtime, but it’s going to end up being something much bigger on so many fronts, we love to see it!

Are You Gonna Be My Girl? LoadedGunn, 7.5k (Harry/Louis). EASILY my fave fic this author wrote, basically, Louis talks about his first time with a girl, Harry decides to be that girl, and the dirty talk hits different in the end!

call me anything you like, but my name is, wishforwishes, 9.9k (Harry/members of CHASM). [muffled internal screaming whenever I think of this fic] It starts with BSE Veronica/Zayn and ends with Harry Veronica/Zayn, and so much revelation happens in between, goddddd bless.

fallin’ and laughin’ at the drinks we spilled, enbyharry/ @non-binharry, 14k (Harry/Louis). Asia’s description in the notes kills me, but #vanlife Louis runs into proud Harry in some bar and shenanigans ensue is the upshot!

But She Doesn’t Know Who I Am series, jaerie, 15k (Harry/Louis). I love that one of the tags here is “louis asks inappropriate questions” because that’s honestly most of what happens!! 

o/o angst series, HappyPrincess/ @pattern-pals, 17k (Harry/Louis). I miss Nina’s writing like a phantom limb, and I doubt they’ll return to this universe, but I swear, I will read (and rec) ANYTHING they produce when the muse visits them again! This one is as its title says, and it doesn’t disappoint, heavy sigh.

Grenadine Sunshine, objectlesson/ @alienfuckeronmain, 18k (Harry/Louis). This fic is a peach of a pearl written as a gift for one of this fandom’s best authors, and it perfectly captures the Mood of that author, with so much softness, makeup, gender, and tender.

Alpha Louis/Alpha Harry series, 14hrflight/ @got2ghost, 22k (Harry/Louis). SO MANY GENDER ISSUES EXPLORED HERE, WOW!! College roommates come to terms with their identity, and, mannnnn, do I love it when a/b/o gets unstraightened, if you will, chef’s kiss all around.

Nothing You Can Do (But You Can Learn How to Be You in Time), Teumessian, 28k (Harry/Louis). Also known as the pinterest fic, this one is just so soft and lovely, an identity story told through hair (among other things).

genderfluid!harry series, istajmaal, 33k (Harry/Louis). This entire series hits just as hard today as it did when it was written in 2013, a time when people were aggressively trying to make fetch frat boy Harry happen (some of ‘em still are, lmao). Anyway, this is another author I highly rec for all their other fic, but this one does an A+ job of describing Harry’s gender exploration mid-D madness. 

Amor Victorious, HappyPrincess/ @pattern-pals, 38k (Harry/Louis). Another brilliant work from Nina, you feel like you’re on this journey with them, PLUS it dives deep into gender identity struggles, PLUS it throws a/b/o for a loop, all of which equals a big yes from me!

hush., wankerville, 41k (Harry/Louis). One of my all-time faves, this one tackles so many phobias, all while being set in a small-town America high school AU and managing to be the softest, most gorgeous, most hopeful thing in spite (because?) of that.

Time Passed, coffinofachimera/ @belialsmiracles, 66k (Harry/Louis). LISTEN, I WILL NEVER, EVER SHUT UP ABOUT THIS FIC, I can only hope the author will bless us with a timestamp or something else entirely, it’s so beautifully done, it makes you think of nothing else for days, it RUINS you for other fic (I highly rec the author’s other work, too). You’ll never look at Tokyo Harry the same way again (or listen to “She” or “Fine Line” without getting more than a little misty). GOLD STAR!

Made of Lightning, @vondrostes, 74k (Harry/Louis, Harry/Liam, Harry/Louis/Liam). Just...the tags on this don’t do full justice to the journey of it, to the imagination of this specific timeline! I adore how Terran writes trans Harry!

Second Spring, @vondrostes, 103k (Harry/Louis). Speaking of Terran writing trans Harry, this one covers all the ins and outs of her surgical transition, how she recovers, and how she and the people around her deal with puberty no. 2. 

#fic rec #gender #harry styles #whew it's a long one!!