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randomly--accessed--memories · 26 days

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Angel is rather alarmed one day when he hears Vox call Niffty "Nancy" and she answers to it immediately, calling him "Vaughn" in return.

Names are powerful in Hell– nowhere near as powerful as contracts, but still. When you give someone your true name, they gain a certain level of power over you, which is why contracts are usually signed using human names. Only the most audacious overlords (eg. Alastor, Valentino, Carmilla, Rosie) still use the names they had when they were alive.

Intellectually, Angel knows that Vox isn't in a mental state where he can or would even want to take advantage of this, and it's entirely possible that he may just completely forget Niffty's human name at any moment, but it still puts him on edge. Angel likes Niffty and wants to keep her safe. Regardless of how far Vox has fallen, Angel can't help but still see him as somewhat of a threat.

#everyone in the hotel knows vox's real name at this point since he so often forgets his sinner one #but none of the rest of them have shared their human names with each other yet #in niffty's mind though she thought it was only fair to share hers with vox #she knows his and he's her friend after all!#vox (ram)#niffty (ram)#angel dust (ram)#randomly accessed memories #neutral #the power of names is kind of a chicken-and-egg thing #they're powerful *because* they're kept secret #although not many people realize that #those who use their human names from the start and stick with them throughout their lives in hell can't be 'controlled' by them #they're just names #but because those who use their true names tend to prove themselves to be quite powerful #there's a misconception that they can't be influenced *despite* using their given names rather than because of it

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sequesteredbhaalspawn · 2 months

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Someone: *calls tabaxi durge gortash's attack dog* Tabaxi Durge: I am going to kill them. Gortash: Really? Tabxi: They called me a dog, it's a matter of pride. Gortash: Oh... well that's fine then.

#the dark urge #dark urge #durge #enver gortash #durgetash #( I wanted tabaxi to be a playable race so bad while playing early access.#( I held my breath while learning what was going to be in the game in the final panel from hell. )#( just let me play a catboy. please & thank you.)

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panakina · 5 months

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Self indulgent post but i am constantly resisting the urge to put various Batfam members in Gotham-equivalent shithole cities from other universes and forcing them to solve crimes.

Ankh-Morpork. King’s Landing. Kirkwall. Revachol. Dunwall. I don’t know, Coruscant.

I just want to see these hyper competent weenies get stuck in a universe with no back up, no resources or reputation, trying to solve wizard crimes. I think it’d be funny.

#wish list of all the crossovers im too lazy to write #tim should get stuck in ankh-morpork and have to work woth sam vimes and vetinari #jason i would like to dump in kirkwall from dragon age #he’d fit right in with the other tragedies #dick perhaps should be stranded in prequel era star wars #whereas i would like to put cass in Dunwall from Dishonored #actual ray of light duke should be in Yarnham for maximum challenge #and to make the most of his powerset #also they would all be angsty as hell about losing access to their family #that’s just a baseline #jason todd #dick grayson #tim drake #dragon age #discworld

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piers-official · 9 months

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... Right-o then. Wasn't expectin' to hear from that arse today, but here we are.

#How the hell did he get internet access from jail?#Bastard...#dash commentary #piers posts #pkmn irl #pkmn rp #piers rp

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headless-horsepossum · 2 months

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you've heard of hot hands/cold hands and gives pickles/takes pickles. well this weekend i discovered a third form of Friendship Symbiosis: wants dog attention/Does Not Want Dog Attention. brought to you by me and my friend couch surfing together and him being grateful to me for keeping the (biggish) dog off of his air mattress and me being grateful to him for Letting Me Have Dog Friend On Couch With Me All Night :D

...it should be noted that this does not work with cats bc given the choice between someone who wants their attention and someone who doesn't cats will pick the one who doesn't want them every time. cats have eight senses and one of them is 'who least wants me on their lap rn'

#about the possum #Friendship Equilibrium #i am not a big dog person but pete the pitbull is. perhaps the perfect dog #very sweet. unusually courteous couch-sharer i would say. softer than other pitties ive petted??#and also the absolute PRETTIEST coat pattern i have ever seen in my whole life. unreal creature. im obsessed with him #we were in nyc for mocca fest and stayed with one of his friends. it was amazing but also its TRAGIC bc that means pete is SO FAR FROM ME 😭#chillest prettiest dog. 3 to 4 hours of inconsistently-accessible trains between him and me at all times. im in hell #THAT SAID they have monthly life drawing classes at pete's apartment and i am going to try so hard to go #40% bc i love and miss life drawing and 60% bc Pete

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apricusapollo · 3 months

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I was going through my priv twitter account and saw something I posted at 1:20 am yesterday while being half asleep and uh, it said:

"faramir would've been okay with being in love with legolas if it didn't mean being in love with a boy & legolas would've been okay with being in love with a boy if it didn't mean being in love with faramir."

#... where– how– why–#where did that ship even COME FROM #how the hell did i pull that out of my ass i'm so confused #but in my defense my best friend’s response was - “wait u cooked”#this is why I shouldn't have access to my phone after 11 pm.#(it's currently 11:07 pm)#legolas #faramir #lord of the rings #crys' middle earth stuff #faramir x legolas

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coffeeandcalligraphy · 1 year

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would u ever explain the circley levels of hell chapter/plot/theme structure bc i am very curious 👀👀👀

WELL NOW THAT I'VE FINISHED MY DEGREE!! yes absolutely!

I'll make a video explaining this too since it might be helpful to hear me explain it with... my face, but this circular story structure is something I'm calling orbital plot structure. Luckily for all of us, I wrote up a detailed memo for my workshop which I'll share below (with lots of expansion)!

Disclaimer: The following is all my original writing theory AKA I came up with all of this myself AKA this method is in early development. You're welcome to share it/use it wherever, just link back to me! This also means when I think more, there may be more to say, LOL.

TL;DR: the orbital plot structure consists of two elements: the thematic satellite and the "scene" rings that orbit the satellite. I've shared two versions (the original and the modified version) below!

Orbital plot structure

The orbital plot structure consists of two essential components: the thematic satellite and the scene rings. We have a core theme (the “satellite”) that every single scene “orbits” around. Every scene links back to the theme.

Plot progression/movement comes from the rings rippling outward (indicated by the outward pointing arrows). However, this movement is still deeply connected to the theme (indicated by the unfilled arrows pointed inward—we are pushed out by the theme like an exhale but naturally brought back toward the theme like an inhale). The amount of rings will differ for each work.

This plot structure may work well for theme-driven stories and chapters between 1500-3500 words.

Example:

Below is an example of the classic orbital plot structure for the first chapter of my novella, BODY BACK (chapter update HERE!). That chapter is called "Living Pictures."

The theme for this chapter of course is "life as a living picture." Every single scene is necessitated by this theme and therefore precipitates the next scene that is also necessitated by the theme.

Here is a breakdown of how each scene links back to that theme:

Scene 1:

Harrison floats fully-clothed in a pool that belongs to a wealthy couple. He is jaded and also thinking about God

Explanation: This scene quite literally IS a living picture. Harrison feels unreal/otherworldly and not like an actual human person.

Scene 2:

Harrison describes the couple who own the house/pool. The man is a realtor, and the woman stays at home mostly, but walks dogs on the side.

Explanation: Harrison projects the couple who owns this home into "living picture" mode. He doesn't see them as people, but merely as The Realtor and The Dog-Walker.

Scene 3:

Harrison contemplates his “easy” Las Vegas life since moving in with his mother, Suzanna.

Explanation: Harrison explains how HIS actual life in Las Vegas has felt like a living picture (he also resists this idea at the end).

Scene 4:

Flashback: Harrison recalls drawing his new sort-of boyfriend, Jeremiah.

Explanation: This flashback with Jeremiah is ALSO a living picture. Heightened language. Dreamy imagery. He doesn't feel present, but like a snapshot in a moment.

Scene 5:

Harrison describes his vices (smoking and his ex, Lonan lmao, comparable) which trickles into a recurring dream/nightmare of Lonan.

Explanation: This scene is AGAIN a living picture--more dreamy language (it's quite literally a dream too). Lonan is captured in this memory, even though this moment was once real and not a photo.

Scene 6:

Distracted by the dream, Harrison is caught by the couple. The man seems unimpressed by him, though the woman (Sadie), perhaps realizing how young he is, invites him inside for tea.

Explanation: We SHATTER the living picture (LP) here. Harrison isn't living in a dream state, he's actually very much in the real world where breaking into a stranger's pool is NOT okay. LOL.

Scene 7:

Harrison observes the couple’s “catalogue” home while Sadie makes tea.

Explanation: Sadie and her husband live in a home that is also picturesque. BUT, he quickly notices something is amiss--she doesn't actually seem to genuinely exist in its pristineness and niceties, just like Harrison doesn't exist in the niceties of his "new" life in Las Vegas. This is why I ended the chapter here--he's addressed the theme.

You'll notice I didn't include the arrows in the above diagram--I've only included those for demonstration purposes to show how movement in this type of structure works. You know how water ripples in a circular pattern when you drop a stone into it? That's how this story structure progresses--every scene revolves around that stone in the centre.

^^ A visual for you!

Typically, in western storytelling, we think of structure like this:

This diagram is known as Freytag's triangle/pyramid, and it's a useful way to understand stories (though... not my favourite for many reasons, but a great place to brainstorm your own writing theory). In diagrams like this, it's easier to see the movement of a story, since the line naturally moves left to right.

You could ABSOLUTELY map "Living Pictures" on the above structure, but I personally prefer the orbital plot structure for this particular series of books (Moth Work x Feeding Habits x BODY BACK) because of how deeply thematic they are. Because those projects are very internal and driven by complicated emotional exploration into central themes, it only made sense to map my own story structure that was reflective of that.

To clarify, I don't mean that other structures can't contain theme. Of course they can! But this plot structure is specifically built for thematically-driven work (this would NOT work if your work was not thematically-driven).

Funnily, the orbital plot structure is what my brain "sees" as I write chapters in this series (I don't follow this structure for every project). So while some people outline, brainstorm, etc, in advance of drafting, I start drafting with this in mind. Usually I don't figure out the theme until I'm through the first scene, or sometimes until I'm done the first draft, but when that theme is identified, it's very easy for me to either mould the rest of the chapter around the theme, or revise it around that theme.

If I'm stuck while drafting a chapter, it's usually because something about the theme isn't clear--consciously or subconsciously--to me.

Also: because of the nature of this structure being quite specific to a theme, this is probably not the best fit for very long works/chapters. But I'm sure you could try!

Speaking of longer works...

Orbital plot structure (modified)

The modified orbital plot structure follows the same principles of the orbital plot structure with two essential components: the thematic satellite and the scene rings. Scenes continue to orbit the “satellite.” However, a new element—fossae/dips—are introduced in the case of longer word counts (3500+).

The amount of rings and dips will differ depending on the project (there can be more or less than what is pictured above). These dips serve as scenes that may not be as closely related to the theme but that still move the work toward another thematic scene/“bump.”

I'm not going to include a physical example of this because that would be... a teeny cumbersome, LOL, but this is just an option for people who like the orbital plot structure idea but don't feel like they want to write scenes that are extremely thematic every single time (or their work wouldn't fit that original model).

To note: The dips/bumps don't need to be uniform. Two dips can follow each other, just as three bumps could follow each other. This will depend on you and the work.

But good writers don't gatekeep <3 so here's a written version of chapter six of Feeding Habits that follows this structure quite nicely. For the sake of clarity, I'm going to call the fossae/dip scenes "dips" and the thematic scenes "bumps."

CW: Dead animals, blood, violence

THEME: Indissoluble bonds

Scene A:

DIP: Harrison gets back to the NYC apartment he shares with his mother after running errands to ward off either the spirit that haunts their walls or to rescue whatever is stuck in them. His mother preps for a dinner as Harrison has invited his old pal Reeve over.

Explanation: This scene MUST happen to get us to the following "bump," and that's because we get some critical exposition here: Harrison has had to go to a hardware store for supplies to cut open the drywall in his apartment as he and his mother can hear something in the walls, AND, Reeve is coming over for dinner at Harrison's request. We're not sure why.

Scene B:

BUMP: Harrison removes a litter of kittens from behind the drywall. One of the kittens is dead. Strangely, a German Shepherd puppy is also in the litter.

Explanation: What does it mean for Harrison to find a single dead kitten in a litter of live kittens? Does that kitten have a bond to its litter, despite now being gone?

Scene C:

DIP: Reeve appears in a glamorous blur and makes an interesting first impression on Suz who seems slightly stunned and endeared by her.

Explanation: We need this scene to get us to the next bump--this is Reeve's intro and also introduces the "bond" she'll later form with Suz. The entire chapter title, "Blood Sister," comes from the women's bond. What does it mean to feel connected to someone as if you had actually done a blood pact? And is that similar to the bond between the kittens? ...And the bond between Lonan and Harrison...?

Scene D:

BUMP (subtler): At dinner Reeve confronts Harrison about his “straight-edge” lifestyle since moving to NYC and he realizes her judgements about his life being monotonous are very true–he lacks purpose.

Explanation: This scene gets us to an important realization for Harrison: he feels like something is missing in his life. I wonder WHAT (the answer is Lonan lol).

Scene E:

BUMP: Harrison and his mother clear the dishes and Suzanna confronts him on the fact that he hasn’t told her that Reeve is in fact Lonan’s sister. Suz knows the boys’ relationship is complicated, and plays Devil’s advocate by outright asking Reeve how her brother is. Reeve, who hasn’t seen Lonan longer than Harrison, has assumed Lonan lives with them or is close by, and feels semi-betrayed that Harrison has kept his whereabouts a secret.

Explanation: This one is more explicit of a bump. Why hasn't Harrison told his mother Reeve's true identity? Is it because he's not ready to even think about Lonan who he still feels inextricably connected to??? Yes!

Scene F:

DIP & BUMP: Reeve and Harrison drive to a garden and he’s reminded of the event that lead to him and his mother’s return to the east. Harrison meets Winona outside a convenience store, the same woman Lonan meets in ch.6 of Moth Work. She takes him to her mansion where she’s hosting a party and introduces him to her husband. Harrison makes multiple bad decisions which you can probably figure out for yourself!

Explanation: This scene almost serves as both a dip AND bump as we slowly "dip" into exposition. But the relevance and "bump" of this scene becomes abundantly clear when we realize the woman Harrison follows home is the SAME woman Lonan follows him in Moth Work. Indissoluble bonds driving you to do the same thing?? LMAO I love them <3

Scene G:

BUMP: Harrison wakes up in Winona’s house and is confused to see her and her husband standing over his leather jacket. If we remember what happened in ch. 6 of Moth Work, Lonan gets beat up by Winona’s husband and has Harrison’s jacket & angel chain stolen. We can assume from this scene that Winona has a) recognized the jacket and b) chosen him to come back to her house for the purpose of also beating him up (which happens).

Explanation: Again, why do Harrison and Lonan make the SAME decisions and have the SAME thing happen to them? Is this because they have an indissoluble bond? That theme is actually dropped explicitly in this scene. (Also a tangent: in the MW version of this scene, Lonan loses the fight--black eye art is the aftermath of that--and therefore loses the jacket, but in FH, Harrison stumbles out of there with his jacket HAHA so he won. Lonan is a loser. <3)

Scene H:

BUMP: Reeve and Harrison jump a fence into a garden to give the dead kitten an unorthodox “water burial” in the garden’s fountain. Reeve confronts him on why no one has seemed to care about her whereabouts for the last year, and also suggests the only reason he wanted to see her now is because he misses Lonan. Harrison miserably drinks too much wine.

Explanation: In this scene, Harrison contemplates the indissoluble bond between the dead kitten and its litter--it's gone now, but was still a part of that collective, just like Lonan is gone now from his life but is still part of his collective. Harrison accepts that yes, he indeed still feels connected to Lonan, and actually, deeply misses Lonan (like the kittens--do they miss their sibling now that its gone?). He literally writes out Lonan's name in the snow as an expression of admittance to that truth (THAT'S GAY AS FUCK HARRISON, GAY AS FUCK).

Alright, I couldn't help myself, here's an illustration to show what that chapter looks like according to this structure. You can see I only used one ring because I don't have that many scenes. Now that I think of it, for this modified structure, a single ring would work well for one story/chapter (whereas in the original structure, one ring equals a scene), unless you have 60 million scenes (or you use act breaks within chapters). *High five!* we've made a development as I wrote this post.

A hint about orbital structures: some crime TV shows use this structure IMO, ESPECIALLY episodes that follow crimes that are geared at revealing something about one of the central characters. Look at many of the Criminal Minds specials OR at any Hannibal episode and you won't be able to unsee it LOL.

Let me know if you have any questions! For writers who have very visual brains like me (or writers who've described their processes as "sculpting" words like myself), I hope this is useful!

#asks #writing #amwriting #writerblr #writeblr #this was FUN!!!#I love writing theory <3 #not when it's written purposefully to be only accessible to academics tho <3 #that writing theory can... go away LOL #so I'm HOPING this makes sense!#also anon I'm 100% stealing “circley levels of hell” and calling this that from now on <3 #that's exactly what it is <3 #also it's lowkey a crime that i so badly don't want to get my mfa due to the exclusivity of academia because #wouldn't i be slaying the literary world with all this CREATIVE and DETAILED writing theory #rip all the students i'll never have LMAO #BUT SIKE I HAVE ALL OF YOU <3

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butwhatifidothis · 9 months

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Do you think it'd be in character for Claude to fake an alliance with Edgey in GW Pt 2 so that he could undermine her while seeking an alliance with the Kingdom behind her back? I mean, that way, he could ask Rhea directly about what Edgey told him instead of blindly believing her.

It would be more in character, but not as much as it looks at first.

Because yes, Claude is very familiar with not exactly telling the truth, and he is also familiar with working around people who inherently distrust him. And something somewhat like this kinda happens in 3H, with Erwin - Claude has Nader create a distraction for the army to pass through Gloucester territory to Myrddin so that Erwin's forces don't intercept them (he does this in all the routes in fact, save for of course CF). So it's not like he isn't capable of some form of trickery, even when it comes to people he considers allies.

What becomes an issue though is that those sort of trickery means are mostly used for last-resort, fairly specific situations - Plan A wasn't to make Erwin think his lands are being attacked, it was the only option Claude had available due to the very landscape of Leicester necessitating going through Gloucester territory, and due to Erwin's stubbornness about aligning with the Empire (whether or not those reasons were self-serving or for self-preservation). Again, with Myrddin we see that he's willing to openly help the Kingdom/Church, despite the act of doing so breaking any neutrality the Alliance could have held onto. Communication with Erwin had already failed (due to, again, his stubbornness to align with the Empire), but Claude also explicitly says that he doesn't want to engage in actual combat with House Gloucester, so lies were the only way to go forward.

With the Empire, however, there was never any worry about engaging in combat with them - they invaded his lands, and he fought back. If Edelgard had started with negotiations with Claude first, that'd be one thing - if there was an attempt at an assurance for peace from Edelgard's end to start everything off, it'd make the idea of him joining her to betray her later have some ground to stand on logically. But with him doing absolutely nothing to provoke her she attacks his lands, which has two reasons for her doing so in specifically Claude's mind: taking Garreg Mach to use as a base, and getting rid of the Alliance and Kingdom at the same time.

To the first reason: while Garreg Mach is a good base, it's arguable that having to defeat the Alliance on top of fighting the Kingdom for it makes taking the base moot to begin with. Even for the symbolic nature of it, since Rhea has already been booted out at this point. The trouble would be more than its worth, essentially. And the second reason is... fairly obvious as to why that isn't gonna work out lmao.

Then there's also also the fact that Claude was handling the Empire pretty damn well - he is a young leader and is tricksty in his antics which means skepticism from his more experienced peers, the Alliance is known for its weaker military strength, and he had to deal with Shahid looming over his head, yet Claude still manages to hold off the Empire pretty effectively. So with Edelgard invading Claude's lands off rip and his shown proficiency at fighting back against her without much non-Alliance help, there's no benefit to siding with her, even falsely - none that would outweigh the benefits of siding with a party that has given him no misgivings, in any case. She's not a force that is too big to take on from the outside and so needs to be taken out from the inside, so going through the effort of getting inside is meaningless.

So, would falsely siding with Edelgard while secretly siding with the Kingdom be more in character? It certainly can be, if one plays the cards right. But given how Claude's handling of the Empire and Edelgard's actions against the Alliance are written, it'd be far more in character for him to just side with the Kingdom outright at that point

#ask #anon #clyde discourse #like at that point it's better to just cut the fat #there's no pretense of neutrality from Claude; he's already fought back against her #there's no pretense of peace from EdeIgard; she's already invaded his lands #the Empire is not an impossible force; Claude is dealing with them extraordinarily well given his circumstances #the Kingdom isn't a potential threat to Claude; it has done nothing to garner any attention (positive or negative) from the Alliance #and if the biggest issue was the Church/Rhea then Claude can just. snoop around? to find shit out? like he always did in 3H?#(hell with the war going on he - as leader of the Alliance - is the only one with fairly safe access to the ONLY SAFE WAY into Garreg Mach)#(so he could literally just like. have spies get in and snoop around? or even walk in himself if there's no one there? like hello)#and not side with the girly trying to kill him and who is responsible for the deaths of many of his people. just a thought #so there's nothing to really gain from pretending to side with Edelgard that couldn't be found in allying with the Kingdom

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redladydeath · 2 months

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Another thing that’s driving me insane about this au is about like . How Val SPECIFICALLY must be feeling about this .

Because my headcanon for him is that the Vees are almost the only people he actually sees AS people, which is why they’re the only ones he doesn’t try to hurt, so seeing one of them dehumanized and treated the way Vox is in the RAM au,,,,,,, augh such good angst potential literally dies

Saaaame.

No one can believe it seeing how it's Valentino of all people, but Val legitimately hasn't tried to pressure Vox into sex once since the mindbreak happened. Vox doesn't want to have sex with him anymore and, to his own astonishment, Val feels compelled to respect that wish. He doesn't want to take advantage of Vox in this state, which is insane, because taking advantage of people is Valentino's whole thing. He's already spiraling because of the situation in general, but Val also ends up having a bit of an identity crisis because of the hardcore cognitive dissonance he's experiencing every day of his new life: he's not a caretaker, he's a fucking predator, one of the worst overlords in all of Hell! And yet...

#heartbreaking; the worst person in hell feels compelled to do one (1) good thing out of love #angel is one room over from vox and val just like 'would love if he respected *my* bodily autonomy even a single fucking time'#redlady speaks #randomly accessed memories (RAM)#hazbin hotel #valentino #staticmoth

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