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snuffleswrites · 3 years

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Fellas,

#heck I've been shipping it #enemies to lovers #falcon and winter soldier e2 #fatwsspoilers

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snuffleswrites · 3 years

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snuffleswrites · 4 years

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https://archiveofourown.org/works/26803990

#whumptober #day 3 #lucifer fandom #lucifer fanfiction #lucifer season 5

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snuffleswrites · 4 years

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I have a strange take on it with regards to the luci & dan friendship that tie into both theory 1 AND 2 but instead of writing it as a meta I've included it within my whumptober prompts as a Luci perspective short fic which I'll post on Saturday if you're interested. To sum up in my take he learns the lesson of the episode then back slides when a friend he's let his walls down with comes to shoot him without warning. (They only found out that Dan saw his face AFTER he fired). I like your take more but it made for a fun prompt!

Some Thoughts on Lucifer’s Invulnerability

I’ve seen, basically, three theories floating around on why Lucifer lost his physical vulnerability in 5x7. In any scenario, I can’t help but think learning he himself was the cause of his vulnerability around Chloe is what put in play something that’s been static since early in season 1. However, as always, it’s still a reflection of his subconscious. We know Lucifer loses his vulnerability in a narrow window of time: Between being paralyzed by the copycat killer and being shot by Dan a couple scenes later. The basic options:

(1) As Chloe surmises, it’s because Lucifer is scared and putting his walls back up.

(2) It’s because Lucifer’s realized couples can empower one another (his conversation with Pete), i.e., being vulnerable can make you stronger.

(3) It’s a reaction to his fear and powerlessness at not being able to act/protect Chloe when he’s taken down by the copycat’s paralytic.

My thoughts…

Keep reading

#lucifer meta #lucifer s5a #lucifer s5a spoilers #lucifer morningstar #lucifer on netflix #on invulnerability #whumptober #lucifer fanfiction

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snuffleswrites · 4 years

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Oh I don't think that's where the show is going at all. Lily Rose ended up alone she clearly says to Maze "I tried something. It didn't work out."

Then we introduce a murderer who goes by Lilyman87 who has a mom that yells at him a lot so he ends up cutting their vocal cords. Which strongly hints that he's her son. He talks about how his mother only ever loved her Lily garden.

Contrast that with Maze who is caring enough to make and keep a best friend and who has a found family and who convinces herself that the only way she can be loved is with a soul.

Both Maze AND Lilith are seeking easy answers. The real moral I think the show is going for is that there are no shortcuts. And that love is about sharing without losing yourself in the process which we see in Lucifer's arch.

I think that the writers may want people to think that the show is going for the immortal/mortal route only to pull the rug out from under us.

Oh man I’m so curious about your opinions on s5e4 though lolll especially since I’m still not exactly sure what I think of that episode. But if you don’t want to share them no pressure:)

asdfkasghfdjg HOKAY SO

The black and white was cool, the cast is absolutely pretty enough to pull it off. The story was okay imo and the accent inconsistencies can be explained by the fact that Lucifer is telling a story versus actually being there.

Kevin Alejandro was the best thing about this episode. (Second, how damn good Lauren looks in that suit)

There are pieces I simply don’t understand. How Lilith ‘decided to have soulless offspring’ how she ‘gave lucifer an army’ or why. Maybe these will come to play later, maybe not. But with how close Lucifer was with Eve, him also being cozy with Lilith puzzles me. (but I’m sure there’s more to the story.)

The ending. Finding out Trixie was merely the vehicle Maze used to sucker Lucifer completely soured the episode for me. It made a cool, flashbacky ep suddenly about Maze and her deceit with Trixie pulled along in lying to Lucifer.

But this is what really irks me: “It’s knowing there’s an end. That’s what makes the rest of it count. That’s what connects them to one another. What makes them brave, even when they have no reason to be.”

I think that is total bullshit. Like to the point it makes me angry. I can’t even fully verbalize why, but the idea that because humans die it connects us? Makes us brave? fuck that. And i know, I KNOW, it’s probably setting up a “Lucifer becomes mortal for Chloe and they live happily ever after” and that’s fine. It’s a common, if satisfying ending, but idk. I really hate the way they put it in this episode. Because Lucifer (and secondarily Amenadiel’s) connections with humans don’t become more valid if they’re also mortal. Or because they will end. They just are.

The thing is, I am just personally not here for “Immortality is terrible” type stories. They’re a dime a dozen. And I get that it’s a byproduct of dealing with being mortal ourselves and it’s easier to say “oh wouldn’t it be terrible?” than to say actually “I don’t want to die. I want to live forever. I want to be here, I want to experience.”

And yeah, this is probably just a Me thing and that’s fine. anyway, there ya go, that’s my unpopular opinion.

#lucifer meta #lucifer s5a spoilers #lucifer on netflix

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snuffleswrites · 4 years

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Wow they've just opened the doors to in law hijinx, character angst, family drama and there's still soo many unanswered questions! As a speculative fic writer meh brain won't be quiet in trying to figure out Michael's plan, what Daddy is really doing here, why He allowed Hell to be unattended etc. I'm trying to focus on current projects but man it's hard!

I'd like to write a post s5a something, but I have literally zero ideas. Which I guess is a good thing! Because it means that the story is pretty solid.

#lucifer on netflix #lucifer s5a spoilers #lucifer fanfic #ariaariadagio #wolfgang #speculative fiction

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snuffleswrites · 4 years

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Hellfire Chapter 20 "Anything for Love"

The fanart for this chapter isn't able to be posted on tumblr 😶

https://archiveofourown.org/works/22744693/chapters/63678949

#lucifer fandom #lucifer fanfiction #lucifer #lucifer fanart #hellfire

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snuffleswrites · 4 years

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Hi, I loooove your writing so much! Thank you so much for all of your wonderful stories. I am not sure if I have just missed it and you actually have a list somewhere, but can you recommend some other Lucifer fic to read? Or do you know someone who might be able to help me out? I am always really overwhelmed by the amount of options on ao3. Thank you very much in advance!

Thanks so much! That’s lovely to hear. I don’t have a fic rec list myself, as I am terrible at keeping up (there is so much! we are a blessed fandom), but you couldn’t go wrong with @ariaadagio @thewollfgang or @pellaaearien ‘s fic rec lists or stories!

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snuffleswrites · 4 years

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Writing Tips from an Editor (Who Also Writes)

People throw around the phrase “Show, don’t tell” all the time. But what does it mean? Really?

When I’m editing a client’s work, I always explain what I mean when I say “Show, don’t tell,” so I know we’re on the same page (pun intended).

FYI: This advice is really 2nd or 3rd draft advice. Don’t tie yourself in knots trying to get this perfect on the first go. First drafts are for telling yourself the story. Revisions are for craft.

Ruthlessly hunt down filter words (saw, heard, wondered, felt, seemed, etc.). Most filter words push the reader out of narrative immersion, especially if you’re writing in 1st person or a close 3rd person. “She [or I] heard the wind in the trees” is less compelling than “The wind rustled through the trees” or “The wind set the bare branches to clacking.” Obviously, the point of view character is the one doing the hearing; telling the reader who’s doing the hearing is redundant and creates an unnecessary distance between the character’s experience and the reader’s experience of that experience. Was/were is another thing to watch out for; sometimes, nothing but was will do, but in many instances—“There was a wind in the trees” “There were dogs barking”—“was” tells, whereas other phrasing might evoke—“The wind whispered/howled/screamed through the trees” “Dogs snarled/yipped/barked in the courtyard/outside my door/at my heels.”

Assume your readers are smart. What does this mean? Don’t tell the reader what your characters are thinking or feeling: “Bob was sad.” How do we know? What does Bob’s sadness look like, sound like? What actions, expressions, words indicate Bob’s sadness? Does Bob’s sadness look different than Jane’s would?

It also means that you need not repeat information unless you have something new to add to it—even if it’s been several chapters since you first mentioned it. I think a lot of readers fall into this trap because writing often takes a long time. But what takes a writer days or weeks or months to write might take a reader fifteen minutes to read. So, if the writer keeps telling the reader about so-and-so’s flaming red hair or such-and-such’s distrust or Bob’s blue eyes or Jane’s job as a neurosurgeon, the reader gets annoyed.

The last thing you want is your reader rolling their eyes and muttering, “OMG, I KNOW” at the story you’ve worked so hard to write. It certainly means you don’t need to have characters tell each other (and through them, the reader) what the story is about or what a plot point means.

Along these same lines, let the reader use their imagination. “Bob stood, turned around, walked across the room, reached up, and took the book from the shelf.” Holy stage directions, Batman! A far less wordy “Bob fetched the book from the shelf” implies all those irrelevant other details. However, if Bob has, say, been bedbound for ten years but stands up, turns around, and walks across the room to fetch the book, that’s a big deal. Those details are suddenly really important.

Write the action. Write the scene with the important information in it. Let the reader be present for the excitement, the drama, the passion, the grief. If you’re finding yourself writing a lot of after-the-fact recap or “he thought about the time he had seen Z” or “and then they had done X and so-and-so had said Y,” you’re not in the action. You’re not in the importance. Exceptions abound, of course; that’s true of all writing advice. But overuse of recapping is dull. Instead of the reader being present and experiencing the story, it’s like they’re stuck listening to someone’s imperfect retelling. Imagine getting only “Last week on…” and “Next week on…” but never getting to watch an episode. I’m editing a book right now with some egregious use of this. The author has a bad habit of setting up a scene in the narrative present—“The queen met the warrior in the garden.”—but then backtracking into a kind of flashback almost immediately. “Last night, when her lady-in-waiting had first suggested meeting the warrior, she had said, ‘Blah blah blah.’ The queen hadn’t considered meeting the warrior before, but as she dressed for bed, she decided they would meet in the garden the next day. Now, standing in the garden, she couldn’t remember why it had seemed like a good idea.”

That’s a really simplified and exaggerated example, but do you see what I’m getting at? If the queen’s conversation with the lady-in-waiting and the resulting indecision are important enough to be in the narrative, if they influence the narrative, let the reader be present for them instead of breaking the forward momentum of the story to “tell” what happened when the reader wasn’t there. Unless it’s narratively important for something to happen off-page (usually because of an unreliable narrator or to build suspense or to avoid giving away a mystery), show your readers the action. Let them experience it along with the characters. Invite them into the story instead of keeping them at a distance.

Finally, please, please don’t rely on suddenly or and then to do the heavy lifting of surprise or moving the story forward; English has so many excellent verbs. Generally speaking, writers could stand to use a larger variety of them.

(But said is not dead, okay? SAID IS VERY, VERY ALIVE.)

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snuffleswrites · 4 years

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