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fuckyeahgoodomens · 2 months

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Michael Ralph, the Good Omens Production Designer, interview for Movieweb :), summer 2023

Question: What is your reaction to your fan's positivity?

Michael Ralph: It's unbelievable. To see your work reflected in the eyes of people that love it is incredibly complimentary and it feels on, you know, you're honoured by having that response .It's rare that you get to experience it. You know, I think that we were involved recently in a fans' view of the set where all the fans who'd been involved in a competition were able to walk around the set. It's extraordinary. And I got hugs and people in tears. And it is an overwhelming experience to stand in that street and be in that bookshop when you didn't think, even though you knew, but you didn't quite know it really existed as a place that you could walk around in is quite phenomenal.

Question: Do you see locations as extensions of characters?

Michael Ralph: My feeling is that we would all, if possible, choose to live where we believe and within an environment that we believe suits us, doesn't suit anyone else. It's a fingerprint thing. It's like, where are you most comfortable? Where are you most comfortable to read or to write or to watch a programme or where do you feel the most secure?That bookshop is an anchor point visually for the show and always has been an anchor point since day one. And it is where you feel most secure. It's where the door closed, you feel safe within it. And what emanates or resonates with that bookshop, not only from the character and the position or who Aziraphale is, is that everybody that walks into that bookshop feels the same thing. Everyone that walks in that bookshop, I've said it before, just want to live upstairs and drink red wine and read books all day and they feel comfortable and they feel nostalgic and it creates a sense of security and protection. And I think that if you can create that sort of sentimentality in something that you're walking around in, it must transcend the lens. And it obviously does because people feel it all the time and they want to go there and sit around in the corner and feel comfortable. So I think that from character point of view, I started really emotionally from Aziraphale. And Neil, whenever I've thought of a great idea that I tell Neil about and he tells me how amazing it might be or how fantastic or inspired it was, I suddenly start to realise it's probably in the book or it's probably in the script between the lines. What stimulates my apophenia, what stimulates my vision and my emotional motivation to design anything is what I can see in the page. So if he has written something so universally empathetic to an audience, then I'm seeing the same thing you are, in my variation, but it really is the same warp or the same sentimentality as I said, or any of those things. So if I can find how to get my fingernails under the edge of that, how I can actually depict it, then I know that it's going to work. And that's obviously... and you can believe in it then, and you can say it with all honesty, rather than impersonate your love for something or say something because your ego tells you you should, or produce something that's a duplicate of something you saw once in Italy. This is something you've got to feel that's specific to the project and specific to the written word, you know.

Question: Do you have the freedom to do what you want?

Michael Ralph: I must admit, reading the book the first time, it was difficult to get my head around how it was going to be depicted. You've got to be very careful that you don't impersonate what you've seen before, you don't copy and then call it original when it's not, because that's sort of like a cop out. You really, honestly have to live with it 24 hours a day, even while you're asleep, and search and search and search and search to find what it is that gets your fingernails under it, to find out what it is you really believe in. And it sounds so ethereal, but it's absolutely true. If you can get that, if you can openly find that, and you've got to feel that, if you can get that, then you're absolutely on something you can invest in and then something you can produce. Because then it's not something that's duplicated. All the furniture, literally all the furniture, all of the dressing on the walls, all of the bookshelves are all built but Bronwyn, a set decorator, will buy me a lot of brown furniture that she finds as really interesting furniture. Furniture that's got spindles and handcarved pieces and reliefs in it. And she gets me stuff that she believes goes with the character of the place. And then I'll break it open. This is what construction. I love working with construction with, because I'll break it open, cut it down, reattach it, and I'll remake wholewalls and bookshelves, like in the magic shop that none of it existed until we put together loads of stuff the set decorator found, that Bronwyn found. And then all that stuff ends up having a profile of the period, or echoes to you, little visual trip hazards of the period, of size and weight. But it isn't really anything you've ever seen before. It's not from a higher shop. It's not from a piece of furniture you bought, just plunk there. Because the camera sees things differently. And we have to lift all that up and make it bigger and larger in scale to punctuate the vision. So all of that is... there's all sorts of theories, I could go on forever, you know. I was saying to Bronwyn today that I think I've been working all my life on trying to raise my intellect, to be able to incorporate a vocabulary to explain what it is I do creatively. I'm not there yet.

Question: Is there something you'd like to explore in the future?

Michael Ralph: And it's funny you should say that, because that process, from what I've explained to you, doesn't originate with me. So you need to get that book or that source material, and someone has to say, you're the guide for this, I'd love to see what you see. And then it's like this massive submerge, you submerge into it. And then it's a journey, a journey that you embrace and it reveals things that I could guess maybe 15-20 things I'd like to do on Season Three, but it's not scripted. So what is that? You know, I've got imaginary things that I will adopt because I know that they've got weight or purpose that will work for Season Three. But I need to see what Neil shows me, you know, what Neil teaches and tells me, and then once I've seen that, I can run with it. He's such a wonderful appreciator of what you achieve. He's never questioned anything I've done, ever. And it's been hundreds of things, hundreds of sets and ideas. And no matter how crazy what it is, I might end up drawing the craziest things first. But he still loves them, you know. And it feels like it probably was there already between the lines. And all I've done is pick up on it. You got to really get into it to mime what it is that affects you and what moves you. What it is you love about something. You can watch a show and read a book and not love it. You don't know why you didn't love it, it's unequatable, but you just didn't connect. But what we're trying to do with everything we do cinematically is to connect, is to somehow get through the equation. So you feel it. And I got a feeling that's why Good Omens works so well. Because of the amount of love and emotion that people put into it and amount of faith people have in what they're doing, because it's only done out of joy and it's only done for the goodness of that wonderful story that is developed and matured, within it, between the characters. And because of that, you can do nothing but sprinkle magic on it all the time.

#good omens #gos2 #season 2 #interview #michael ralph #michael ralph interview #s2 interview #videos #video interview #transcripts #movieweb #bts #bronwyn franklin #aziraphale's bookshop #fun fact #neil gaiman

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tarotwithavi · 10 months

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You from the eyes of your future lover/future spouse

Read part 1 here

How to choose a pile?

Take a deep breath and close your eyes. Kindly ask your spirit guides to show you the right pile for yourself and then open your eyes. Whichever pile catches your attention is the right pile for you.

For my female audience , I'll be using she/her pronouns in this post.

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Pile 1

When I'm with her, I feel an overwhelming sense of strength and confidence, as if I could conquer any challenge that comes my way. She embodies everything that brings me joy and fulfillment. Being in her presence makes me feel like the luckiest person in the world because I have her by my side. Her mere existence has the power to make my wildest dreams a reality. Not only does she inspire me to reach for the stars, but she also motivates me to become a better version of myself. Her influence pushes me to strive for greatness in all aspects of life. Just knowing that she is there for me, supporting me, and believing in me, helps me heal wounds that were never caused by her. Her presence alone has a transformative effect on my well-being, bringing me solace and restoration. If her love were poison, I would willingly drink it without hesitation or remorse. Such is the depth of my devotion and the extent to which I value her affection. I yearn to be of assistance to her, to be a reliable pillar she can lean on. I aspire to be her rock, her unwavering support, providing comfort and strength whenever she needs it. Being with her fills me with an indescribable sense of empowerment and joy. She is my beacon of happiness, encouraging me to strive for greatness and inspiring me to become the best version of myself. Her love and presence heal me in ways I never thought possible, and I am eager to reciprocate by being her steadfast support and ally.

Pile 2

Describing her is a challenging task, for she possesses a depth that transcends the confines of ordinary words. She carries an aura that attracts wealth and prosperity wherever she ventures, as if they were faithful companions by her side. From a distance, she appears strong and bold, yet I sense a vulnerable little girl hiding within her, fearful of the harshness this world can wield. She has distanced herself from those around her, for nobody has truly comprehended her essence. No one has made an earnest effort to unravel the intricate puzzle of her being. My deepest desire is to be the one who unravels that enigma, the person who embraces the challenge of understanding her complexities. I yearn to discover every missing piece and gently place it in its rightful position, completing the beautiful picture that is her. I want to penetrate the walls she has built, to listen to her unspoken fears and insecurities, and to offer solace and understanding. By becoming the person who comprehends her deepest self, I hope to bridge the gap between her and the world that often fails to perceive her true nature. I want to be the companion who supports her unconditionally, providing comfort and encouragement as she navigates through life's labyrinth. It is my aspiration to create an environment where she can fully express herself, knowing that she is truly seen, heard, and appreciated.

Pile 3

The moment our eyes met, I was immediately captivated by her essence, as if an invisible force had bound my heart to hers. Prior to meeting her, I had been skeptical of love at first sight, dismissing it as a mere romantic notion. However, in her presence, all doubts were washed away by the sheer brilliance of her beauty. She has bewitched me completely, leaving no room for retreat. Even if her allure leads to my demise, I would embrace it willingly, for the privilege of experiencing her presence outweighs any consequences. Her presence has an intoxicating effect on me, causing me to lose my composure in the most enchanting way. It is as if she holds the power to unravel the layers of my soul, igniting a fire within me that I cannot control. My hands yearn to touch her, to explore every corner of her body, as if searching for an uncharted territory that only she possesses. Every flaw she may perceive within herself, I view as perfect imperfections, enhancing her unique beauty and making her all the more irresistible. Words fail to fully express the depth of my admiration for her. She is a work of art, a masterpiece without blemish in my eyes. I am eager to shower her with praise, to extol every facet of her being, and to make her feel cherished beyond measure. In her presence, I find myself stripped of pretenses and laid bare, drawn to her like a moth to a flame. It is an indescribable sensation, this all-consuming affection, where reason and logic are overshadowed by an overwhelming desire to be closer to her. She has become the center of my universe, a gravitational force pulling me toward her. To love her is to lose myself willingly, surrendering to the magnetic power she holds over me.

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ask-whitepearl-and-steven · 18 days

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I admire your patience with those readers who need you to spoon feed them the story. Everything is in the comics but they still manage to go pass it. I can't help but feel a bit sad for them? Do they not understand what they read? Are they not attentive when reading it? I'm legitimately concerned because I function so differently I can't fathom this. If you like a story, isn't it normal to make your best to grasp it's essence and reflect on it? I know I project a lot about this, everyone works and registers things differentely of course but sometimes it's very frustrating to see people consume any media and just completely miss all the important messages in it, or even just fail to get the scenario sometimes, and it feels like it's very common now... Idk I just wanted maybe to have your perspective on this? Sorry for the long post (Been here for a few years now and your a true inspiration to me. All my luv to you! ❤️)

You know, I'm gonna be honest. I used to stress out about this... a LOT.

As a story-brained person, this is definitely something that comes naturally to me, and perhaps to you, and to many other people who are wired similarly. To us, following the path of a story in an analytic, highly detail-motivated manner and unwrapping the themes can be as exciting as lifting up a rock to see the bugs underneath. It's an exciting mental activity that's stimulating and feels effortless.

And yes, as an author who spends literally 60% of my day thinking about this comic and how to draw it, panel it, script it, make it better (I script and panel in my head constantly)........ I have trouble realizing/dealing with the fact that some people are just here to CASUALLY enjoy the story that I am lowkey obsessed with.

But I've come to realize that... that's NORMAL! And healthy.

People have different attention spans for different things.

People have varied ways to read a story and engage with it.

People have unique interests.

People don't have the same amounts of energy to devote to reading!

Maybe someone missed a detail I lovingly and painstakingly put into the dialogue because they're reading the update late at night after a long shift at work. And maybe someone scrolled past the dialogue completely and just got the gist from looking at the art, because they're in a hurry to get to practice at their favorite sportsball.

And maybe someone just had a really bad day with a really bad encounter, and they're reading the update in a terrible mood and instead of seeing MY grey-morality narrative, they're focusing on all the negative points and misread the vibes because of their own biases that stem from places of hurt.

The thing is, I have to be okay with that as an author, because I will NEVER be able to get into my audience's heads and read this comic 'correctly' for my own sake.

They will always have a slightly different interpretation of things, and they will always misunderstand details and miss clues. And sometimes, they will be wrong about the way they read a character's motivations... and sometimes maybe they won't be! That's just a part of communication. That's a part of telling a story.

An imperfect delivery, and an imperfect reception should, in my opinion, be a natural and accepted part of storytelling. We're human, and we all have a different lived experience, and we will ALL have different takes on a comic, even if it's so close that we THINK we are both getting the exact same thing. That small human interpretation variation is a home-made touch that makes it feel more organic.

In short.... Not all light particles make it here from the sun, but damn the result is stunning anyway.

#chekhov answers

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coffeebeanwriting · 1 year

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How to Write & Create Creatures

Here’s a list of quick tips when it comes to creating your fantasy (or horror) creatures!

1) Warp and combine already existing creatures. Be inspired by real life and mythologies— put a magical twist on an already existing animal. The “Nemean Lion” is a lion in Greek mythology whose fur is impenetrable. Medusa is a woman with hair of snakes.

2) Think outside the box. A creature doesn’t have to be inspired by only living things. Beauty and The Beast has talking tea cups and clocks. If your creature is organic, think beyond your typical animals: plants, insects, bacteria, diseases, amphibians, etc.

3) Use all five senses. You don’t have to use them all at once in a description, but as the author, you should be aware of these details!

Sight: What do they look like? What are their unique features? How big are they compared to a human?

Touch: Is their skin rough like leather or soft like silk? Do they bare hair, and is it matted or greasy?

Smell: what scents come with the creature? Does the fairy smell like freshly baked muffins? Does the zombie smell like rotten eggs?

Hearing: What sounds do they make? Not just verbally but as a whole (loud footsteps, crackling bones, labored breathing, twinkling of a wand, etc.)

Taste: If they’re a rotting creature, would the salty taste of decomposition fill the air? Or does the pretty little fairy bring back memories of childhood sweets to your protagonist.

“The creature let out a low snarl, the smell of rotten flesh hitting me long before it ever came into view. Its leather-like skin was matte compared its the thin strands of greasy hair that danced in the moonlight.”

4) What sustains the creature? Does it feed off of blood, flesh, or human emotions? Is there a type of meal it would prefer or does it eat anything?

5) What is your creature’s motivation? What necessities does it need to survive? Does it need shelter, food, and water? Vampires require blood. Outside of basic survival needs... is it in search of something more material? An item or a specific person?

6) What summons your creature? Does it appear when someone rubs a magical lamp? Does it wander aimlessly until a sound catches its attention? Does the smell of blood make the monster from within come out?

7) Leave room for your reader’s imagination. While you want to thoroughly paint the picture of your creature, don’t over-explain. Instead, leave some room for your audience to fill in the gaps with their imagination. This will truly make the reading experience more unique to the reader.

8) Give it weaknesses. A creature that has limitations and rules is a realistic one. Werewolves only turn on a full moon and are weak to silver. Holy water burns a demon’s skin, and vampires can’t go out in the daylight. Is there a string of words that could paralyze it? If it can’t be killed, what can hurt it? Can it be captured or trapped?

9) Make it hard to kill. If the creatures in your story are easily defeated, that means there is less tension and conflict. Does it have immense strength or skin that is impenetrable? Make your characters think and be clever in the face of an impossible situation.

10) Does it have a home? Where does it rest? Does it live in caves with its herd or does it sleep under the beds of children? Is it a wandering monster or one that lives in the trees of a magical forest?

Instagram: coffeebeanwriting

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evangelinesbible · 1 year

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WHAT TYPE OF FANS YOU’D HAVE BASED ON THE 11H AND FAN ASTEROID

ARIES - Your fans are bold and wild. They see you as THE trendsetter and a wild person. So in essence they too act the same. They believe in your free spirit and they love how you motivate and move others. They’ll defend you with their last breath because in their eyes you are their leader and inspiration.

TAURUS- Loyalty is their specialty. They are creative and understand you and what you value in life. They want to see you in abundance and would probably spend a lot of money on you. They’re low key and don’t make much trouble for you unless they happen to be stubborn and stuck in toxic fan base ways.

GEMINI- Erratic and flip floppy fans. They either love everything you do or they can’t stand the choices you make. They might persist that you stay one way while another side embraces you to grow and develop as a person. They might praise your mind and how you think. They might have two different ways they see you and often might be misunderstood.

CANCER- protective ride or die fans. They see you as mama bear and would say/do anything to defend you. They have a deep emotional connection to you. You are seen as someone who is caring emphatic and you are not afraid to be emotionally real with your audience and they love that.

LEO- Loud ass fans. They are proud to be fans of you. Your fans might be famous for being extra/ too much. They too are creative and very boastful about how great a fan base they are. They love how confident you seem and in essence they too are confident. Scary when t they person they love is being hated on.

VIRGO- critical and analytical fans. They might nit-pic everything you do. They might be the type of fans who over analyze everything you do and obsess over how you think/ what you’re thinking about. Similar to Gemini they might praise you for your mind and the stuff you come up with.

LIBRA- Similar to Taurus they are also chill and loyal fans. Your fan base is probably pretty popular too. Your fans might obsessive over how pretty you are and you might have a lot of fan girls. They also might like how you care about politics and political issues.

SCORPIO - Critical and obsessive. You are seen as mysterious and they love that. You’ve got an allure that makes them want more. They might even be overly obsessive or too possessive of you. Just like Leo they can be quite scary when angered or when the person they love is being disrespected.

SAGITTARIUS- You have a hilarious fan base and they probably make fun of you a lot. But it’s all love. They might be a bit brash, over exaggerate or maybe just plain rude sometimes but they can also be an optimistic and open minded fan base. They embrace the changes that you make in whatever it is that you do.

CAPRICORN- your fan base has so much respect and admiration for you. They envy and love how hard you work. Another ride or die fan indicator. They care so much as out your career choices and want to see you succeed in whatever field you choose to work in.

AQUARIUS- the unique and unpredictable fan base because you yourself might be the same. They support anything unorthodox or unique thing you do. They might not understand or want it but they’ll support it. Similar to Taurus they are very loyal ( especially if it’s the 11h cuz Aquarius is at home there).

PISCES - Empathetic and understanding fans. Anytime you go through troubles or express the things you’ve been through your fans show true empathy. They’re head for you. They understand what you dream for yourself and they want to help in whatever way they can. They see you as real and they are like your shoulder to cry on.

BONUS

FAN CONJ. MC/FAN CONJ. ASC/ FAN CONJ. NN

Another indicator of having obsessive fans. For the mc they might help your career A LOT. In your career you’ll be known for having fans that always supported you and helped you grow in your career. For the ASC they love everything about you and how you present yourself. They’re here for your personality and how you grow as an individual. They obsess over how you look and they make it their mission for everyone to know who you are. For the North Node your fans were meant to embrace all of you and they things you are destined to be great at. Overall your fans probably can’t get enough of you and they help you gain fame if you have one of these aspects.

Examples:

Beyoncé - Fan conj MC

Whitney - Fan conj. NN

Michael - Fan conj. ASC

Nicki Minaj - Fan conj. MC

(Fan: 151590)

What’s your fan and 11H sign? Mine 11H Cancer and my Fan is in Virgo conj. ASC 💋

-⚜️💫⚜️

#astrology #astro notes #astro observations #astro placements #astrology notes #fan asteroid #11th house #fame astrology #beyonce #michael jackson #whitney houston #nicki minaj

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linkspooky · 2 months

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The Death of Kenjaku

So I was planning to write this meta the week that Kenjaku died, but decided to delay until we got full confirmation of his death. Something I didn't believe in even after Kenjaku passed the merger onto Sukuna. However, watching this video about death in Jujutsu Kaisen inspired me to finish this post. Not because I disagree with anything the YouTuber is saying, but because they can speculate on the meaning of so many deaths in Jujutsu Kaisen but can't find the meaning in Kenjaku's sudden death. This has led me to speculate why Gege made the choice to kill Kenjaku in the way that he did. What meaning is there in Kenjaku's abrupt and unsatisfying death?

Who is Kenjaku?

The first step in understanding Kenjaku's death is of course understanding how he lived. We actually know incredibly little about Kenjaku's character by design. Despite the fact he's literally in Geto's body, he's not meant to have sympathetic or human motivations to his actions (though hold onto that "human motivation" in your head for a moment). No flashback sequence shows the audience why this guy is the way he is, no single event seems to have driven him to do what he did.

This is what we know about Kenjaku in brief. He is a sorcerer who is over a thousand years old who was around in Sukuna's day. He once had a friendship with Tengen, but found her original self boring and unambitious. He also contrasts heavily with Tengen, who lives outside of humanity, because he has lived among humanity for 1,000 years. One of those lifetimes was Noritoshi Kamo who violated a woman and conducted heinous experiments. He produced ten children in his one thousand years, the nine death painting siblings and Yuji Itadori. He considers the first children boring, because human and curse hybrids turned out too normal.

He also partially blames himself for how boring they are, because he can't create anything that will exceed his expectations, the only thing that can exceed his expectations is born in chaos. He spent a thousand years organizing the culling games, and wants to use the games to create a merger, because he thinks creating a merger between Tengen and Humanity will create something entirely new and interesting. He also believes the way towards the future lies in further optimizing cursed energy, not in breaking away from it the way Yuki Tsukumo tried to do and Maki has.

The only people whose word we have on Kenjaku's motivations are Kenjaku himself, and Tengen's word and Tengen themselves who claims to not know what goes on in the human heart.

From all of the above Kenjaku seems to be a shallow character who's motivations can be summed up as "because I can" and "I want to see what happens." This shallowness is intentional however, as Gege who once praised the minimalist storytelling of Nasu and Evangelion likes to pick and choose what crumbs of backstory he gives out for his characters. We've never gotten any exposition on the Gojo clan, but we have an entire chapter about Takaba's failed career as a stand-up comic. This isn't a judgement of good or bad writing, this is just how Gege writes as minimalist as possible. This is in line with how Gege writes the ancient sorcerers as well, they are all much more shallow driven by instinct or Freudian Id (I desire) rather than the higher reasoning of modern-day sorcerers. Takaba uses comedy as a means of communication and bridging the gaps between people, Higuruma's backstory is the critique of the modern day justice system. Ishigori apparently lived a satisfying life where he was succesful and had good women, but that wasn't enough so he wants to get into a fight with Yuta to satisfy his hunger and feel like he's eaten desert.

It sounds shallow when I summarize it in text, but in the context of the fight with Yuta, it's a challenge for Yuta who for the most part only cares about his loved ones and sees the world through his love goggles to be more selfish and fight for his own desires. It's also reflective of a more basic and instinctual kind of thinking, as opposed to the higher reasoning and logic that modern-day sorcerers apply.

I'm keeping most of this first part to text for this reason, like go back and read the fight with Ishigori and Yuta. If I summarize Ishigori's character reasoning out of context it sounds stupid, but read the fight and it works because it's ID (I Desire) vs. Yuta's superego in not only having to collect points to help rescue Tsumiki, find a way to protect all the innocent people in the Culling Games, and also collect enough points to take on Kenjaku himself so Gojo won't have to. Meanwhile Ishigori's just fighting to get some of that sweet desert, the shallow works in contrast to the more layered motivations of our heroes.

Kenjaku is a shallow archetype fighting to satisfy his baser impulses (in his case curiosity) in comparison to the main characters who are fighting for more complicated reasons and often people besides themselves.

The question then becomes what archetype is Kenjaku. In that case answering who Kenjaku is is quite simple.

Kenjaku is a clown.

It might be more accurate to say that Kenjaku embodies what's commonly known as the "trickster archetype" but I'mma go with clown.

The most obvious example of a clown villain is what most consider the joker to be, that is a silly little clown man who challenges the straight faced and grim batman and sews chaos where Batman attempts to establish law and order in Gotham and make the city into a better place.

From the book Batman and Psychology:

More than any other villains, the Joker and Two-face reflect Batman himself as funhouse distortions, converses of who and what he is. The laughing, jesting, brightly colored Joker contrasts with grim, dark Batman. The Joker is the Joker. No alter ego. The film's opening bank robbery shows him wearing a clown mask over clown makeup, Under the surface there's only more Joker. He gives no history except inconsistent lies. When he finally considers the impact of his demand Batman unmask, he retracts the threat and demands that Batman's identity remain undisclosed. He wants a batman who has no other self, a Dark Knight whose only deeper layer is further darkness.

Is there a better descriptor for Kenjaku then these words?

Kenjaku is Kenjaku. No alter ego. A clown mask over clown makeup., Under the surface there's only more Kenjaku.

In other words, what you see is what you get.

Kenjaku even mirrors Joker's opinion of Batman, he thinks people should be more like him, not the other way around. He's not the outlier, he's being true to humanity's basic impulses of curiousity and discovery.

A more apt comparison as a clown though would probably be Loki, one of the most classic examples of clowning in the shared mythology of humanity. The character who challenges the common wisdom of gods like Odin who suspended themselves from the world tree for eleven days in order to gain wisdom. Loki, who through his trickery manages to bring about the events of Ragnarok for no deeper reason than because he can. Everyone swore not to harm Balder and Loki goes to find something that can harm him because BET.

Mythological Loki doesn't need a deeper motivation because what he represents in the mythology is someone who challenges authority and brings about a change, because in Norse Mythology nothing lasts forever and no era is permanent. Jujutsu Kaisen is also a story about how things should not in fact stay the same and tradition is bad sometimes.

When Kenjaku finds Tengen's true body he's curled up in a tree root in the fetal position, and he killed what is basically the all-knowing, all-seeing supposedly immortal sorcerer that maintains the status quo of japan, it's not exactly subtle.

Kenjaku is a clown, and clown's gotta clown. We don't need any more explanation that, it's more about what he does for the story. However, what he represents, the deep intellectual curiosity, and also a drive to disrupt the status quo in an attempt to see something more interesting can also be analyzed more deeply because they are human emotions that motivate us as well. The same way that Mahito is an inhuman monster, but he's created and motivated by the fear of other humans, something all of us have. '

Before moving onto his death though, I wanna hammer in how Kenjaku really is just motivated by these two things, a desire to see something interesting, and intellectual curiosity by comparing him to other characters.

The Clown in Fiction

I've already compared Kenjaku to Loki and the Joker, but when it comes to someone who wants to disrupt the entire order of the world simply because they're bored we've got to go to the original girlboss.

So there are plenty of villains who go "I'm evil because I'm bored" but they usually tend to be pretty shallow, either shallowly written for the lulz evil characters who just exist for shock value or just kinda dull. No one has ever done it as good as Junko Enoshima and no one ever will again.

For those who need context DanganRonpa is a death game series where the main villain basically has caused the apocalypse, wiped out most of humanity, and then induces survivors in a bunker to kill each other in a death game, where if someone commits a succesful murder they can escape the bunker, but if they're caught in a trial they're executed. Also, if they're not convicted in the trial everyone else is killed, motivating the jury to find and execute the guilty murderer.

Junko Enoshima the main villain and orchestrator of this death game ended the world because despair. She wants to inflict despair on everyone because despair. Because hope sucks and despair is where it's at.

It sounds shallow and it is and Kodaka has said in interview he wrote Junko to be a villain character with zero redeeming character traits, and no sympathetic backstory to describe why she is the way she is, but there is still something motivating her.

If you go a bit deeper into the lore and read Dangan Ronpa Zero, there is an entire book which explains the lengths which Junko goes to feel normal human emotions. The thing is much like Kenjaku Junko is too smart for her own good, everything is predictable and therefore everything bores her. Once in an attempt to live normally, she literally lobotomizes herself, makes it so that she can't remember anything and has continual amnesia constantly forgetting what just happened to her, because that's the only way she can live without knowing everything that's going to happen and constantly predicting everyone's actions.

Junko has whatever her universe's version of the six-eyes is, but instead of lording it over other people like Gojo and basking in her superiority she wants to feel normal, and connected to the world. If she can't have that she tries to make the world as unpredictable place as possible so she can experience it the same way that everyone else does.

Hope is harmony. A just heart, moving toward the light. That is all. Despair is hope's polar opposite. It is messy and confusing. It swallows up love, hatred, and everything else. Because not knowing where you will end up is despair. Despair is even what you cannot predict. Only despair's unpredictability can save you from a boring future.

I'm still not describing it properly because I don't want to go into a Danganronpa essay in this post about Jujutsu Kaisen, but one example I always use is two characters from American Dragon Jake Long. They're a pair of twins who see the future, one always sees happy things, and one always sees sad things. The one who has happy visions is a goth who's very depressed and the one who sees disaster is an incredibly peppy girl.

Jake is so confused as to why the twin who always sees good visions is so depressed, and she basically tells him to imagine having every good thing, every small little surprise, every pleasure taken out of life.

Kara: When you only see good things, nothing's special anymore. All the pleasant surprises are taken out of life. Sara: But, when you only see bad stuff, even the smallest bit of good news makes you happy!

All of this to say what Junko feels isn't just boredom, or a desire to commit evil for evil's sake, but also a full on existential crisis where she's simply too smart so she doesn't feel any connection to other people or the world around her. In order to feel that connection, that connection that everyone else has, to feel like she is actually a participant in her life not an observer she's willing to go to extremes to make the world a more interesting place, to therefore make her own life feel satisfying.

Kenjaku vs. The World (Kenjaku Pilgrim's sad little life)

To connect all this back to Kenjaku imagine the profound existential despair of a person who's lived for a thousand years, and felt bored all that time. Sukuna is at least a hedonist, he gets his fun by getting into fights, humans might be bugs to him but they're tasty bugs.

Kenjaku goes to similiar motivations and has similiar extremes, he's uninvested in the world around him, he's lived a thousand years but has no attachment to the world, to life, to the people around him. I said that Junko wants to be a participant in life not an all seeing observer and that was purposeful language because to bring back an old post. I rambled on this post about Gojo that part of Gojo's problem is that he only experiences observer-to-object relationships or I to it.

Ich and Du, translated as I and Thou is a book by philosopher Martin Buber. His two main porositions is that we may address existence in two ways:

The attitude of the “I” towards “it” towards an object that is separate in itself, which we either use or experience.

The attitude of “I” towards “Thou” in a relationship in which the other is not separated by discrete bounds.

In Buber's terms, those who only experience the first type of relationships are only observing the world around them not relating to them. Kenjaku doesn't relate to other human beings because they are objects, he only experiences subject -> object relationships and never subject -> subject.

Buber also goes on to theorize that meaning in our lives comes from subject -> subject relationships we form with other people.

Kenjaku jokingly says that to be his friend you have to never bore him and be his equal, but there's no one considers his equal because he's the subject and everyone else are just objects.

He regrets he can't sit down and talk theories with Tsukumo Yuki because she's one of the few people who think like him.

Kenjaku is a paradox of an incredibly brilliant man who is also shallow as a puddle that you can stand in and not get your socks wet. However, he tragically can't really form a more complex identity because our identities are formed by our relationships to other people and Kenjaku doesn't relate to anybody.

That's basically the theme of the whole Choso and Kenjaku fight, Choso is a weird aborted fetus of a curse who still has a strong identity and is able to feel unconditional love for Yuji because of the connection of family and the ideas of brotherhood that binds the two. Kenjaku is a bad father who abandoned Choso because they were "boring" but also never really gave them a chance to grow up or be interesting, he just dismissed them offhand and moved on to the next weird science project.

However, his reason for dismissing Choso isn't Choso's fault but rather a case of Psychological projection. It's not Choso who is boring, but rather Kenjaku himself, he said so earlier.

"What I can create, does not exceed the bounds of my own potential. The answer is always flickering darkly in chaos."

Kenjaku cannot look within to find anything satisfying abput his life because there's nothing inside of him. He doesn't have a fully formed identiy he's just ID, and because he tramples all over other people to form his desires he also cannot ever form a full ego. Just like Sukuna and most of the ancient sorcerers he's a paradox of being all ego, and yet having an underdeveloped ego with shallow motivators.

Kenjaku cannot look within because he's a boring person, and he cannot look for other people to find worth in his life because they're just objects, so instead he looks into the void, he tries to change the world around him by spreading more chaos hoping that it will make something unpredictable happen in front of his eyes - and that will give him the meaning and investment in his life he's deprived himself of because he refuses to form relationships with other people.

It's the Gojo problem. It's the Kashimo problem. It's not the Sukuna problem, because Sukuna admits he doesn't care about and rejects things like love and meaning.

If Kenjaku makes the world around him a more interesting place, he will be able to live in it. It's the same as Gojo trying to raise people up to his level by creating stronger students.

So after going to great length to demonstrate how powerful and all-consuming Kenjaku's boredom is, and how cut off he is from his own humanity, here's the part where I sort of defend his death.

Wouldn't it be funny if the joke character killed the main villain?

Let's be honest it was Takaba's kill here, Yuta just camped and killstole. I think part of the problem with people not understanding the meaning behind Kenjaku's sudden and unexpected death is attributing the death to Yuta cutting his head off out of nowhere, and not Takaba's thematic victory over Kenjaku.

Takaba represents a blindspot for Kenjaku which is why the main characters use him as a weapon against him, and he also calls out in a fashion Kenjaku's hypocrisy. First and foremost, Kenjaku presents himself as an agent of change, but he actually has no interest in many of the modern sorcerers and holds a bias towards the heian era as the peak of sorcery. He even says that he's going to bring back the Heian Golden Age to Sukuna at the end of Shibuya arc.

Because that's what Chaos is Kenjaku, things being the same as they were 1,000 years ago. Kenjaku is an agent of change and chaos and somehow his definition of change is... resetting things back to the past because the sorcerers of the past were so much better than today.

Kenjaku goes out of his way to awaken hundreds of modern day sorcerers, and then dismisses literally off of them except for Hiromi because they don't have enough potential for him compared to ancient sorcerers. He essentially did the same with the Death Painting Bros, he went through all of the trouble to create them, then dismissed them as not having enough potential BEFORE THEY EVEN GOT THE CHANCE TO GROW UP.

Kenjaku has a habit of just going BORED NOW and leaving before he even gives things the time to impress him. He does the same with the Culling Game, he set up the death game to push sorcerers to fight each other and bring out their powers, but he never actually intended to watch the sorcerers evolve. He just wanted to slaughter everyone inside to start the merger.

He goes through a lot of potential to set up these situations and then abandons them before they have the chance to even evolve, because they do not have enough "potential" in his opinion, but like his opinion is often shown to be wrong. Takaba represents that blindspot because he was one of the modern sorcerers that Kenjaku underestimated and dismissed offhand as boring without giving him a chance to shine.

That is the joke that Takaba introduces himself with "Wouldn't it be funny if a random comic relief side character suddenly defeated the big bad?"

He's immediately pointing out a blindspot, because Kenjaku automatically believes himself to be an important character, he underestimates Takaba because he's a side character, one of the people Kenjaku has dismissed as boring and uninteresting (before they even had a chance to evolve into something else). Like that's the other thing Kenjaku wants things to evolve but he doesn't... let them. He abandoned Choso and the rest before they even grew up, they were literally fetuses and he threw them away. Kenjaku is the protagonist of reality, and Takaba is a side character, and therefore Takaba couldn't possibly harm him because Kenjaku and his boundless curiosity are the center of the world.

It's not just about subverting the audience's expectations to have the main villain die in such an anti-climactic way before the final act even starts, but it's pointing out how narrow Kenjaku's viewpoints really were all along. He wants everything to be surprised but he never lets anything surprise him, because either he gets bored right away, or he looks down on others before giving them the chance to evolve, or the third thing he just straight up has to control everything. He can't let the culling game evolve naturally he's going to slaughter all the players by hand so he can move onto the next part.

It's the contradiction between a schemer who needs to control everything and everyone to bring about his intended result and everything needs to be a part of his big plans, to someone who wants to be surprised by others and have things go off the rails. You can't have both of these things at once, Kenjaku cannot have things surprise him if he rigs everything to go his way with his overly elaborate schemes and his tight-fisted control of everyone in the story.

Like, in comparison to Kenjaku the joker just blows things up and sprays people with laughing gas. They're both playing the same game but the joker is having fun and Kenjaku isn't.

Kenjaku wants an unexpected future, but he doesn't care about any of the modern sorcerers and has a bias towards the heiean era that he considers the height and wants to reset things to bring back the heian era. He wants to be surprised but won't give up control.

Kenjaku's boast is that unlike Tengen he's spent a thousand years living on the ground instead of lording up on them from above like some deity, but is that true? Has Kenjaku lived? Has he engaged with the world? Formed relationships with people? Or does he just sit in the corner rubbing his hands together menacingly and scheming his schemes.

Takaba unironically gives Kenjaku what he wants, something he's never seen before in a thousand years, and it's from a place Kenjaku never expected. Some random guy, who he dismissed as one of the boring modern sorcerers with no potential like Higuruma.

Takaba not only exists in Kenjaku's blindspot, he almost immediately points out Kenjaku's second hypocrisy. If he's willing to resort to mass murder just to feel entertained, then if he found something else to entertain him there'd be no reason to get violent and scheme his schemes.

In other words Kenjaku hasn't really gone looking for other places to try to find what makes life worth living, or at least enertaining, he hasn't really tried any alternatives to finding joy in life because Jujutsu is all he cares about. Takaba says that if he found something else even more entertaining than the merger there'd be no need to go through with the merger, and he turns out to be right. Kenjaku could have found meaning and entertainment with the world someplace else, he was just too narrow minded and never looked anywhere else.

As I said from the beginning Kenjaku's existential crisis comes from his inability to relate to other people and viewing them all as objects, but in Kenjaku's mind of course he can't relate to others they're too boring, so therefore it's the world's fault, and the fault of others and not himself.

However, right away one of those boring people starts relating to Kenjaku.

I joked about how we know nothing about the Gojo clan but Takaba gets an entire backstory chapter about his failed comedy career, but this chapter is plot important because jokes are the way that Takaba relates to and forms relationships with other people. Takaba makes jokes to relate to others but has a fallout with a comedy partner and has never been able to form a lasting relationship with a comedic partner because comedy doesn't mean the same to them as it does to him - because to Takaba comedy is about forming relationships with people. Which is why he thinks he's failed if he's failed to make everyone in the audience laugh because he wants to make comedy that will make other people relate to him and understand him.

However, he almost gives up on comedy because he's afraid that he might fail on that endeavor. He gives up on striving to make everybody in the audience laugh, because of self-affirmation and a desire to protect himself. He didn't want to fail so he started distancing himself from the audience under the excuse "Well, I can't make everyone laugh so it's okay if not everyone understands me."

Takaba at some point gave up on trying to use comedy as a means of understanding and relating to others, because of his fear of failure and at that point he nearly lost - but he rallies himself by saying that he won't give up on making someone like Kenjaku laugh. If his comedy is about connecting to others, about understanding others and having others understand him then he can't just give up on Kenjaku and say it's Kenjaku's fault that Kenjaku can't relate to his sense of humor. He's got to try even harder to make Kenjaku laugh.

This is also pretty much the opposite of Kenjaku's point of view. For Kenjaku it's everyone else's fault for being so boring that's why he can't relate to them. Wheras, Takaba takes personal responsibility, he wasn't funny enough, he has to try harder, he's the one who's going to make Kenjaku laugh by improving himself. Takaba looks inward, and Kenjaku looks outwards because there's nothing inside Kenjaku.

This is a parallel to this.

The difference however, is that Sukuna did not betray his ideology. Sukuna lives for the kicks that battle provides him and wants to face strong opponents so he can eventually devoured them and be momentarily entertained.

Like Sukuna is not bored the way Kenjaku is. The world is his playground. He may refer to living as just killing time until you die, but he also says that there's an infinite variety of humans to entertain yourself with. The world is Sukuna's toybox and he's satisfied with just that. In fact he doesn't even care about the merger, until his frustration with Yuji makes him think a little deeper about himself.

Kenjaku is not the Sukuna in this scene, he's the Gojo. He believed he was above others, only to be reminded suddenly that he was just the same as everyone else and brought back down to humanity. I mean, they even die off panel the same anticlimactic way. Gojo's infinity meant nothing in the face of one surprise attack a world-cleaving slash Gojo didn't see coming. All of Kenjaku's backup plans meant nothing in the face of Yuta camping and kill-stealing.

Kenjaku didn't lose because Yuta's plan of camping and killstealing was simply too brilliant for him to prepare for however, we're given the exact reason kenjaku lost - because he was having too much fun with Takaba.

Which meant what Takaba said earlier was true, if Kenjaku found something funnier, something other than the merger that could make him laugh there'd be no need to go through with the merger to begin with.

Kenjaku loses because all along he could have related to people, formed meaningful relationships with others, looked for meaning in life outside of Jujutsu but just chose not to. Which is also a parallel to this.

Sukuna says that Kashimo and Gojo both lost because they were greedy. They already received love in a way, they had the love of everyone who regarded them as the strongest, they had people who earnestly wanted to challenge them and respected them - which Sukuna sees as a form of love, and yet they still wanted more.

They were the ones who put themselves up on that pedestal and decided to stand above all of humanity, they don't get to whine about being lonely on top of that.

To add my interpretation to Sukuna's speech, what he's outlining is a general conflict in Jujutsu Kaisen, you can choose to be all ego to put personal development above everything else but it comes at the cost of not being able to form relationships. Maki's as powerful as Toji now, but the sister she always wanted to protect is dead and basically committed suicide. Meanwhile Noritoshi Kamo didn't participate in the final battle, but he reconnected with his mother and half-brother.

There are plenty of characters who die and suffer in jujutsu kaisen because they chose to value other people above themselves, because Jujutsu Kaisen rewards selfishness and punishes selflessness / having an underdeveloped sense of self.

I'll pick Mechamaru as my biggest example, he lived to protect Miwa, and not only does he die an unsatisfying death, he also breaks her heart.

However, at least Mechamaru experienced love. His desire to protect Miwa is granted, because Miwa is also out of the final conflict. Mechamaru is one of the most miserable characters in the manga, and yet he experienced love in his life for someone else that made his brief life meaningful. The characters who choose love, and other people over strength tend to get stepped on, but they at least had that love in their life to begin with.

It's a having your cake and eating it too situation. Kashimo chose strength over love, and he got to be so strong he was unbeatable and lived to old age, but not only is he unfulfilled but he whines about being unable to relate to the people around him - you're the one who chose to step on everyone like bugs.

Characters in Jujutsu Kaisen don't just experience death when they try to be selfless however, like yeah there's a disproportionate amont of selfless minor characters who die, but like Yuji is the most selfless character in the manga and he's continually punished for it and yet he's the one referred to as a person with an unbreakable will.

Rather instead of Jujutsu Kiasen preferring the selfish side on the scale of selfishness / selflessness, the kind of messy, deaths that get handed out to people like Mechamaru happen when you betray the ideals you were living for. Whether they were selfish or selfless.

It goes back to Toji's internal monologue. You lose when you lose sight of yourself - like there's some deaths that don't fit the mould but for the most part, Gojo, Kashimo, Toji's and then Kenjaku's deaths all follow this pattern. By coincidence they also all take place offscreen for the most part (I suppose we see Yuta cut off Kenjaku's head but it's quick and unsatisfying compared to all the rest).

Kenjaku died because he betrayed what he was living for and he temporarily lost sight of himself. As I said Kenjaku's airtight principles were that everyone was boring and people weren't worth relating too so the only way to find enertainment in life is to cause chaos - but he found himself relating to some nobody he wrote off as a minor character Takaba and having fun with him. Which meant the belief he was false, he could have tried relating to other people all along he just didn't.

He warped his sense of self to reaffirm his identity. Takaba almost did that too, he tried to blame other people for not finding him funny to protect himself, but he moved past that and redoubled his efforts to make Kenjaku laugh.

There's also the added layer of irony that Kenjaku's sudden death brings about, the person who spent a thousand years trying to make the merger happen doesn't get to see it.

However, here's my assertion on why Kenjaku's death before the merger always had to happen.

Because, even if Kenjaku had seen the merger he still would have been bored.

Literally everything about Kenjaku's character and previous actions shows that even if he made his big scheme come true, he would have gone "meh" and moved onto the next scheme because that's how he always reacts.

He got bored of the death painting siblings, he presumably got bored of Yuji, he got bored of all the ancient sorcerers and new sorcerers he made for the culling game, he worked with the disaster curses and got bored of them and dismissed them as inferior primitive curses, he goes out of the way to engineer these chaotic situations and then never feels any satisfaction from them so why would the Merger be any different?

Not only did Kenjaku die before he saw the merger, he was basically doomed to never see the merger, because it would not have fixed whatever is wrong inside of him.

Because it's not the world that's boring, it's Kenjaku himself.

He gets a brief glimpse of what he could have done in life, that he could have tried to forge connections with the people around him and related to them on a personal level - and then he dies the way he lived, in a kind of boring and unsatisfying way.

It's the narrative punishing him in a way, the same way it punished Gojo, and Kashimo, by not letting him see the big explosion after he went to all the trouble rigging the bombs. It's punishing him for the same reason too - by deviating from his true self and showing what he thought were his reasons were shallow all along. Gojo could have always related to people he just chose to stand on his pedestal alone, and Kenjaku could have always found the world to be more enertaining he was the one dismissing other people as boring without giving them a chance to grow.

Takaba confronted his beliefs and then stayed true to his ideology of making everyone, 100% of the people in the crowd laugh. Kenjaku didn't confront his beliefs, he strayed from them because he didn't have the strength of character to evaluate himself the way Takaba did.

Hence, he's finished off by one of those boring people who used their power in a way he never expected. The main villain is defeated by the comic relief character and it's hilarious.

#jjk meta #kenjaku #fumihiko takaba #ryomen sukuna #jujutsu kaisen #jujutsu kaisen theory #jujutsu kaisen analysis #jjk spoiler #jujutsu kaisne spoiler #big spoiler actually

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nottheweirdest · 8 months

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Fanfic Writer Emoji Ask Game Part II

💖 Which of your fics is your pride and joy? 🎥 Pick a fic and I'll tell you the song I imagine playing during its movie trailer.

📝 How many words do you have posted?

🤩 What's the most meaningful comment you've ever received?

🔮What's your favorite plot twist you've ever written?

👄 Your OTP are having their first kiss. What song do you imagine is playing?

🎭What genre of writing comes easiest to you?

🙊Your coworkers or classmates stumble across one of your fics, but don't know you're the author. Do you fess up? Or keep quiet?

🙌What's a line or paragraph of yours that you're proud of?

🦉Is there another author that helped inspire you to write?

👶Fankids: How you do you feel about them? Would your OTP have kids?

🐗How do you handle trolls?

🟥How long do you spend in edits?

🏡What is your perfect writing envrionment?

💪What motivates you to write?

🚿Where do your best ideas seem to strike?

🌠What are your top three most commonly used tags on AO3?

💻What do you write your stories on? Laptop, phone, paper, etc.

🤔What are some words or phrases you find yourself overusing?

📕How do you feel about people printing your fics?

🤷‍♀️What's a fic you didn't expect to be popular, but really took off?

🍎What's something you learned while researching for a fic?

🥘What wip are you most excited about?

🦗Do you write in sequence or jump around?

👀 Would you ever accept requests or commissions?

😱What's your greatest fear as a fanfic writer?

☕Coffee or tea while you write?

📈Which are your top three most popular fics by bookmarks?

🎬One of your fics gets turned into a TV series. Which one is it and what network is it on?

🛌 What's a trope you haven't written, but want to?

🐸 If you incorporated your OTP into a Disney movie plot, which would it be?

👩‍🎓 Do you have an 'official' creative writing background such as a degree or previous experience publishing?

⏳If you could go back in time and tell your younger writer self something, what would it be?

💯 What rating do you write the most? Gen Audiences, Teen, Mature, or Explicit? How many fics at that rating do you have?

😁What makes you happiest? New fic comments, kudos, bookmarks, user subscribers, story subscribers, or Tumblr asks?

🐎 Would you ever do a medieval or pirate au?

👩‍🏫Pick a character and I'll tell you their favorite season and why.

🎵Do you make playlists for your fics?

🌷What's one of your fics that isn't as popular, but you hold dear?

❓Insert your own question here!

#fanfic ask game #fanfiction #ask game #I do this instead of writing....#or cleaning my house #whoops #ao3 #archive of our own #fanfic writer ask game

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em-dash-press · 11 months

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Tips for Starting and Stopping Chapters, Plus FAQs

Even if you have the most exciting, engaging ideas for your novel, you might struggle to write it because you have to deal with chapters. These are a few of the most frequently asked questions about chapters and a few tips that might help you overcome manuscript challenges.

How Many Chapters Should a Book Have?

Unfortunately, there’s no straightforward answer to this question. Genres and intended audiences influence manuscript word counts. Younger readers will need shorter chapters to keep their interest and older readers might prefer longer chapters that dive deep into conflict or theme.

Storytelling elements also change the number of chapters per book. A fast-paced novel might have more short chapters to keep up the faster narrative pace. A slower novel might linger in wordier scenes, so there could be fewer chapters with longer page counts per chapter.

You can always look at comparable novels in the same genre to guestimate how many your manuscript could include. If you’re writing a Twilight-inspired novel in the same fantasy genre and Twilight has 26 chapters in a ~110,000 word count range, you could aim for a similar number.

What’s the Purpose of Chapters?

Chapters divide longer stories into segments that help readers process new plot events. They give people breathing room to digest heavier topics or moments by pausing or putting the book down to do other things for a while.

They also give more weight to cliffhanger moments or events made to shock readers. Even if they immediately flip the page to keep reading, the momentary pause lends gravity and meaning to whatever ends the chapter before.

Tips for First Chapters

Include Some Action

The first line of every chapter doesn’t need to be a dramatic car chase scene, but the chapter in its entirety should include some plot-moving action. It hooks readers and gets your pacing started.

Add Emotional Weight

Action can only intrigue readers so much. What’s the emotional weight compelling your protagonist to take part in, react to, or fight back against your inciting incident? Establish some emotional weight in the first chapter to motivate your protagonist, like showing how much they love their sister before getting betrayed by her in the inciting incident.

Avoid Infodumping

Readers don’t need to know everything about your world-building or protagonist in the first chapter. The infodumping only weighs down your pace. Sprinkle your descriptions and reveals throughout the first act of your book to keep readers coming back to learn more about the world.

Tips for Starting a Chapter

Introduce a Choice

Choices help stories move along at a pace that keeps readers engaged. If your protagonist is stuck in their head for most of a chapter, there’s nothing pushing your story forward. Always include at least one choice when starting a chapter, whether it’s big or small.

Keep Expanding Your Conflict

Every chapter should expand your primary conflict in some way. It might affect newly introduced characters, change your protagonist’s world, or require a sacrifice. As long as your conflict is relevant to your chapter in some way, your story will always remain true to its thematic purpose.

Remember Your Cause-and-Effect

An initial chapter sets up or introduces a conflict that gets your plot moving. If you’re unsure what to do in the following chapter, use it to address the effects of that previous chapter’s conflict. Although the conflict likely won’t get resolved that quickly, you can still write about your characters’ choices post-conflict or how the world changes in a way that affects their futures.

Tips for Ending a Chapter

Experiment With Your Endings

I used to be afraid of ending a chapter without some shocking, groundbreaking plot twist. Althought that’s a great place to put those moments, it’s not plausible to end every chapter with one. Where would your readers feel comfortable pausing for the night? When would they feel the quiet sanctity of peaceful moments where characters build trust between themselves?

Play around with your endings by refusing to be afraid to cut your manuscript into segments. If one doesn’t feel right during your read-through, you can always merge it into the next chapter and cut them differently during editing.

Use It to Shift Your Story

When your story needs to change times of day, locations, or perspectives, that’s usually a good sign that you need a page or chapter break. It’s not always necessary, but these are the types of chapter breaks that give readers breathing room.

Again, you can always re-work your chapters during editing if you find that they aren’t ending in the right places during your first few read-throughs.

Ramp Up Your Tension

Who says chapters always have to end on a cliffhanger? You can also end them when the action or tension is becoming more intense. When two characters are in the car on the way to rob a bank, they argue over whether or not to actually shoot people. One character’s eagerness and the other’s disgust raises the tension. As it escalates into them yelling in the parking lot, the chapter can end when one leaves the car and slams the door.

Ending on a moment of heightened tension is another reason readers turn pages and stay engaged. In the above case, they might not be able to put the book down until they find out if the robbery resulted in murder.

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Starting and stopping chapters can cause plenty of anxiety, but remember—you’re always in control of your manuscript. Play around with these ideas and make any necessary changes in your editing phases. You’ll figure out the best way to organize your story by chapters and develop more confidence in your long-form storytelling abilities.

#creating chapters #writing chapters #chapter length #writing a first chapter #writeblr #writing advice #writing tips #writers of tumblr #writing #writing help #creative writing #writing inspiration #writing community #writing a novel #writing a book #writing a story

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ao3commentoftheday · 5 months

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What's your advice if you're serially writing/posting a fic, and people who used to comment stop commenting, and also bookmarks decrease? I know no one is supposed to be doing it for the reception, but the reception is engaging/inspiring/motivating, and how do you help keep yourself on track/ true to your own story even if it seems to be veering out of popularity? obv the point is to stay true to your own vision, but sometimes it's hard not to get side tracked/influenced by others reactions. TY!

I had a situation similar to this once. In my case, I'd gone on hiatus for over a year and never stopped thinking about the fic, and I finally decided to just finish it.

I wrote and posted 6 chapters over 2 days and just posted as I went so that I could reach the end before anything could stop me. I got to the point where I just had to finish the story, and so I made sure I got it done before looking at the reaction to it.

You have no way of knowing whether the dip in response is because of the direction you took your story or your readers being made up largely of a group who are busier at this time of year. Trying to interpret that kind of thing is about as easy as looking into a crystal ball and reliably predicting the future.

If you love your story and you have an end point you're aiming for, focus on that. Stop posting it, if you want. That often makes it easier. Then you can just focus on your own vision and your own desired ending and it will be easier to stop second guessing and thinking about pleasing an audience who you don't know (and don't really know what they want).

Fic authors? How do you manage to move forward when you're in a situation like this? Have you got some ideas? And if you don't have any or if you're a reader, feel free to cheer anon on in the notes.

#asks and answers

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spooky-holtz · 4 months

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I'll Be Home For Christmas

Melissa Schemmenti x reader

Genre: fluff (possibly alludes to smut at one point? If you squint?)

Word Count: 2.4k

A/N: I know Christmas was almost two weeks ago but this has been sitting in my drafts for weeks. So enjoy, even if my timing is a little off :)

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December. Quite easily the best and worst month of the school year. As another calendar year winds down, so do rigorous lesson plans, with most teachers at Abbott choosing to give in to the growing excitement among the students as the holidays draw nearer.

Less time is spent actually teaching and a lot of allocated lesson time is spent watching movies on huge, outdated TV screens, students gathered around the devices on Eagles rugs that were so generously ‘donated’ by Melissa earlier that year.

As the month goes on you find yourself spending more time inside your classroom, herding the group of preteens that make up the school choir as successfully as you would herd cats. Needless to say, it’s been a stressful few weeks of carol singing and rehearsals, trying to convince a group of kids that it’s not ‘lame’ or ‘cringe’ to appreciate music the way you do.

As the resident music teacher at Abbott Elementary, you find it incredibly difficult to get young people inspired in the way you so desperately want them to be, often having to let go of the talent you see among some aspiring young musicians for reasons outside of your control. Though the budget doesn’t stretch to allow much in the way of extracurricular activities, choir practice is the one activity where you have your greatest tool already at your disposal; your voice.

As much as you adore these kids, getting them to concentrate after a full day of learning is no easy feat, with them often choosing to sit around in groups gossiping or scrolling on Tik Tok rather than join you around the old piano that stands in place of a desk in your classroom, where you sit on your creaky stool, waiting for them to join in with you.

After a particularly difficult lunchtime choir practice in the middle of December, you find your feet carrying you to the sanctuary you often retreat to during your breaks: the teachers’ lounge. You trudge along the hallway, the heels of your sneakers squeaking slightly against the polished concrete floor as you struggle to find the motivation to get you there, dragging your feet along the floor.

As your hand wraps around the handle and you pull the door toward you, you’re instantly engulfed with the scent of burnt coffee and the sound of chatter as the little groups that sit around the room carry on their conversations, entirely too distracted to notice the door opening.

Jim Gardner addresses the room from the small TV that sits on the opposite end, his newscast largely going unnoticed by the audience as they munch on leftovers or pore over today's newspaper. Much like Jim, your entry into the room goes unnoticed save for a pair of emerald eyes that you can’t help but glance toward.

Melissa is already looking back at you over the rim of her glasses, phone in hand, the slight frown on her features already telling you that she’s noticed the lack of energy you carry. You can’t help but be drawn toward her, almost as if being pulled in by an imaginary force. She’s already pulled the empty chair by her side out by the time you reach her, and you collapse down on to it, sighing heavily, leaning your elbows forward onto the cold surface of the table in front of you for support.

“Choir practice really that bad today, huh?” she asks, sympathy laced across her face.

“I swear, these kids are turning me grey even faster,” you groan, bringing your hands up to cradle your forehead, “I mean, seriously, how hard is it to get through ‘Silent Night’ without laughing at the word ‘virgin’?”

The silence that comes from the redhead is deafening as you turn your head slightly in your hands to catch a glimpse of her expression. Her lips are pursed slightly, and her eyes are a little too focused on your hair, doing everything she can to avoid eye contact; a telltale sign that she’s fighting back a laugh. When she finally reaches enough composure to meet your eye line, she can’t help but snicker.

The sound makes you take your head out of your hands and throw her the most unimpressed look you can muster, though it’s a halfhearted glare.

“I’m sorry,” she begins to apologize, “but that word was probably the funniest thing ever when I was that age too. Cut them a little bit of slack.”

Great, so not only do your students think you’re a ‘nerd’ for making them sing carols but Melissa does too. Because having the woman you have an enormous crush on think that is exactly what you needed to round out your year. Almost as if she can sense your descent into overthinking, Melissa breaks the silence.

“Hey, I’m just messing with ya,” she says. She reaches forward, pulling you out of your spiral, and rests her hand on the thigh that sits closest to you, patting gently. “Besides, you’re cute when you’re grumpy.”

Your eyes dart to hers at the comment and you’re met with a wink. The simple move turns you into putty, melting you to bend to her will. Her hand burns through the material of your slacks where it still lays against your thigh, her thumb rubbing gentle circles in an effort to soothe you. You’re sure your face is matching that same level of heat that radiates from it.

She smiles back softly before turning back to her phone, leaving her hand resting against the patterned material you wear. The contact grounds you and helps you to think a little more rationally. While she’s distracted on her phone, you reach forward onto the table to grab Melissa’s worn Stanley Tucci mug and steal a swig of the steaming black coffee that sits within. The harsh flavor makes you wince, with you preferring your coffee with milk and an obscene amount of sugar to make it even barely drinkable. The expression you wear causes Melissa to giggle, the redhead having looked up almost knowing that your face would be a picture of extreme disgust.

As she laughs the hand on your thigh squeezes and she leans into you, the lines around her eyes accentuated by the deep laugh that’s taken over her being. You decide that this is the most beautiful version of Melissa you’ve ever seen. Carefree, happy, and relaxed.

The moment comes to an abrupt end as Barbara enters the room, both you and Melissa turning to the creaking door as it opens. Her eyes naturally fall to your table, much as your own do when you enter the teachers’ lounge, and her gaze lingers on you before she speaks up, barely giving herself a chance to sit down.

“Oh sweetheart, you look terrible,” she says, concern laced across her features. She’s not wrong. You know the bags under your eyes are worse than ever, having forgone sleep to choose which Christmas carols are least likely to make a room full of elementary schoolers insult you. You wish you had just chosen to sleep instead because every option you threw at your group of angels ended with nicknames being thrown right back at you.

“See, I told you that you looked bad,” Melissa says, the playful glint in her eye accompanied with the squeeze of your thigh letting you know she’s kidding.

“You look like you need this Christmas break,” Barbara adds, “Actually, why don’t you come to the little shindig Melissa and I have here on the last day? Get that break started early for you.”

It’s worrying how quickly you accept the invitation but Melissa’s hand on your thigh paired with the musky smell of her perfume makes it impossible to decline.

“Of course, I’ll come! Do I need to bring anything?” You ask.

“Nothing at all, we’ve got it all covered,” the older teacher replies. “Just bring your dancing shoes.”

You’ve visibly relaxed at the prospect, which doesn’t go unnoticed by your company. While you’re distracted taking another, albeit smug, sip of Melissa’s coffee, Barbara shoots the redhead a knowing look, quirking her eyebrow as she does so. For a split second, Melissa turns the same shade of red as her hair, caught out by Barb and the confession of a pretty obvious crush she gave a few weeks ago. She quickly manages to regain her composure, hand still resting on your thigh and phone still in hand.

You would think that a full week later, after hours of Christmas songs later, that you would be sick of carols. But you still find yourself sitting in the teachers’ lounge long after the rest of the faculty has left the building on the final day of school before winter break, with your usual duo and the addition of Mr Johnson. The room is filled with a warmth that doesn’t just come from the school’s subpar heating system, but instead from the situation you find yourself in.

You feel a slight buzz from the copious amounts of wine you’ve consumed since the end of the school day, your stomach lined with Melissa’s incredible cooking and sweet treats brought in by Barbara. You feel that Mr Johnson is in the same boat as you as he mills around the room, plastic cup filled with what you can only assume is even more wine, swaying by himself to the record that plays from the relic of a radio that sits on one of the many cabinets in the room.

Your attention is immediately drawn elsewhere when Melissa’s cackle fills the room, her and Barb sharing stories that they’ve no doubt already told each other a few dozen times over the years. You completely miss the anecdote, but you still can’t help a smile from breaking out on your face at the sound of laughter, the noise acting like music to your ears – it’s far better than anything that could possibly be played on that radio right now.

Almost as if by cue, the pair finish their story and the older of the two decides to rise from her chair, beckoning to you as she does so.

“Come on, I wanna start to shake my groove thing,” says Barbara, already swaying slightly from the few glasses of wine she’s consumed herself. You raise your eyebrows, incredulous, matching her action and standing from your chair yourself, moving further from the security of the table as a swing version of “Jingle Bell Rock” continues playing. “I need a dance partner and you’re the perfect height so get yourself over here.”

She doesn’t give you a chance to respond before her hands quickly mold you into shape, moving one of your own to her hip whilst the other grips your open palm.

“Wow Barb, at least buy a girl a drink first,” you grin as she swats at your shoulder, giggling along herself. The bells on the front of her extremely festive bright red sweater jingle as she does so. The swaying of your ‘dance’ lasts for a mere few seconds before Barbara interrupts it herself.

“Melissa, I think we may need to swap places,” she says as she glances at where Mr Johnson stands, eyes still closed and nursing his plastic cup of wine. “I have a feeling Mr Johnson may need some assistance.”

Melissa mumbles her response as she comes nearer to you, seamlessly swapping places with the elder woman. You completely miss the wink that is thrown her way from Barb, eyes still focused on Mr Johnson’s one-man party.

When you turn your head back to face in front of you, you’re naturally drawn to the bright green eyes that sit slightly below your eyeline. You feel your heart stutter in your chest at the sight, rarely getting to see them this close. It always baffles you how many shades of green, blue and brown come together to create a colour that can only be described as ‘Melissa’. You realize you’ve been staring a little too long when a change of song and her words break you from your thoughts.

“Come a little closer, you can’t dance properly if you leave enough room for Jesus and the 12 disciples,” she says, her tone playful and smile wide. You can’t help but throw your head back in laughter as her hand snakes from your hip to the small of your back to bring you in closer. There's no mistaking who is leading who.

When you bring your head back Melissa is considerably closer than before. She’s so close that you can see each individual eyelash under her thick layer of mascara and eyeliner, along with the slightly smudged edge of her lipstick, the deep red of the wine making the colour even richer. The smell of her musky yet floral perfume invades your senses as she looks up toward you. You move your hands from her shoulders to link together behind her neck, her red curls tickling your wrists.

You can feel every slight movement she makes as Frank Sinatra croons at you both as you sway slightly in place, too scared to move too quickly in case you scare each other. Her thighs almost touch yours and your chests are almost entirely pressed together. You hope she can’t feel your heartbeat; the speed and intensity of it would almost instantly give away your feelings toward her. Her body this close to yours makes your head spin, your mind racing with possibilities of other situations you may find yourself this close to her in.

You can feel every breath she lets out against your lips, making you aware of how little it would take to connect them with her own. You’re pretty sure she’s noticed too because of the way her eyes keep flicking down to look at them every few seconds. You can feel her hands burning a hole through the material of the shirt against your back. As if she can hear your thoughts, she moves them slightly lower, coming to rest against the waistband of your trousers and dangerously close to your backside. What you wouldn’t give for her to just bite the bullet and slide them into your back pockets to pull you impossibly closer to her.

“You know, I, uh, never wished you a happy Christmas,” she breaks the tense silence, almost whispering as if anything too loud might startle you. “So Happy Christmas, Hun.”

She wears a slight smile on her lips, suddenly dropping the hard exterior she always carries to become the softer, more vulnerable version of herself you’ve come to fall madly in love with.

You can’t help but melt at the sight, your head dropping forward to lean your forehead against hers. She welcomes the move with ease, closing her eyes as you both sway slightly to the music, never moving from your position.

“Happy Christmas, Mel.”

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