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deadandphilgames · 4 days

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A note from Daniel (new epilogue from You Will Get Through This Night)

Thank you for reading This Night. Writing this book in 2021, while sitting locked down in a lightless basement apartment for months, had a certain self-fulfilling irony that was not lost on me.

In many ways, I wrote this book for not only my past self that I wish could have known these things when I needed them most - but for the guy sitting in an incredibly uncomfortable, hunched, t-rex-esque position typing, that needed it right then. Like many of you, I thought those particularly fun couple of years were a temporary inconvenience, that I wouldn't have to age the book by diving into. And here we are. I hope you enjoyed that new chapter about resilience and whatever the hell a 'polycrisis' is. Turns out certain global events do have an additional effect on our mental health - it's understandable that you may try to power through it and pretend it never happened, but we all deserve to take whatever time we need to honestly process how life makes us feel. I hope you're doing alright. My journey of reflecting honestly on my own life experiences and lifestyle while writing was …like spontaneously punching yourself in the stomach. "Wow. I really live like this? That is apparently not conducive to a healthy mind. Oops. Guess I'll go touch some grass." I'm happy if that made this a more entertaining read occasionally.

Even now, I find myself continually re-reading the book in those small moments of first emotional reaction to situations where I now at least think "Wait - what was I supposed to do here? Right. Not catastrophise." If this is you - that is fine. You are not expected to perfectly memorise this book or retain all knowledge you hear in life. I know I don't. If you're ever sat next to me in the emergency exit aisle of a plane, know that you may be required to physically throw me out of the door in order to inflate the slide because I was busy during the briefing, imagining how my life would have been different if I actually had the nerve to dye my hair black that time in school. I am at peace with that.

It was honestly terrifying for me to try and mine the content of my life to try and actually illustrate advice for people that may really need it …for me to honestly look at the balance between joking about my mental health, and really getting real. Hey - if your attempt at opening up via some humour comes out a bit offensive, you still get points for at least putting it on the table. That's progress.

This is not a book about me. I am here just as an example of terrible behaviour that you have permission to have an inappropriate public transport snort at, and as a writer who has repeatedly not finished traditional 'self-help' or scientific study books for being dry, unrelatable and preachy. I just hope you found this moist, identifiable and accepting of all of your beautiful flaws. So many flaws. I often worried if any of the material was maybe obvious, or something you could stumble across on the second page of Google - then I had a small moment of honesty with myself contemplating my own ignorance, commitment to procrastination, attention span …and the fact that factually just 0.63% of all people searching online, ever bother clicking to the second page of results. If you already knew some of this, good for you. Honestly. You must literally be happy with yourself. I'm just looking in the mirror and trying to do something for the 99.37% of humanity that spend their lives never successfully researching how to not lay awake at night fantasising about their doom. Look forward to the upcoming pocket size book of 'offensively self-destructive jokes' by Dan - or 700-page memoir of my yet un-girthy, mostly unremarkable life so far if that's what you're really looking for.

Perhaps the most terrifying result of releasing this book into the world, has been coming face to face with those of you that have read it. For in these moments, all of my protective self-deprecating persona comes crashing down in an instant when someone says this book made them feel better. Hearing that this book was the first time they finished anything tangentially related to self-improvement, or that just one thing they read was a new perspective on a part of their life they needed, makes me feel my mission in life is already complete. Seeing it be recommended by bookstores amongst all the other choices, hearing that people have shared it with their therapists or had it suggested to them by a professional, is an unbelievable seal of approval that I appreciate. I am so inarticulably grateful to have been given the opportunity to do anything that could make your life easier, more peaceful, more enjoyable. I've met people who annotated this book with post-its, told me they listen to audiobook exercises on their commute - and even a few people that have had illustrations tattooed onto them as a symbolic reminder of a message.

All of this puts that year of typing like some kind of infinite monkey at a typewriter into perspective. I'd do it all again. Mostly. It has been the greatest privilege of my life to be the guy whose name is printed on this book, and I just hope that reading it helped you, as much as writing it helped me.

Love and good luck.

- Dan

#ywgttn #ywgttn spoilers #i guess? mental health spoilers is a funny concept #love and good luck <3333 #also. look forward to a 700 page memoir. dont play with me like that daniel #dan and phil #daniel howell

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ao3commentoftheday · 6 months

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I feel like there's a disconnect on the popularity discussion where some people are talking about popularity and some people are talking about feedback. A lot of the responses to the original ask talked about writing what you love and not chasing popularity, but also crucially offered advice on building community. I saw a lot of "don't do things you don't love just to be popular, but here's some ways to get feedback." And the thing is that's right; if an author isn't invested in what they're writing it likely won't be particularly good, and it's really hard to get popular without building a community in some way first. The two pieces, write what you love and engage with people and market yourself, are both necessary to a) feel satisfaction and b) find and maintain popularity.

I'm somewhat popular in my fandom now. The first couple stories I wrote didn't really gain very much traction bc they were sort of unusual, were things that I very much wanted to write and put out without expecting a lot in return. There's a relatively high volume of writers in my fandom and I didn't get a ton of responses. But I met people, I formed relationships, I hyped my own work, and when a story I wrote blew up (without any input from me, it was shared on another site by people I don't know) suddenly every eye was on me. I kept writing what I wanted to but now there were people paying attention. I kept working hard to make myself available to people, leading discussions and creating content that I cared about and interacting, and people kept coming along for the ride no matter what I wrote. It's been sticky at times, overwhelming; there have been times when I was too afraid to speak my mind on socials lest I lose readers, and times when I'd find myself comparing response rates between stories and wondering what I was doing wrong, but the stories I have loved most are the ones I wrote entirely on my own terms, with no regard to whether it was what people wanted. Some of those stories routinely get comments like "I didn't think I liked X but I read it because it was you and I loved this." To get to the point where people were willing to trust me like that, I had to both form relationships with them and write a LOT of stories that I cared deeply about. You gotta do both.

Popularity vs feedback anon sorry I hit the button to soon-

Community is feedback, is what I'm saying. The more people you know and the more conversations you start the more feedback you'll get, regardless of how popular you are. Feedback doesn't happen without community. It's extremely rare for someone without connections to get a ton of responses; people want to know you.

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Thanks for sharing your thoughts, anon

#asks and answers

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am-i-the-asshole-official · 2 months

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AITA for potentially portraying my friend questionably in fanfiction?

I (female) am a well known -ish fic writer in my respective fandom space, and am particularly well known for writing a very specific character in a scummy, slightly kinky way that everyone loves to hate– albeit in good faith. Even if the situations I write are really extreme and kind of gross (for body horror/gore reasons), nobody has ever been bothered by my portrayal of the character themself that I know of, and I don't consider them at all relevant.

However, this character just so happens to share a name with one of my closest friends IRL (male). He sometimes reads my stuff and seems to think it inoffensive like most people do, completely apathetic to this naming coincidence.

The thing is, I'm starting to think it might not be inoffensive at all and I am, in fact, subconsciously fetishizing one of my friend in the stupid fanfictions I write for fun, making them suffer because it brings me demented joy. This would normally sound like a stretch, but I HAVE found myself fantasizing about committing real life violence-related crimes, which is scary to me... It really does make me kind of happy to think of my friend in these kinds of gross situations.

AITA?

What are these acronyms?

#aita #am i the asshole

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mjjune · 1 year

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How to be a Good Beta Reader (or: the difference between critique and beta)

This post is a follow-up to my ORIGINAL POST HERE "How to Have a Good Beta Reading Experience" [link embedded] so I recommend reading that one first for more info.

But I wanted to follow up because I've gotten some questions about it and I figured there was enough to make another post.

WARNING: this is SUPER LONG LOL

DISCLAIMER: Again, I want to clarify that this is based on my own experiences and what I personally look for in alpha/beta reading. Other writers/readers may disagree or have different tastes!

Topics Covered Below:

Critique vs. (Alpha &) Beta Reading

The Purpose of Beta Reading: Mindset

What Comments Should Look Like

How Much Should You Talk to the Writer About It? (Spoiler: it depends)

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Critique vs. Alpha/Beta Reading

I want to start with this because so many times (as a writer) I have asked for beta readers, and basically gotten a critique (or "crit" as it will be called from here on). A crit can look a lot like many different things depending on the reader, but in general, here's the difference:

Critique: grammar, style, clarity, often line-by-line

Alpha/Beta: story structure, character arcs/development, plot, and overarching themes and ideas

And I say this because some writers might want both. Some want all these separately, and some want them all at once.

Generally, crits are harsher, and can resemble "tearing apart" a manuscript. They can certainly offer great feedback, but it depends on the writer and their needs.

Some writers, especially for those who have had critique partners in the past and this isn't their first story, may not want these comments at all. I generally prefer not to have them (unless it's something stark that draws you out of the immersive reading experience) because when it comes to grammar, style, and flow, these are things I can edit myself. I have had enough good critique partners in the past that I can handle that and don't need betas to do it for me.

However, some writers might not feel that way! But I definitely know I'm not alone here. Especially when manuscripts have already been critiqued and you specifically ask for a beta, it can be disheartening to receive this style of feedback (especially in large quantities).

Examples of critique-style comments:

Word choice and/or grammar edits

Line- or scene-specific comments like breaking down or giving advice on dialogue, action sequences, worldbuilding, and the writing itself

E.g. "this needs more visual description" or "this description is too long/drawn out" or "action sequences require faster pacing" etc.

Examples of alpha/beta style comments:

Character arcs/dev: "I liked this character's journey, but I didn't feel connected to them during XYZ parts of the book." or "I don't understand why this character chose to do this."

Plot: "This scene is what I consider to be the part where the plot really begins" or "I don't understand how ABC scene connects to XYZ scene."

So what's wrong with that? Nothing!

But you can see where if someone asked for an alpha/beta but the reader's comments are 90% crit-style, the writer might feel like the reader didn't like or connect with their work. If a reader is crit-style commenting x5+ per page, then they likely weren't engaged with the story so much as analyzing the writing style. And for alpha/betas, you want to be as immersed in the story as possible and analyzing the story.

Particularly if the manuscript has already been critted in depth, and is a polished draft (which, is certainly debatable, but that's a topic for another day) ready for betas, it can be frustrating to receive crit comments when that's not what you asked for. A lot of the times, for well-edited and mostly-polished drafts, these crit-style comments come down to personal preference with the reader editing your work to fit their personal taste. Which is not making the story better, just different.

But, to emphasize: if you were unclear in your expectations and the reader doesn't know that manuscript is already critted/polished going in, they might think you want these comments!

Also, some readers might be awesome critique partners, but terrible betas—and vice versa.

This is why I'm going to drive home my Big Takeaway from my first post: communication is key! Both writers and readers need to be clear on the type of feedback that's desired.

Of course, most readers probably do a mixture of both of these styles of comments, and this is fine! The important thing is to keep what the writer wants in the back on your mind. If you know the writer asked for a beta, then try to keep crit-style to <50% (or maybe even <25%) of your total comments. And vice versa, etc. etc.

TL;DR: A critique analyzes the writing. An alpha/beta analyzes the story. Many readers will look at BOTH, so it's important to discuss this beforehand and provide the feedback desired!

The Purpose of Alphas & Betas: MINDSET

So this piggybacks off of what I just discussed: if someone has asked for an alpha/beta, you should keep the GOAL of being an alpha/beta in the back of your mind. Especially if you're prone to crit-style comments, this will help you.

The goal of BOTH alpha and beta readers is to SUPPORT and ENCOURAGE the writer. I know that's obvious, but so many times I have gotten comments or questions about why some readers' comments seem rude/inconsiderate or not constructive. And, at least in my experience, it's because the readers went in with the wrong mindset—a mindset more appropriate for crit, rather than alpha/beta.

So what is the goal? To me, the goal should be to figure out what the story is the writer is trying to tell. Maybe in some cases the writer is upfront about that, or maybe you're going in blind. But when I go into a book as alpha/beta, this is the question I try to remind myself throughout the journey:

What is this story trying to tell me, and how could it be stronger?

But MJ, what does that mean??

Because no, I don't mean the genre, or the plot, or even the character arcs or writing style. I mean:

What theme is this writer exploring / what is the message they're sending to readers?

And from there: what about the narrative/writing/plot/etc. interfered with my connection with this message?

Side story: let me use avof as an example. This is an urban fantasy with vampires and werewolves and shifters (oh my!). I had some shitty "betas" for this book years ago which really threw off my groove as I was editing because I didn't know they were bad betas. But the truth is they weren't betas at all. They were critiquing it, and from the mindset of "this is vampire romance book." They went in critiquing my book for something that it wasn't. They completely disregarded that it more aligned with adventure, not romance, and the themes explored were self-discovery, self-acceptance, the impact of immortality on psyche, and gender & sexuality & identity - and because of that, they critiqued the book without engaging with the book. If they had asked themselves "what themes are being explored?" they (hopefully) would've seen it wasn't romance, and likely would've engaged better.

So, to continue on with this main goal, there are other things to consider—what kinds of mindsets you should avoid!

Whenever I have gotten insensitive (and sometimes, full-on offensive) comments, these were contributing factors. Regardless of critique, alpha, or beta, these are true:

You are not the only reader. There are going to be multiple people giving comments, and your comments are all of equal weight. You may be the only person who can't visualize that fight scene. You might be the only one who thought a plot point was too predictable. In most cases you will never know if other readers agree/disagreed with you, which is why it is the writer's decision whether to take action on your comments are not.

You are not an expert. I don't care how long you've been reading, writing, or beta reading. I don't care if you've read 100 published books in this genre before. You are not the expert on this book. The writer is. You do not know what is better for the story than the writer does.

You are not here to decide whether the writer is a good writer or not. You should not be making statements that imply that the writer is inexperienced or new to writing. You should not go into reading a manuscript with the mindset of "I have more experience than this writer and I should share my knowledge & teach them something." (But if the writer has expressed this, then it might be okay in some instances to give advice.)

If a specific minority group is being repped on the page that is not ownvoices and you are part of that community, you could offer insight that can be helpful, but should ask the writer if they want that kind of feedback prior to giving it. If you are not part of the community, you should not comment unless the writer has requested it (unless ofc you're complimenting it lol)

When betas go in without these ideals, it can lead to at best, unhelpful comments, and at worst, condescending and hurtful comments. These are the comments that make writers feel like failures, or like their book is bad, or that they are bad writers. Or, for experienced writers who know you went in with these (toxic, imo) mindsets, it can hurt relationships, break trust, and/or make a writer roll their eyes and disregard all of your comments.

That isn't to say that you should only compliment and not have any negative feedback or ignore flaws you see in the writing, narrative, character development, etc... but it is best to go in with the mindset that you are here to give them insight so they can make their story stronger, not to teach/give advice or change the story.

A note on sensitivity, authenticity, and expert readers: In my opinion this is one of the only cases where direct education/advice should be given. I also recommend having at least 2 sensitivity readers per any group that's repped that's not ownvoices, because even two people from the same group may interpret your story differently or see different weaknesses/strengths. That said, it is important for readers who are not of the repped groups to hold their tongue. It doesn't matter if your partner or sibling or parents are part of a group repped on the page. If you are not a member of that group, you are not an expert. If you have an inkling that the writer has not had sensitivity readers yet, you can politely suggest it. But it could also be a case of you having different life views, ideals, and/or opinions than the writer and the group being repped, and that is why you are not a sensitivity reader. I can't tell you how many times I had cis/het betas say my representation of an identity or repping gender as fluid was inaccurate/offensive when it was ownvoices, or when I'd already had 3+ sensitivity readers for the group(s).

Basically, as an alpha/beta reader, you are here to offer insight and immerse yourself in the story. It's also good to remind yourself throughout reading that "this might rub me wrong, but another reader might like it." Framing your ideas and comments this way will help you be more objective and less "this is wrong/right" because there is no such thing in writing.

TL;DR: The goal of alphas/betas is to engage with and understand the STORY, give the writer insight into how you interpret it, and help the writer figure out how to make their story stronger. It is not to give advice or teach. The writer decides what changes to make and is the expert on their story.

Ok, now I got the Beta Mindset™. So how do I comment?

Well, really this will depend on the person. Everyone is different and will notice different weaknesses and strengths in any given manuscript. And, as I said above, most people naturally will provide some crit-style comments, it's just in our nature to point out when a writing style doesn't mesh with our preferences.

From a writer's perspective, at least for me, these are the kind of comments that are the most helpful for me:

"I..." statements. For example: "I am struggling to visualize this fight scene." Instead of rewriting it or pointing out that the descriptions or actions are weak or explaining how to fix it—this is an open statement that leaves the decision up to the writer.

Immediate emotional reactions are awesome for writers to know. For example, if a line made you laugh out loud, say so! If you get to the end of a chapter and were so immersed that you forgot to comment, say so!

And on the other end, if you were immersed but then something happens that snaps you out of it, say so! But without "because..." or "you should..." advice. Just say "hey I was super immersed, but in this paragraph you lost me."

I also recommend holding comments until the end of a chapter/section (minus immediate reactions as above). Look at scenes, chapters, acts, as a whole rather than individual pieces. This will help you focus on the story, rather than the writing.

I would also recommend this post!! Excellent, and I agree 100%!!

Other critical examples: "this is my favorite character but this decision is frustrating/confusing me"; "I was bored and skimming through this chapter"; "I'm not sure what [insert worldbuilding feature] means"; "I didn't know that the magic system could do this and I feel blindsided"

Other complimentary examples: "This line of dialogue really resonates with me"; "this has been my favorite description so far"; "I didn't see this coming but it makes perfect sense!"

And here are comments I suggest you avoid:

Anything that implies that the story is unfinished, too long, too short, etc. This might be ok for crits or alphas or if the writer has said that it's unfinished, but probably not for most betas. If the writer is at the beta stage, then likely they consider their manuscript finished (minus any changes they make based on beta feedback). If you feel the need, you might say something like "this genre is usually 80-100k and yours is 150k" but avoid wording like "the story is overwritten/underwritten", which can be hurtful. (Once, a story of mine was on draft 8 and had been called polished and ready to publish by various other people, and then one beta said, "this is a good attempt at a draft of an opening scene." So yeah, avoid stuff like that.)

Wording things in a way that make them seem like Facts. As a reader, everything you say is subjective. Regardless of what you are commenting on, what you are providing are opinions. Especially for writers who tell unconventional stories/structures, comments like "this isn't the way this is done" are just annoying and are not even true half the time.

Unless you can provide sensitivity feedback personally, do not criticize the representation of a group you are not a part of. If you see something overtly harmful toward a group on the page, you can politely suggest sensitivity readers, and leave it at that.

Try your best to not give reasons or "because" statements. "This action scene felt slow because-" "I didn't feel connected to this character because-" Nope. Stop right there, unless/until the writer asks to elaborate.

Side Story: My Favorite Comment One of the single best comments I've ever received in a beta was when they noticed a character making a decision that didn't seem right. They pointed it out and basically said, "This feels out of character to me because I don't think this character would do this. They have done XYZ in the past, and I thought their motivation was ABC, but this decision directly conflicts with that." Why was this the best comment? Because 1) they didn't tell me how to fix it, 2) it was objective with evidence and nonjudgmental, and 3) they were 100% right. What they had actually found was a plot device I had used to push the character in the direction the story required. But because they pointed this out, I was able to see the source of the issue and rework the scene so that the character's motivation was consistent and they still ended up in the direction of the plot.

Since I foresee questions, allow me to elaborate on the last point: so often, a reader will say "this isn't working for me because of this reason" but actually, they're wrong about the reason. Like the comment above, this beta could have easily said, "this feels out of character because you messed up their motivation." But the problem wasn't motivation, it was me using a half-assed character decision to move the plot in the right direction! The issue was the scene, not the character development. The advice to "fix the character's motivation" wouldn't have fixed anything and might've even made the problem worse.

This isn't to say that advice should never happen in an alpha/beta, but I personally believe that the best comments are not those that say "you should change/fix this" but instead say "this is working for me/this isn't working for me." It leaves it open for the writer to figure out how to solve the problem, if a problem even exists.

I shall paste in a quote from the writing god himself, Neil Gaiman:

TL;DR: Basically, you aren't here to give advice, or fix anything, or change the story in any way. You are here to show the writer how their story impacts you, what you connected with, what you didn't, how their writing style works for you. Keep your comments open-ended and use specifics to show the writer what you connected with and what you didn't. You are giving the writer insight into how readers will interpret and understand their work, and it is the writer's duty to then grow their work.

And that leads directly into our final section...

How Much Should You Talk to the Writer About It?

This depends on the writer. Sometimes, writers will do 5+ betas at once (even on the same document) in which case they might not talk individually with the readers about any of the comments. Some writers (not me lol) will have an alpha as they write the first draft so it's not even complete yet, so they would probably talk a lot.

Personally, some betas I talk to for hours trying to brainstorm fixes (see: @jamieanovels and @wildswrites lmao tysm 🙏), and some betas I will just say "thanks for reading <3" and that's about it. It depends on how much you commented, the types of comments, and if I felt like you genuinely connected with the story (or not).

Side Note: I do want to clarify that by "misinterpret" below I don't mean that the readers are wrong, I just mean that they interpreted differently than what the writer had in mind. There is no misinterpretation when it comes to any form of art. But if a writer intended for the Main Takeaway of their story to be one thing, but the majority of readers took away another—that's important for the writer to learn in the beta stage. (Also, some stories are vague or open to multiple interpretations on purpose.)

For me, I talk in-depth with alphas, and maybe some betas, but there are also a lot of betas I barely talk to. I don't think there is a right or wrong here. Because as stated above, alphas/betas are here to provide insight into how readers interpret, relate to, and understand the story.

So once the writer gets that, there may not be anything else to talk about. Or, maybe the writer has questions about something you commented, and will want to follow up. For me, especially if you interpreted something way differently than I intended, I might want to follow up to see what in the narrative made you go that direction. Or, if you interpreted exactly as I intended, I may want more insight into which parts stood out the most to you, or what your favorite parts were. Or... I might not feel the need to follow up at all, for either.

In general, in my opinion, writers should be leading these interactions. Unless the writer has welcomed it, readers shouldn't be reaching out to writers to further discuss the comments they left.

(Note: this is not the same as hype/fangirling. Please come to my dms unsolicited and go hype about my book)

You have agreed to read it and leave comments, but the writer has not agreed to have full discussions with you about their own work. The writer doesn't owe you follow-up on the comments you leave, and whether they liked or disliked, agreed or disagreed with your comments doesn't really matter.

You may leave comments that are totally out of line with what the writer wanted, and that's fine. You might leave comments that make the writer uncomfortable, and that's fine too. We can't control these things, and there is no way to know how someone will interpret a story or what comments they might leave.

That said, If a writer doesn't follow up with you on anything, that doesn't mean your comments were bad. It might just be the writer's style to process and make changes alone. Even if you "misinterpret" their work, or even dislike it, all perspectives bring something to the table. Giving the writer insight into how one might "misinterpret" and/or dislike what they've written can be just as valuable as the betas who loved it.

Regardless, it's important to comment in a respectful way—respectful to the writer and what types of feedback they request, the story itself, and yourself as a reader. We are all growing and learning together, and miscommunication or writers and betas who have misaligned goals can lead to hurt on both sides. Hopefully this longass post gave you some insight into how/why that happens, and how to avoid it in the future.

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ANYWAY that was a lot. I hope you got something out of this, because it took a week to write this up lmao

–mj

P.S. I am considering doing another in this series focusing on writers and how to handle comments (good and bad). If you'd be intersted in that let me know <3

P.P.S. if you'd like to be tagged in this series, message me or comment below!

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fireflysummers · 9 months

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Final Thoughts on GO S2

I'm probably gonna pull back on discussing S2, at least publicly, after this. I did actually like a lot of the season, but it's triggering some of my religious trauma and also the fandom is already stressing me out. So here, let's have some final thoughts.

First and foremost: I am not a Gaiman simp. I've read a decent amount of his work: comics, short stories, essays, and novels. Aside from Good Omens, I've liked Coraline and The Graveyard Book the best by far, whereas American Gods just. Did Not Connect with me, even though it's should have, given the stuff I tend to enjoy.

However. Regardless of whether I like a given work (or even like how he adapted it, a la parts of The Sandman TV series), he is a veteran writer who has proven that he does, actually, know how to write a story with consistent characters.

Beyond that, I do actually believe that he's trying to do right by Pratchett, and loves and respects the story and characters they created together. He's generally shown up as an ally to a variety of social causes, and directly and respectfully responds to fans on Tumblr. While no saint, I feel that there is cause to give the benefit of the doubt that things will resolve satisfyingly in S3, and that there is Intention about some of the things in S2.

This, of course, does not absolve it of being "bad," but even here I think we need to articulate better the different types of "bad" that people are reacting to. There seems to roughly be three camps here: 1) People who thought it was "bad" because of how it ended, with the breakup and a lot of unresolved plot threads; 2) People who thought it was "bad" because it struggled on a technical level with its set, lighting, directorial choices, editing, etc; 3) People who thought it was "bad" because they felt the characterization was significantly off and that the internal logic of the series had been violated.

With regards to Point One, the only solution is to Wait and See. Judgement should be reserved until the story is properly finished--easier said than done, especially considering the current media landscape, and the number of series or franchises that fail to live up to their promises.

Point Two isn't something I understand well enough to contribute meaningfully, except that I suspect the pandemic affected this aspect the most and am willing to give it a bit more mercy. That aside, I for the most part I don't find it bad so much as not as good as S1. Except for the parts with epilepsy warnings, surely there could've been a better way to do that.

Point Three... that's the stumbling block for me, and I find it interesting that most of the folks who struggle with this point in particular are long time fans of the book.

I trust that instinct.

There are two different directions to go from here. The first is the assumption that these problems are a result of ego, carelessness, or lack of skill from the showrunners/writers/director. It's cynical but not unjustified. The second is the belief that the breaks in lore or characterization were intentional, building towards a much grander conspiracy. Of course, even in this case I don't think it forgives the lack of signposting that would indicate that this is a choice rather than an accident. It just makes it feel clumsy and poorly constructed, a major risk on a show that hasn't had its third season confirmed.*

However, regardless, it still feels salvageable. I've enjoyed reading a lot of meta on all this, and I've pulled some things from others (particularly That Theory by @ariaste), but I don't really want to put forth a single, defined theory myself. Instead, here's some questions I've got, why those questions are important (to me, at least). Actual theorizing comes after, and anybody who snidely mentions Sherlock in the comments or tags is going to get auto-blocked. Like seriously, I'm aware that some stuff is a stretch, but it's fun??? To theorize????? And I'm here for me and my peace of mind rather than trying to argue a point.

*I have some suspicions here, particularly with Gaiman stating that the decision from Amazon would come much faster than The Sandman's second season (which was four months). I don't know enough though to say if that's actually significant.

Questions

Who the fuck is telling this story?

This is the most important piece, in my opinion. There's this assumption when reading books (or research papers, newspapers, etc...) that the narrator who is writing the words is a non-presence, Neutral and objective. That's not the case, and an important part of literature critique is figuring out who the narrator is, and what their goals are. Oftentimes, the narrator and the author are the same person, but with Pratchett's work, particularly on Good Omens and Discworld, the Narrator was its own unique character.

This is why people struggle adapting Discworld to live action--that medium requires a Reason for having a Narrator, and especially in the age of method acting that's often considered immersion-breaking. Good Omens worked so well because they not only kept the Narrator, but they made Her God.

This added some really interesting new dimensions, such as the scene where Crowley speaks to God about his fall and the destruction of humanity. He doesn't receive an answer, but we're watching from God's perspective, so we as the audience know that She's listening.

Another advantage of making God the Narrator is that it justifies all the goofy little asides we get into the lives of minor characters (i.e. Leslie the Mailman), without losing focus. It helps the world feel like it’s full of people, rather than characters and plot contrivances, and the theme that individual people and their choices are important. The Narrator is such a central character of Good Omens that without it, the story struggles to stay focused.

It also highlights a key difference in the writing styles of the two authors. Pratchett’s work tends to introduce four or five totally unique plot threads that feel completely disjointed until the last act (if not even later), when it turns into a Chekhov’s Firing Squad. Plot twists around secret identities and backstabbing and schemes are relatively rare, as the omniscient Narrator doesn’t lie about the intentions of people or their actions.

Gaiman’s writing is typically not like that, to my knowledge. He buries characters in misdirection and hints, and you never know the true identity or motives until all the chips are down. It’s a perfectly valid way to approach storytelling, but it makes it jarring to see it in S2. The lack of a Narrator is a huge reason why S2 doesn’t feel like Good Omens to some folks.

My gut feeling is that the decision to shift from the original Narrator was highly intentional. It helps to obscure the thoughts and intentions of people, and it also muddles the insights that we’re supposed to take away. (I would have loved hearing God monologue about what’s going on in Jim’s head. I think it’d do a lot to make him seem less.... obnoxiously stupid.)

More than that, it brings up a reasonable potential plot point of: Where did God go? Why isn’t She present in the story? Even in her early appearance in the Job flashback, she doesn’t sound like the narrator for last season. After the first part of her speech (which Gabriel later quotes), her tone turns casual and condescending, which might line up with her being a bit of an asshole, it doesn’t line up with the whole “dealer of a mysterious card game who is always smiling”).

Also, I don’t think it’s safe to assume that nobody is telling the story either. Just because they’re not making their presence known doesn’t mean they aren’t there, and in a story like Good Omens, that’s concerning.

Wait, where's Satan?

Another person I saw while scrolling the tags pointed out that Satan is nowhere to be seen this season. He's really only mentioned in reference to a bet God made in Job, but then Crowley is the one on the ground causing mischief. There's no Hail Satan among demons (like Hastur and Ligur did at the start of S1).

That's might be because the writers didn't want us to think it was important (a la Hastur), but that feels off. Given that Satan speaks directly through the radio to Crowley in S1, complimenting him on his work, it's safe to say that he was at least aware of and involved in the goings-on in Hell. The fact that he wasn't even an worry for Beelzebub in abandoning their post? Feels weird.

(Also if you know where that post is, I'll happy credit + link)

What is Maggie?

Look, I love cute lesbians in love as much as the next queer, but I don't like Maggie. I don’t think she’s a person. Contextually, she’s a plot device, but I agree with That Essay that she might be an actual Plot Device.

Her characterization is simple and relatively shallow—a bit of an airhead, ray of sunshine that’s supposed to remind you of Aziraphale. When she describes her past to Nina, it’s almost robotic (also, her story implies it was Mr. Fell who first rented to her ancestor, not Mr. Fell��s great-grandfather like Nina implied). Her emotions are over-dramatic and seem to be turned on and off at random (scenes with her crying to Aziraphale about her woes had my “manipulator” senses going off for some reason).

When asked about a song, she not only IDs the song, its singer, and its year, but how and on what it was distributed. (Honestly thought this would’ve been something interesting, because she’s been pretty ditzy so far, it’d be interesting if she had like... an insane memory for music history.) And then she’s the one that sets Aziraphale on his little investigation by giving him the transformed records, while also planting the seed about her love troubles with Nina. Later, her advice to Crowley is... not awful, but feels insincere and a bit too forward, given her own self-proclaimed lack of relationship experience.

I don’t know what she is (a demon, hastur with amnesia in disguise, a literal plot device inserted by the current storyteller, etc...), but there’s something not right with her.

(Also the joke of “who listens to records anymore, it’s so old fashioned” just doesn’t land, lots of people buy records, and I’m saying this as somebody who has worked at a record store before.)

What's going on with Aziraphale?

There’s something Off about Aziraphale, and it’s not his choices at the end of the season. That makes total sense if you read him as somebody with severe religious trauma getting dragged back into the abusive system because other people need him and he’s been promised the ability to change things.

But I do think something is happening to his memory. Nearly all the flashbacks are from Aziraphale’s point of view and retelling, which means that they’re less reliable than God’s version of events in the previous season. Many of them don’t make logistical sense (post-church scene in 1941), depict Crowley as meaner or more sinister than we know he is, or frame events... weirdly. The scene with him trying food for the first time feels Really Bad, especially when the series has previously established that he’s a) prim and proper and b) his interest in food is one of the beautiful things that connect him to humanity, not some kind of gluttonous sin. Also he turns down alcohol.

Their meet-cute at the start of the universe also doesn’t line up with their reactions to each other in Eden, or the fact that knowing each other Before has never come up or been hinted at anywhere ever. I don’t know what’s causing this to happen, only that Aziraphale repeatedly looks pensive when coming out of flashbacks, and Crowley is never there afterwards to corroborate said memories.

His actions also seem pretty inconsistent with what we know of him—i.e. I refuse to believe he would ever mistreat his books, even if they’re just old encyclopedias. Also, he feels a bit too...forceful in trying to get Nina and Maggie to fall in love? I mean, he didn’t exert that much direct influence on even Warlock, when he was actively hoping that the boy would turn out angelic rather than neutral.

I don’t think this removes his agency in that last decision, so much as explains how he was in such a vulnerable place at all. He still needs to apologize and fix things, because he messed up, and even if he hadn’t he still seriously hurt Crowley.

What's going on with Crowley?

There’s something Off about Crowley. The most obvious thing, of course, is his memories. At multiple points in the present day, characters state that they remember him or have met him before, only to be met with confusion. This is especially concerning given that he has a nigh photographic memory for faces (something mentioned in the book when he immediately IDs Mary Loquacious, 11 years after a 30 second conversation).

Overall, he seems to be better known by other supernatural entities this season, in ways that often tie him back to his angelic identity (i.e. saying they fought together in the war, Aziraphale stating he knew the angel he used to be, etc...). This doesn’t feel right, because S1 we see that Hell is largely apathetic towards his schemes, and definitely does not defer to him at any point in any capacity.

Then there’s the issue of his power level. It’s always been speculated that Crowley was a powerful angel prior to falling, when he mentions in S1 his involvement with star making, his seemingly unique ability to freeze time, and creating a pocket universe for Adam before the confrontation with Satan. He also has a tendency of breathing life into inanimate objects, like his plants or car. He also has the regular demonic skillset: miracles that can adjust physical appearance; the ability to change inanimate objects (like paintball guns into real guns); the ability to manifest clothing and similar items; and summon hellfire to his fingertips. This, plus the way he monologues to God with a degree of familiarity rather than reverence seems to indicate that he was Somebody Powerful and Important Before.

But in S2, his skills are significantly expanded upon. The miracle he and Aziraphale summon sets off alarms in heaven and hell, and it’s powerful enough to mask Gabriel from the Archangels. He summons a miniature sun to rain fire on Job, which is way bigger and flashier than anything we’ve seen him summon in S1. (If he needs fire, he alters the course of a dropping bomb, without creating one himself.)

Yet he’s able to cloak his presence so well he goes wholly unnoticed in heaven, or in front of heavenly agents on earth (i.e. the Job flashback). Muriel can’t clock him as a demon, or even as another supernatural being, despite their auras usually being pretty significant, such Aziraphale immediately sensing the archangels when they arrive. He’s able to interfere with files that Muriel claimed required clearance (although I feel like that might just be a snark about Obeying Without Thinking? I would really need a Narrator to know.)

I might be misremembering, but I don’t think we’ve seen angels or demons transmogrify living beings before either. In the book, Crowley brings Aziraphale’s dove back to life after the failed magic show, and occasionally sinks ducks, but he doesn’t alter them? Not even Adam demonstrates that skill in S1. But he has no trouble turning Job’s children into lizards, however temporarily. Boy that would’ve been convenient during the flood. Or when the guard stopped then from getting to the air strip.

I don’t have any real issues with his characterization in the present day parts of S2, but there’s something weird happening with Crowley.

Where's all the people?

I really like a lot of the new characters, but how were there only like, 2.5 new humans named in the present day? Flashbacks don’t count bc the humans are all dead and can’t affect the story.

As much as I like Nina, she and Maggie don’t drive the story beyond being an occasional and awkwardly inserted plot contrivance? Both are actively robbed of their agency at several points, forced into situations that they could not have avoided or escaped. I’m not really sure what growth they’re expected to experience other than deciding not to date each other after everything. I literally can’t tell you anything about Nina other than that she remembers her regular’s orders, runs a coffee shop, and has a textbook abusive partner we never see. The only meaningful interactions they have are between those two, or in conversation with Aziraphale and Crowley.

Compare that to S1, where Anathema gets hit by Aziraphale and Crowley, but her primary relationships are with Newt, Adam, and Agnes Nutter (I think that counts as a relationship). We know that she’s got a wealthy family back in Puerto Rico, and that she was literally raised to save the world, and that she isn’t happy under all that pressure. Newt on the other hand is connected to not just Anathema, but Shadwell and Madame Tracy. He never even directly interacts with Aziraphale and Crowley. We know about his hobbies, his struggle to hold down a job, and his almost supernatural ability to destroy any electronics he touches. I don’t necessarily like how their relationship came together, but they were both very, very well fleshed out characters with unique backstories and goals. They weren’t just... waiting around to give Aziraphale and Crowley a new questline.

And while there’s no requirement to include a large cast of human characters that are exerting influence over the story, the lack of it is another aspect that makes this season feel not like Good Omens.

Also, it's just. Really weird to me that the events of S1 aren't really referenced at all? Like, Adam isn't mentioned, nor is Warlock. I don't expect them to keep track of the humans they met on the airfield for 20 minutes, but none of it is ever specifically referenced as far as I can tell, beyond Crowley threatening Gabriel. Like, I get that it's been a few years, but the pair caused a big enough disturbance that you'd expect some kind of ripples in their supernatural communities.

Promised by the Narrative (Obvious Chekhov's guns that I will be legitimately upset over if they do not go off)

A sincere apology from Aziraphale to Crowley that doesn't come with the expectation that Crowley will come back to him, but because he deserves an apology, even if the choices Aziraphale made were done with good intentions. Aziraphale does not expect forgiveness, and is shocked when Crowley grants it without hesitation.

A clear declaration of love from Aziraphale, which can't be rationalized away by either of them.

An "I'm Sorry" dance between Aziraphale and Crowley, but with greater sincerity and gravity. The most important piece is that they end up dancing together, which signifies a mutual apology and dedication to come together.

Since kissing is on the table, I expect an actual joyful, mutual kiss between these two assholes.

A shared cottage in South Downs.

Predictions/Theories (just some fun thoughts I've had)

When Adam declared that Satan was not his father, he didn't make himself not the antichrist, but accidentally crowned his human dad the King of Hell. Nobody knows this, because Adam doesn't have a good measure for "normal" supernatural situations, and Mr. Young because he's so "normal" that he explains away all the magical bullshit that's started going down.

When Adam declared that Satan was not his father, he erased Satan altogether. However, this left a vacuum in both power and reality. The defection of both Gabriel and Beelzebub only widens that crack. In an attempt to Fix things, reality is warping the story. Crowley has become leagues more powerful between S1 and S2, as the narrative is trying to force him into the role of his previous boss. Aziraphale is unknowingly being pulled into a similar version on the Other Side, perhaps to replace Gabriel or perhaps to replace God herself, who has been fairly absent in all this. The alterations to their memories or past have come about to keep the narrative running smoothly.

When the Metatron asks Nina whether anybody has ever asked for death, he was actually referring to Death, the sole remaining rider of the apocalypse.

If Maggie is indeed a Plot Device, it would be a fascinating exploration of Free Will to see her become aware of this (cue existential crisis), and then fall in love with Nina on her own terms, rather than because she was written that way.

Hastur will be back. Somehow.

The reason why S2 focuses so much on the supernatural characters is because S3 will be about how the events in S1 have changed the political landscape of heaven and hell. Angels are questioning their roles, demons are yearning for something more. It's scaring upper administration, and then the two most reliable folks in employment run away to alpha centauri. Recruiting Aziraphale and getting him back in line prevents him from becoming a martyr, control the range of his influence. The series reasserts its theme of choice and agency by highlighting that Aziraphale and Crowley aren't that special, they've just had the chance to live and grow, and that the others have free will too, if they want it.

The reason why they wanted to separate Aziraphale and Crowley, is not to get Aziraphale on his own, but to get Crowley on his own. He literally stopped time and made a pocket universe in front of Satan last season. He's powerful and dangerous and somebody wants to see that reigned in.

Wishlist (stuff I desperately want to see)

Crowley getting an audience with God and an opportunity to ask his questions, only to refuse to do so because he's found his own Answers and he no longer needs hers

Aziraphale and Crowley growing more into their book incarnations. Aziraphale becomes confident in his sense of morality, which he developed the hard way through millennia on earth besides humanity. He slowly learns what it means to be loved, unconditionally, but also is better at asserting and maintaining his boundaries. Crowley, still anxious and unwinding, works through his fear of abandonment, providing him opportunities to be kind and gentle and nurturing--all traits that he's aggressively hid since being a demon.

Hand holding. I know that Gaiman was referring to Ineffable Bureaucracy, but I still feel like we'd benefit from meaningful hand holding, especially since that got cut from the adaptation of the book.

Shifted focus away from the supernatural shenanigans, and back onto the humans that actually drive the story.

Cameos from S1 characters (if not a more substantial appearance).

The Four Other Riders of the Apocalypse.

Cursed Thoughts (why I shouldn't be allowed a social platform)

Ineffable Bureaucracy turns up in season 3 because Beelzebub got Gabriel pregnant somehow.

#good omens #good omens spoilers #good omens season 2 #good omens s2 #good omens meta #good omens 2 spoilers #good omens 2 theory #good omens 2 analysis #long post #text

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greenerteacups · 21 days

Note

Hello GT! I almost never comment on anything online, but (after binge-reading Lionheart in about three days) I'm overcome with a desperate need to confess that I've developed an enormous intellectual crush on you as an author. I've never been particularly drawn to Dramione as a pairing before now - or even the HP universe in general as more than a very casual fan - but after reading nearly 600 thousand of your words, I'd be craving more even if that number was 600 million. Thank you very much for sharing Lionheart with the world.

It's a rare pleasure to read something where an immense thoughtfulness shines through so brightly not simply in bits and pieces here and there, but consistently throughout every line and every subplot you stitch together. There are other works of fiction out there that I love, but very, very few of them have been carefully crafted enough to allow me as a reader to sit back and have unshakeable confidence in the depth of the author's vision. Everything you write, from the smallest descriptive details to the grander puzzle pieces tying together each book, is delivered with such intentionality. Sometimes when reading other fiction I'll find myself impatiently wondering "okay, fantastic build-up, but when are we getting to the *really good* part"; with you, every part is the good part. The oft-cited slow-burn mantra of "it's not the destination, it's the journey" doesn't even ring true for me with Lionheart - because in your capable hands, you hurl us straight at that destination with every chapter. All of this to say that my starstruck inner writer is currently pinning a hypothetical pin-up poster of you to my hypothetical writer-ly bedroom wall as someone to look up to.

One of my favourite aspects of your work is how utterly hilarious you are both in your character dialogue and your prose. You've made me laugh more than you've made me cry - and you're guilty of making me cry a lot, especially in Book Four. You balance us between hysterical (funny) and hysterical (dirty, raw feelings) without a trace of whiplash, quite often imparting both simultaneously. Is interweaving humour with Everything Else something that comes naturally to you while writing or is it a process you're consciously juggling?

I've brooded and preened over this message for entirely far too long, and it's not fair to you. Suffice it to say you're kinder than I deserve and this made me want to cry. Any and all pin-up posters of me should render me looking like a deer in headlights, as is the appropriate reaction to this kind of honor.

I'm especially delighted by the hysteria (plural)! In general, it's easier for me to write humor than it is for me to write drama. Not that either one is easy as such, but I think drama requires more architecture. You don't have to explain if a joke is funny; it just is funny, and the audience knows why the characters are laughing/amused/happy. In drama, you have to achieve a certain level of technical character work to set up the punch of a moment; there's stakes, plotting, resonance, etc., and then you have to actually deliver it in a way that isn't either flippant, ironic, or Narm. Basically, there are more axes of failure. And the stakes of a joke failing are pretty low, too: worst case, your audience is like "eh, not that funny" and they move on. If a dramatic moment fails, it can take the legs out from under a whole arc.

One of my tests for whether a moment is ripe for comedy is the question of what the comedy is doing. Is it a realistic reflection of the character's voice in that situation? And, perhaps more importantly: why am I feeling the need to put comedy in this scene? Do I want it because it's natural and tone-appropriate, or am I trying to disguise my own insecurity about the dramatic content of the scene? If the latter, I tend to cut. You can't write from fear, you know?

#greenteacup asks #'with you every part is the good part' this is so wildly moving and poetic. what the fuck. i'm stealing this for my wedding vows.

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murderofcrow · 6 days

Text

Noah

So some of you showed an interest in my Sleep Token OC Noah, so here is a little piece I wrote about them.

As always a disclaimer, that I'm not a particularly good writer and English is not my native language. If you choose to read, I hope you enjoy a glimpse into Noah's story.

☾ ⋆*･ﾟ:⋆*･ﾟ:⠀ *⋆.*:･ﾟ .: ⋆*･ﾟ: .⋆☾ ⋆*･ﾟ:⋆*･ﾟ:⠀ *⋆.*:･ﾟ .: ⋆*･ﾟ: .⋆☾

A tall silhouette, their face covered by a big black hood, was sitting on the windowsill looking up at the night sky, listening to the quiet strumming of a bass and the tuning sounds of a guitar.

"It still sounds off." They said in a monotone voice.

"I know!" The guitarist said with mild annoyance in his voice. He'd been trying to tune the sound for a while but somehow the guitar didn't want to cooperate tonight.

"He's messing with you!" The bassist said pointing up at the windowsill. But he wasn't pointing at the black hooded silhouette but at a small black silhouette sitting next to them. A black void in the vague shape of a cat, six yellow eyes glistening in amusement.

"Sleep you...!" IV said but bit his tongue before he could utter an insult. Insulting an ancient deity, that he owed all that he had, was certainly a bad idea.

The cat laughed a throaty laugh that could only be described as otherworldly. He jumped on the lap of the black figure and closed his eyes, while a pale hand started to stroke his fur.

Sleep wasn't a cat. None of them really knew what he actually looked like. While he was around them, he liked to take on the forms of animals, a black cat seemed to be his favourite. No matter how much he messed with them, they couldn't really be mad at a little fluffball after all.

The hooded figure smiled in amusement. An invisible smile, since nobody could see it. Even when their face wasn't covered by a big hood and a mask covering their mouth, nobody could see it. They made sure to never show emotion on their face. Emotions were a burden and Noah didn’t want to be a burden.

"Hey Noah!" III said, putting away his bass. The hooded figure tilted their head looking down at the bassist. Noah was their name, their new one at least. They didn't remember their old name. It was part of their deal with Sleep but they didn't care. A name didn't mean much to them.

"I've been meaning to ask for a while... how did you become one of us?" III said.

IV put his guitar down. "I've been wondering the same actually. You're one of us but... we don't really know anything about you."

One of us, they said. A vessel for this deity they called Sleep. The very same curled into a ball on their lap, pretending to be asleep.

Whoever followed Sleep and spread his message, was promised glory but Noah didn't want that. They were different from the other vessels in this aspect, all Noah wanted was peace and to belong. Belong somewhere.

Noah looked at the cat. Did they belong here? They still weren't sure.

"I... it's not exactly a happy story." Noah said quietly.

III and IV looked at each other and then nodded up at Noah, to signal they were willing to listen.

Noah slid back their hood, exposing their ghostly white expressionless face, with the dark circles under their pale blue-green eyes, which indicated some sleepless nights. Their long wavy white hair ruffled from the friction of the fabric.

They glanced around the room, with III & IV looking expectedly at them, and the drummer II curled up in a corner of the room soundly asleep. After they made sure there weren’t more ears listening in, they started talking.

"Before I was Noah, I was... lost. I guess, I've been lost all my life really. No purpose, no ambition, nowhere to belong. I tried..." they said, their monotone voice quivered slightly. "I tried to fit in. I tried to give myself purpose but in the end, I gave up. I've found myself at the edge of an abandoned building. It was raining, thunder was roaring. I remember it spooked me so much, I almost slipped over the edge... This is what I wanted anyways but in that moment I was scared. I was prepared to die but... at the same time... I was scared to die. Isn't that funny?" Noah chuckled, forgetting to maintain their expressionless face.

III and IV’s eyes widened and they shared a concerned glance. They didn't seem to think it was funny.

"Well... I was cowering before the edge. I was soaked, I was cold, I was scared, I was screaming but all I heard was the thunder and the splashing of raindrops around me." Noah looked up at the sky. There was no rain. It was a clear starry night, the moon shining brightly down on them.

"As I was cowering there, I heard a voice. It was strange, I couldn't even hear my own screams but I could hear him crystal clear. Such a beautiful voice. He just stood there, holding an umbrella over my shivering body. I thought, what's an umbrella gonna do now, I was already soaked to the bones." They laughed in genuine amusement.

"I sat up and looked at him. He was just as soaked. His hood was stuck to his head, the rain washed away most of his body paint and his white mask looked like it was crying. It was such a bizarre sight."

IV chuckled at the thought of a completely soaked Vessel.

"I bet he looked like a sad wet cat!" III said and they all heard a snort from the corner where II was sleeping. Caught eavesdropping, the drummer sat up and the four of them shared a small laugh, before Noah continued.

"He offered me his hand and for some reason I took it. He dragged me into the building and we sat there in silence for I don't even know how long, until I heard him speaking." Noah pointed at the cat on their lap, still pretending to be asleep but Noah could see his ears twitching, listening to everything.

"He was speaking through Vessel and offered me what I desired the most and... I accepted. Giving away my name and identity seemed like a little price to pay. Not having to be myself, actually seemed like a welcome bonus to me."

"If you gave away your name, how come you’re called Noah now?" II asked.

Noah shrugged. "No idea. Vessel gave me that name… I don’t really know why."

"What did you desire most?" IV asked.

"I..." Noah said, immediately getting interrupted by squeaking hinges of a door being opened.

Vessel stood in the doorframe, looking around. "Did anyone see... Oh! Did I interrupt something?" He said, taking in the scenery.

"Noah is telling us how they became a vessel." III said.

They couldn't see it but Noah sensed that he furrowed his forehead. He pursed his lips, seeming to remember.

"You don't need to share." He said to Noah.

They shook their head. "It's ok." Vessel didn't seem to believe, it was ok. He crossed his arms and leaned against the doorframe.

"So... what I desired... I wanted peace and a place to belong. Now I'm at peace when I listen to Vessel... to all of you really." Noah felt a bit bashful to admit. They tried so hard to come off as reserved and independent but they loved to be surrounded by the other vessels and their beautiful melodies. Noahs facade started to crumble the more they talked. They were afraid of being a burden and to lose this peaceful existence.

Noah took a quick glance at Vessel, his face seemed to soften behind the mask.

They continued "I'm not sure if I belong here but... it feels the closest to home I've ever felt. I guess Sleep somehow has the ability to bring good people together." Noah saw how the cat smiled. Sleep might be a trickster and selfish, sometimes even cruel, but he had saved them. Vessel had saved them. They all had.

"Even if I serve you no purpose, I hope you continue to accept me."

Sleep stood up and took a big stretch. "Your purpose is very simple!" He said, his six glowing eyes glistening in amusement. "It's following and worshipping me, which you can only do alive!"

III and IV rolled their eyes.

Vessel stepped up to the windowsill and took one of Noahs hands. It was just as warm and comforting, as in the night, he had saved them.

"Your purpose is being alive!" He said to them and maybe also a little to himself.

III and IV also came closer "You always have a place to belong with us!"

Noah hasn't cried since that night but they just might, overwhelmed by the warmth of the people standing before them.

II heaved himself on the windowsill next to them and put a comforting hand on their shoulder. "You’re allowed to be yourself, you know? None of us ever bought your cool loner shtick anyways!"

Noah stared at him dumbfounded and they all burst out laughing.

A bit later everyone said their good nights and went to sleep. When everything was quiet Noah snuck out and sat down in a field of wildflowers behind the mansion. They looked up at the sky again, their face hurting from laughing so much.

"I knew I’d find you here, you insomniac!" Vessel sat down next to them.

"As if you are any better!" Noah rolled their eyes. Vessel put down his mask next to him and looked up at the sky too. "I like this authentic version of you better." He grinned.

Noah glanced at his side profile, his unmasked face a rare sight, even amongst themselves.

"Hey can I ask you something?" They said.

Vessel closed his eyes and sprawled himself out on the field. "Go ahead."

"Why Noah? Why not just vessel xy?" This question has been bugging them for a while.

Vessel remained quiet for a while and Noah thought he might be sleeping but then opened his eyes and asked "Do you know what Noah means?"

They shook their head.

"Well as with most things, there’s more than just one meaning but one of them is peace. I wanted to give you what you desired, your name is my promise to you."

Noah nodded slowly and hid their face from Vessel’s vision. They didn’t want him to see the stream of tears running down their face. But their shaking back and choked up sounds exposed them anyways.

Vessel didn’t say anything but he hummed a comforting melody until the tears eventually disappeared behind heavy lids and a welcoming darkness offered it’s embrace. Noah thought that their sad story eventually got a good ending after all. "This is not the end, it is just the beginning!" They heard Sleeps strange voice in their head, before their conscious dwindled away.

Dumb lil bonus:

The next morning Noah felt like they were chewed up and spit back out by some monster. Their bones hurt and their vision blurry behind swollen eyes.

The vessels were all sitting at the table eating breakfast together. Only Vessel and Noah were absentmindedly staring at their plates. The Espera ladies chuckled glancing at them and II was sighing in exasperation.

"What’s up with them?" III asked in confusion.

"These two idiots fell asleep outside on the field and…"

"ACHOO!" Vessels loud sneeze echoed through the dining room. IV looking in disbelief as snot landed on his plate.

"They’re sick!" II sighed.

#fanfiction i guess #sleep token #sleep token oc #oc stuff #i'm kinda already regretting posting this 😭

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bi-buckrights · 16 days

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20 Questions for Fic Writers

Tagged by the lovely @hippolotamus thank you my friend 💕

How many works do you have on ao3?

Just 12! I started writing almost a year and a half ago and I am very slow lmao

What's your total ao3 word count?

204,888

What fandoms do you write for?

Just 9-1-1! Honestly haven't felt the urge to write for any others.

Top five fics by kudos:

Bottled Poetry

Pick a Star on the Dark Horizon (Follow the Light)

You and Me Here (underneath the mistletoe)

Home is Just Another Word for You

Kiss Me Before it's Over (If Only for a Minute)

Do you respond to comments?

Yes!! Comments make my day so I love responding to them! Although I am very far behind...

What is the fic you wrote with the angstiest ending?

I have to have write happy endings so I can't really answer this 😂

What's the fic you wrote with the happiest ending?

Also difficult to answer since they are all happy endings... but I think that Pick a Star on the Dark Horizon (Follow the Light) has the most rewarding happy ending after all the angst I put them through 😅

Do you get hate on fics?

Mehh I've gotten a few somewhat rude comments but thankfully nothing notable

Do you write smut?

I dabble... particularly in my FWB baseball au 😏 and my upcoming pirate au 😌

Craziest crossover:

I don't foresee myself writing any crossovers asdkfjh

Have you ever had a fic stolen?

Not that I know of...

Have you ever had a fic translated?

I don't think so, but I would be honored if someone wanted to translate one of my fics!

Have you ever cowritten a fic before?

No, my writing schedule is too unpredictable and I feel so bad if someone is relying on me 😭

All time favourite ship?

Buddie!! Obviously. But I have been loving Bucktommy, and Destiel will always have my heart.

What's a wip you want to finish but doubt you ever will?

I don't know if my beloved wedding fic will ever return to from the war... Different first meeting, Buck and Eddie reunite at Madney's wedding.

What are your writing strengths?

Umm. uh. pass? I honestly dont know adsfkjh but I like writing multichapter fics and weaving the different parts of the story together (idk if I'm any good at it though lmaooo)

What are your writing weaknesses?

Actually writing... asdfkjlh

Thoughts on dialogue in another language?

I've never added it but I know if I ever needed to include it for any reason I know I could consult my lovely spanish speaking friends <333

First fandom you wrote in?

9-1-1!

Favorite fic you've written?

ohhh not to be repetitive about this fic but probably Pick a Star on the Dark Horizon (Follow the Light), my army marriage of convenience au which is very personal and special to me ❤️

Tagging @monsterrae1 @prettyboybuckley @rogerzsteven @loserdiaz @saybiwithme

@spotsandsocks @eddiebabygirldiaz @hoodie-buck @exhuastedpigeon @bidisasterevankinard

@bekkachaos @loveyouanyway @elvensorceress @spaceprincessem

#Working from home today which means I did this during a meeting instead of paying attention #tag game #writing #buddie fic #my writing

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inkedroplets · 1 month

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fanfic writer questions

Thanks so much for the tag @sideguitars

1- How many works do you have on AO3?

Twenty. A good mix of one-shots and longer fics that I will finish someday...

2. What's your total AO3 word count?

534,441

3. What fandoms do you write for?

Supergirl but I've dabbled with Legends of Tomorrow and have a few unpublished fics for different fandoms that I might share

4. What are your top 5 fics by kudos?

A Rich Girl With Issues (I swear I'm almost done with the last chapter. The flu kicked my ass but I'm finishing up. My weird Lena becomes a vigilante fic. I still am amazed that people like it as much as they do)

Maybe I'm Too Afraid to Admit It (Kind of cute Kara realizes she has feelings for Lena. I really don't know why this one resonated with so many people)

Somewhere You Can't Follow (My weird (and poorly written) Legends and Supergirl crossover. I would love to go back and actually rewrite large bits of this but the dialogue is on point, at least. Oh and Lena gets to see her mom again so that's a plus)

Denial is Not Just a River in Egypt (I have no memory of this place fic)

Nothing Gold Can Stay (My one and only kidfic but I love it to pieces)

5. Do you respond to comments?

I do and I don't. I'm a lot more offline than I was when I first started writing and if too much time passes, I feel weird about responding since I feel like I'm bothering people but I am trying to be better about it. Because I really do cherish each one

6. What is the fic you wrote with the angstiest ending?

Probably nothing I've posted yet would count but I do have one that I plan to post soon-ish that's so angsty I took a year to decide whether or not to share it.

7. What's the fic you wrote with the happiest ending?

I think all of my one-shots have pretty standard happy endings. I think I'll say that either Rich Girl or Nothing Gold Can Stay will have the happiest endings (in my opinion) Wait (a little longer) and see

8. Do you get hate on fics?

I'll get the occasional weird comment. Nothing out of the ordinary. I did get a really rude bookmark once that kind of made me laugh. They hated the story yet still chose to bookmark it which is a choice.

9. Do you write smut? If so, what kind?

I dabble in it. There's a snippet floating around somewhere on tumblr that I'm too lazy to find. I'll share it once I finish the first chapter. It's a bit out of my wheelhouse but its fun? Very different kind of writing than what I'm used to.

10. Do you write crossovers? What's the craziest one you've written?

I write a lot of crossovers. I think when I write fic, I want to see something a little strange and unique that I can't find elsewhere. I'm working on a fic now where Kara meets Matt Murdock, that's not an interaction I ever envisioned myself writing.

11. Have you ever had a fic stolen?

I don't think so? To be fair, I haven't ever cared enough to check. I don't think I'm popular enough to get a fic stolen xD

12. Have you ever had a fic translated?

I have! Someone translated one of my fics into Russian. I was incredibly flattered that they liked it enough to do so.

13. Have you ever co-written a fic before?

No, and I think it's mostly because I'm quite a selfish writer? I know what and how I want to write so collaboration is quite difficult. Maybe I still have some leftover trauma from all the group projects of my past.

14. What's your all time favorite ship?

Supercorp, if that wasn't very, very obvious.

15. What's a WIP you want to finish but doubt you ever will?

I'll finish them all!

16. What are your writing strengths?

I really don't know and that's not just me being modest. I don't really think I do anything particularly well?

17. What are your writing weaknesses?

Being succinct. Every ficlet wants to be a multi-chaptered story and every multi-chaptered story wants to be a novel

18. Thoughts on writing dialogue in another language in fic?

I think if implemented well it can be a great addition. If it's merely tacked on, however... I feel it not only doesn't add anything to the story but it makes the reader aware that they're reading a story. A bit of the magic is lost in the clunky execution.

19. First fandom you wrote for?

On AO3 Supercorp but I've dabbled in fandom for years and years. There's ancient Xena fic somewhere in my mother's basement

20. Favorite fic you've written?

Probably has to be Rich Girl but I really am fond of Swear Not by the Moon, as well. I've really enjoyed expanding the scope of Supergirl's world a bit and watching the characters slowly grow over the course of the story

No-pressure tags, of course: I never know who to tag in these until I finish these but if you like @rustingcat @vox-ex @sazernac

#ask game #this was a long one

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gaiuskamilah · 8 months

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why do you think that confession was "eww sex so gross porn is sinful" and not "pb is gonna keep making crappy porn books with sex every chapter bc it what makes them money instead making stories with substance"

like. have you seen the vip books.

i know this ask is rhetorical and you're not looking for an actual answer but i'm going to take this as an opportunity to vocalize all my thoughts regarding the trend anyway.

for the record, no, i don't play the smut books. i'm more interested in PB's adventure and horror books, and thus those are the ones i actually invest myself in most. if i wanted to consume porn i would look for it elsewhere because choices' smut books don't interest me for a number of reasons. i also don't play or pay for VIP. however, i know enough about the vip and smut books to know enough about them they cater to a very specific audience: older women interested in escapist, arguably "taboo" sexual fantasies who are willing and have the means to spend money on the sex stories they like.

i have no idea if anyone in this fandom has actually bothered to understand economics or even recognize that we live under a capitalist system, but the way a good number of people and career complainers take it out on the writers and how PB just "chose" to make porn never sat right with me. especially since most of these people, again, do not take into account or even vehemently refuse to consider the context and circumstances of the production behind the games. the writers have time and time again been open regarding the circumstances behind book production, and they have always mentioned that economic factors play a large part in it because they work within a capitalist market. here are some times they've spoken about it, particularly andrew in 2019 (writer for blades, bloodbound, endless summer, crimes, etc.) and kara in 2023 (TRR, TCATF):

the trend of smut and single LI books started in 2020 with the release of books like the nanny affair, queen b, and wolf bride. if you check the top 10 category on the app, TNA and WB are both in it — an indication that they do well revenue-wise. companies are driven by data and when they're successful, in kara's words, "it's easier to make a case for making more like them." also please remember that 2020 was the year covid broke out and no doubt affected the production in pixelberry in a negative way the way it did other industries. it's no wonder then that they've since resorted to making smut books since they need to make up for the losses in 2020 as well as keep up with global inflation (this is my own hypothesis— i haven't had the time to check pb's reports, but they are public for anyone who wants to look them up. i have seen a post detailing that PB's revenue has been declining in the past year or so).

it's easy for people to just say and complain "pb is gonna keep making crappy porn books with sex every chapter bc it what makes them money instead making stories with substance" and to an extent i agree. they are going to make "crappy porn books" because it's what makes them money. but they aren't greedy assholes and even your beloved andrew shvarts has asked fans to not portray them that way.

i found that confession dramatic because i think it exemplifies two trends that i've seen in the choices fandom in the past few years i've been here: the tendency to regard the writers as money-hungry cunts without understanding the capitalist circumstances and the liberal "everything must be pure and wholesome and respectable" push back against anything that isn't god-revering missionary sex.

"Honestly the fact that choices' porn-masquerading-as-plot books makes the most money for them scares me. A lot." please ask yourself why that scares you. aside from the obvious fact that people don't seem to or just refuse to understand the economic reason for creating these books, please ask yourself why choices' mediocre porn "scares you". these stories cater to a specific audience as i mentioned before: older women interested in escapist and "taboo" sex fantasies. having these fantasies aren't bad and we really do not need people acting like entertaining them through a self-insert app game (with warnings holding your fucking hand and telling you this isn't necessarily good and giving you the chance to opt out should you please) is akin to being a sex offender. the only thing you're doing is reinventing thoughtcrimes.

sex is one of the most normal things in the world. whether or not you personally have sex you can't deny that it's been a factor in the lives of many and frankly you wouldn't even be alive if your parents didn't decide to suck and fuck. in a world where women's desires are suppressed and aren't taken seriously, why do so-called "progressive" fans find it disgusting that some women might want to spend some money to safely explore their sexual fantasies? enough to be disgusted by it that they say they are "scared" by it? it's trashy, it's stupid, it lacks substance, and who the fuck cares? you are not inherently better than these women, and 95% of the time all i see in the tags are people focusing on the romance aspect of these "substantial" books anyway. if you seriously think that an app game like choices can magically make cheating and having affairs a "normal and good" thing irl then you're just a fucking idiot. if game of thrones and house of the dragon didn't make siblings worldwide suck and fuck then what makes you think that choices can abolish the western institution of monogamy overnight?

at some point some people just have to realize that they have the choice (lmao) to close the app and delete it if they aren't happy with it. if you don't like their porn books then go play something else, they have an expansive library and beyond that there are tons of interactive fiction games, dating sims, and visual novels to explore. that's not even touching the fact that you can, i don't know, read an actual fucking book if you want. i see no point in consciously sitting and tapping through these books when you know they just make you miserable and add to the statistics of people playing it. you can't dismantle the capitalist system overnight but you can choose to just not play an app game if it makes you want to peel your skin off.

#playchoices #choices #anonymous #answered

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ddarker-dreams · 8 months

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Hi! I have a question, you can ignore this if you want to but I’ve found myself really loving the way you write and the range of writing you can articulate as well. Speaking from someone who is nowhere close to that level of skill you possess, would you mind being able to explain your journey of writing, if you practiced any particular methods or anything else to get to this stage you are at right now? Unless you have been gifted the talent of writing from birth and didn’t need to try for much long or long enough to call it a journey. Could you also spare some tips and advice for someone who wants to start writing stories and what to look into/practice?

I love your work a lot and I am constantly waiting for the notification of your new posts, despite not being a writer myself I do love breaking down and analysing writing and your stories are always such good options for me to look into. Thank you so much for writing and sparing your time to produce such well done pieces of work — I felt extremely corny writing this, excuse me for this language, I promise I’m not a pimp!

THIS ISN'T CORNY AT ALL!!!! ❌🌽❌!!!!

i'm deeply grateful for all your kind words, thank you so so much 😭

i don't mean this in a self-deprecating way, but i've never considered myself a gifted or super incredible writer, i just get hype about story ideas and try to make them as good as i can. due to that, i start sweating when people ask for advice because i don't consider myself qualified... i do have a writing advice tag, but take everything i say with a grain of salt!! if it's fanfic literally all that matters is that you enjoy whatever you're writing.

i'm more than happy to share my writing journey though!! it's kinda fun to reminiscence.

i've loved reading and writing ever since i was a little lock. while thinking about this ask, it occurred to me that what i've always been the most invested in are the characters. i'd think about 275894275 different storylines with them. i didn't start writing fanfic until i was around 11 though, everything was handwritten. or in flipnote hatena.

i did a lot of fanfic writing from 11-14 buuuut then my interest in it kinda fizzled out. it wasn't until i watched hxh for the first time that i took it up again bc chrollo is that powerful. that's when i started conceptualizing HWR. i looked at my early writing folder, the first HWR fanfic i wrote was in 2016 when i was 15 ?? here's a cursed excerpt:

anyway, once i started making googly eyes at chrollo, it was gg. i've been writing often ever since.

what's helped me the most is to focus on the elements i find interesting. for example, i like fleshing out my MCs, focusing on dialogue, and developing a universe around the main pairing. because i enjoy this so much it's (mostly) always easy to devote time and effort toward it.

so i think it comes down to finding out what niches you like and working with those. some writers prefer to write with heavy prose, others are more succinct, some writers like dialogue, others prefer to be more action based... etc etc. this does require a little time if you're completely new to writing, but you know yourself best. you'll eventually pick up on what part of the story you're most excited to write.

this isn't particularly mind-blowing or anything but i hope it helps some 😭 what completely Altered my mindset was when i realized i can be as self-indulgent as humanly possible. cringe is not in my vocabulary. write a MC where every single character is in love with them if you want. write a 100k word fic about your OC being isekaid into x world. post about your f/os, draw art of you with your fav, go ham.

#ii have almost completely lost a sense of shame when it comes to stuff i like #i remember that the earth is basically on fire and ppl unironically listen to ben sharpieo #i will have fun with my silly little fics and no one can stop me #sweet asks #answered #Anonymous

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doodlegirl1998 · 11 months

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As a story writer, BNHA is an utter insult to story telling in general. And it sickens me that people literally praise it as peak story telling.

Other anime series like Death Note, Madoka Magica, and Dragon Ball has similar themes and character arcs and did them a MILLION times better than this series ever did!

I'm one who greatly values the rule of "show don't tell" and building up believable chemistry between the characters that I just don't get from this series.

1-A say they're connected and can work together as one but we never get any scenes of the class just hanging out and only talk about subjects that are happening right now. We don't know any of their likes or dislikes, their hobbies, what they like to do and more.

Izuku is forced to be miserable and alone so it can be misery for the sake of misery or played up for poor tasting comedy. And to be forced away from his first true friends to be with the Cash Cow Triplets because that apparent pairing makes the most money.

And that's... the saddest thing about the whole business nowadays.

Telling a good story isn't a priority anymore, it's adding things that'll make them the most bank.

Sorry for this rant I just wanted to get that off my chest.

Hi @theloganator101 👋,

I agree as someone who likes to write fics and read a lot of stories myself I do see where you are coming from.

MHA is built on a strong foundation, interesting premise, world building and loveable characters (eeehhh mostly...) yet as time has gone on really prominent cracks have begun to show in MHA.

Particularly, Hori's "tell don't show" method - an inverse of the good writers advice "show don't tell." For example - so many characters kiss Bakugou's ass, call him a prodigy, a "manly friend", a "hard worker", "the best", "has grown a lot" when with how this kid acts he should be LOATHED. By everyone, staff and students alike.

Aizawa is one of his most staunch defenders despite Bakugou being the type of student he should (from what we are told about him and see of his backstory) despise.

Kirishima is his self proclaimed best friend yet Bakugou is the type of person (from what we are told about him) he should also hate with a passion.

Shoto expresses the desire to be friends with Bakugou yet from his upbringing, he should instantly see Bkg is a POS (a mini Endeavor in a lot of ways) and hate him on principle - especially because of how Bakugou is still acting openly hostile and abusive to Midoriya.

Midoriya still calls him "Kacchan" which implies closeness yet Bakugou viciously bullied him mercilessly for year's. He should from what we see also loathe Bakugou or grow to do so yet he never does.

All of this creates a strong sense of cognitive dissonance and dissatisfaction throughout the story.

Class 1A say they are connected but are they really, and is Aizawa their defacto father figure? I would say no. Despite Hori telling us otherwise - he doesn't make the effort to SHOW us.

Class 1A can show they care what Bakugou feels like being rescued but hound Midoriya and drag him back to UA without a care in the clusterfuck that was Class 1A vs Izuku.

Class 1A can rightfully dunk on Mineta for all the times he acts a disgusting pervert yet look on as Bakugou takes his aggression physically, verbally and in an explosive manner out on Midoriya for the 100th time. Even Midoriya's friends (Ocha, Iida, Tsyu, Aoyama and Shoto) and his mentor All Might look on with a fond smile at the "rivals."

I am disgusted at the abusive mockery of a rivalry... a rivalry is Sasuke vs Naruto - or even Shigaraki vs Izuku not Bakugou (abuser) vs Izuku (his victim.)

There was a moment in the war arc, where Izuku shouted to AFO!Shig that losing their homeroom teacher, Aizawa would be the worst outcome of the battle. And, as it wasn't the argument of Eraser the tactical asset being lost that would be the worst outcome but him as a teacher, I was left thinking - Izuku, why do you think this?

Hori gave us no moments where a bond between Aizawa and the rest of the class was built up to see him as this defacto father figure to 1A - especially not with Izuku - in fact Hori did the opposite by making Aizawa behave like he has.

"Problem Child" - is not a fond nickname from Aizawa to Midoriya to me. To anyone who thinks it is I would like them to consider that it is coming from an expell-eager hardass of a Teacher who has never been shown to like Izuku.

Realistically, the repercussions of Aizawa's actions here written without plot armour, Midoriya would be an anxious wreck being called this by him and would be wondering when he actually will get the boot out of U.A.

So again, there's the cognitive dissonance and here's Hori's favourite "tell don't show"... UGH.

There's so so many other examples of this style of writing in MHA - all the simping for Endeavor, Aizawa and Bakugou done by other characters because we are meant to like them now.

Side note - Rei simping for Endeavor is just baffling to me and not in a good way like 🤮. It was such a poor narrative choice it made me wonder if this poor woman was actually being treated in that mental hospital or just brainwashed to be more ammendable to her abusive husband. What good Doctor would let their patients abusive husband's manipulative presents through? Fuck right off with that Hori.

With your concluding statement I agree - making a good story and concluding it at the right time isn't a priority anymore. In general, just look at the MCU. That francise should have naturally ended with Endgame yet Disney is still trying to drag it on to milk out the dollars until it becomes unprofitable.

With MHA, narratively it has gone down the toilet. Hori's heart isn't in it anymore and we can all tell. He (and his editors) placed Izuku at the heart of the cash cow triplets to bring them in the money. And it has worked.

So, Izuku will always be miserable with Bakubitch always around like a cancer sucking out all Izuku's joy and growing over what was meant as his story. I don't expect a happy ending for Izuku anymore. I just hope he isn't dead at the end of all of this and manages to save Shigaraki - which is the most I can hope for him at the moment.

To conclude, don't be sorry for the rant I responded with one of my own. :)

#mha critical #bnha critical #anti bakugou #anti bakugou katsuki #anti endeavor #aizawa critical #aizawa shota critical #Class 1A critical

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