#they are characters created by writers to serve a specific purpose in the narrative

[hayatheauthor]

The Writer's Guide to Authentic Wounds and Fatalities

Writing fatal injuries in a story requires a delicate balance between realism and narrative impact. The portrayal of these life-altering events can evoke strong emotions in readers and shape the trajectory of your characters' journeys. In this blog, I will explore the intricacies of depicting fatal injuries in a manner that feels authentic, engaging, and respectful to the gravity of such circumstances. By understanding the nuances of fatal injuries, you will be equipped to craft compelling narratives that resonate with your readers.

Writing Fatal Injuries

When it comes to writing fatal injuries, it is crucial to approach the subject with care and accuracy. Fatal injuries carry immense consequences for your characters and can shape the trajectory of your story. By delving into the intricacies of portraying fatal injuries authentically, you can ensure that the gravity and impact of such events are effectively conveyed to your readers.

Choosing the right injuries for your story

Selecting the appropriate fatal injuries for your narrative involves considering various factors. Ask yourself: What purpose does this injury serve within the story? How does it affect the characters and the overall plot? Conduct thorough research to identify injuries that align with your story's context and resonate with the emotional journey of your characters.

For example, in a historical drama, you may research common fatal injuries during a particular era, such as battlefield injuries, diseases, or accidents prevalent at the time. In a crime thriller, you might explore the portrayal of fatal gunshot wounds or traumatic injuries resulting from violent encounters. By aligning the injuries with the context and themes of your story, you create a more immersive and believable experience for your readers.

Researching the mechanics of fatal injuries

To portray fatal injuries convincingly, it is essential to delve into the mechanics behind them. Understand the specific anatomical structures and systems involved, as well as the forces or mechanisms that can lead to fatal outcomes. Explore medical resources, consult experts if possible, and gather insights into the physiological and psychological implications of such injuries.

For instance, if your character suffers a fatal stab wound, research the anatomy involved, the potential organs affected, and the potential consequences such as internal bleeding or organ failure. By understanding the specific details and implications of the injury, you can describe the physical and emotional toll it takes on the character with greater accuracy and depth.

Depicting the immediate aftermath

When writing about fatal injuries, vividly describe the immediate aftermath to capture the intense emotions and physical realities. Consider the sensory details, the shock and disbelief experienced by characters, and the chaotic environment that often surrounds such events. Balancing realism with the needs of your story, create a scene that immerses readers and evokes empathy.

For example, if a character experiences a fatal car accident, you can depict the chaos at the scene, the character's disorientation, and the reactions of witnesses. Emphasize the sensory details such as the sound of screeching tires or the smell of burning rubber, creating a visceral experience for your readers.

Emotional and dramatic impact on the narrative

The impact of fatal injuries extends beyond the immediate moment. Explore the ripple effects on other characters, relationships, and the overall plot. Delve into the emotional responses, grief, guilt, anger, or determination that arises in the aftermath of loss. Utilize these emotional arcs to deepen character development and drive the narrative forward.

For instance, the loss of a loved one due to a fatal illness might lead to grief and strained relationships among the remaining family members. The emotional journey of a character grappling with guilt and seeking redemption after causing a fatal accident can become a central theme in your story. By delving into these emotional arcs and their consequences, you add depth and resonance to your narrative.

Writing Minor Injuries

While fatal injuries may capture our attention with their dramatic impact, it is equally important to pay attention to the portrayal of minor injuries in your writing. Minor injuries, though less severe, can still significantly affect your characters and contribute to the authenticity of your story. In this section, we will explore the art of depicting minor injuries, ensuring that they are not overlooked or trivialized. By delving into the nuances of minor injuries, you can add depth and realism to your characters' experiences.

Types of minor injuries to consider

When crafting your story, it is essential to consider a range of minor injuries that can occur. These injuries can include cuts, bruises, sprains, minor burns, or even minor fractures. Each type of injury carries its own unique characteristics, associated pain levels, and recovery processes. By understanding these distinctions, you can create accurate and believable depictions that resonate with your readers.

For example, a character who sustains a cut on their hand may experience sharp pain, the sight of blood, and the need for immediate first aid. On the other hand, a character with a sprained ankle may struggle with mobility, experience swelling, and require rest and care for a few days. By paying attention to these specific details, you can enhance the realism of your storytelling.

Conveying pain and discomfort

When writing about minor injuries, it is important to effectively convey the pain and discomfort experienced by your characters. Consider describing the sensation of pain, the throbbing or stinging feeling, and how it affects their daily activities or interactions. Showcasing the emotional impact of pain, such as frustration, irritation, or vulnerability, can deepen the readers' connection to the character's experience.

For instance, if a character suffers from a sprained wrist, you can describe the dull ache that persists, making simple tasks like typing or holding objects challenging. By capturing these small but significant moments, you immerse readers in the character's struggle and create a more realistic portrayal.

Balancing realism with narrative pace

While it is important to depict minor injuries realistically, it is also crucial to strike a balance with the overall pace and momentum of your story. Consider the significance of the injury within the larger context of your narrative. Some injuries may require more detailed attention and impact the plot, while others may serve as background elements. Adjust the level of detail and focus accordingly, ensuring that the portrayal of minor injuries aligns with the narrative's flow.

For example, a small cut on a character's finger may not require an extensive description unless it becomes infected or triggers an unexpected consequence. By aligning the portrayal of minor injuries with their narrative relevance, you maintain a consistent pace while still acknowledging their impact on your characters' lives.

Writing Bloodshed And Realistic Blood Loss

When writing about wounds and injuries, it is essential to consider the amount of blood loss your characters may experience. Realistic portrayal of bloodshed can enhance the authenticity of your scenes and immerse readers in the gravity of the situation. In this section, we will explore the factors influencing blood loss and techniques for accurately depicting it in your writing.

Understanding blood loss and its impact on the body

To authentically portray blood loss, it's crucial to have a basic understanding of how the human body responds to injury. Research the circulatory system and the role of blood in transporting oxygen and nutrients throughout the body. Consider the different types of blood vessels and their potential for bleeding when injured. This knowledge will help you create realistic scenarios and determine the appropriate level of blood loss for specific injuries.

Factors influencing blood loss in different injury scenarios

The amount of blood loss can vary depending on the severity and location of the injury. Factors such as the size of blood vessels, the rate of bleeding, and the body's ability to clot play a significant role. For example, a deep laceration in an artery will result in more substantial blood loss compared to a superficial cut on the skin. Consider these factors when describing injuries and their resulting bloodshed.

Techniques for accurately portraying blood loss in writing

There are several techniques you can use to convey the realistic impact of blood loss in your writing. Describing the color, consistency, and flow of blood can provide vivid imagery. You can also include physical symptoms such as dizziness, weakness, or fainting that may accompany significant blood loss. Additionally, consider the emotional response of your characters and how they react to the sight of blood or their own injuries.

By incorporating these techniques, you can create scenes that evoke a visceral response in readers and enhance the authenticity of your writing.

Bruises: Colors, Progression, and Pain

Bruises are a common result of injuries, and understanding how they form, change in color, and cause discomfort can greatly enhance the realism of your writing. By accurately describing bruises, you can bring depth to your characters' injuries and portray their healing process convincingly.

Understanding the stages and colors of bruises

Bruises go through distinct stages of color as they heal. Initially, they may appear red or purple due to the broken blood vessels beneath the skin. Over time, the color changes to blue, green, yellow, and eventually fades to a brown or yellowish hue. Understanding this color progression can help you accurately describe the age of a bruise and the healing process.

For example, a fresh bruise might be vivid purple, indicating recent trauma, while a fading bruise may have a yellowish tinge, suggesting that healing has begun. By incorporating these color details, you can add realism to your characters' injuries and track the passage of time within your narrative.

Depicting the progression of bruises over time

As bruises heal, they often change in appearance and size. Initially, a bruise may be small and localized, but it can gradually spread and become more extensive. Describing this progression can provide a sense of the healing process and the passage of time within your story.

For instance, a character who sustains a significant blow to the face may develop a bruise that starts as a small spot near the eye but expands to cover a larger area over the next few days. By accurately portraying the progression of bruises, you enhance the authenticity of your characters' injuries and their recovery.

Conveying the pain and sensitivity associated with bruises

Bruises can be painful, sensitive to touch, and affect a character's movement and daily activities. Describing the pain and discomfort experienced by your characters can create empathy and immerse readers in their physical ordeals.

Consider conveying the tenderness of a bruise when pressure is applied, the throbbing sensation, or the limitation of movement due to the pain.

Remember The Side Effects

Injuries, whether minor or severe, often come with a range of side effects that can significantly impact your characters' lives. These side effects can extend beyond the physical realm and encompass emotional, psychological, and social aspects.

Physical side effects

Injuries can have profound physical side effects that go beyond the immediate pain and discomfort. Consider the potential consequences such as limited mobility, impaired coordination, chronic pain, or the need for assistive devices like crutches or braces. Describing these physical side effects can add depth to your characters' struggles and provide a realistic portrayal of their healing journey.

For example, a character who sustains a leg injury may experience difficulty walking, require physical therapy, or have long-term complications that affect their day-to-day activities. By addressing these physical side effects, you create a more nuanced depiction of the aftermath of injuries.

Emotional and psychological side effects

Injuries can have a profound emotional and psychological impact on characters. They may experience fear, anxiety, trauma, or a loss of confidence. Consider how the injury affects their self-image, relationships, or mental well-being. Explore the emotional journey your characters undergo as they navigate the aftermath of their injuries.

For instance, a character who survives a near-fatal accident may develop post-traumatic stress disorder (PTSD) and struggle with recurring nightmares or panic attacks. By incorporating these emotional and psychological side effects, you can deepen the complexity of your characters and their responses to traumatic experiences.

Social implications and changes

Injuries can also lead to significant social changes for your characters. They may face challenges in their personal relationships, encounter stigma or discrimination, or experience changes in their roles or identities. Explore how the injury affects their interactions with others and their sense of belonging in the world.

For example, a character who sustains a facial injury may encounter judgment or stares from others, leading to self-consciousness or isolation. By addressing the social implications and changes resulting from injuries, you can create multi-dimensional characters and explore the impact of their injuries on their social dynamics.

By incorporating these various side effects into your writing, you bring depth and authenticity to your characters' experiences and showcase the wide-ranging impact of injuries.

Conclusion

Writing authentic wounds and fatalities requires attention to detail and a deep understanding of the physical, emotional, and psychological aspects involved. By following the guidelines and exploring the subheadings discussed in this guide, you can create compelling and realistic portrayals of injuries in your writing.

Remember to conduct thorough research on the specific injuries you want to depict, understanding their mechanics, symptoms, and potential outcomes. Consider the immediate and long-term effects on your characters, both physically and emotionally. Incorporate sensory details to immerse readers in the experience, describing the pain, bloodshed, colors of bruises, and the progression of healing.

Additionally, don't forget to address the side effects that injuries can have on your characters' lives. Explore the physical limitations, emotional struggles, and social implications that arise from their injuries. By delving into these aspects, you can create well-rounded characters and compelling narratives that resonate with readers.

I hope this blog on forging epic battles will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

#hayatheauthor #haya's book blog #haya sameer #haya blogs #writers on tumblr #writer community #writer tools #writer blog #writer stuff #writer wednesday #writer tips #creative writing #writers of tumblr #writerscommunity #writeblr #writing community #writer spotlight #writer things #writing prompt #writing tools #writing stuff #writing #writing life #writing inspo #writing help #writing advice #writing inspiration #writing ideas #writing things #writing tip

[novlr]

Weird question here: do I need to describe my character's clothes? Obviously I need to if it's important to the story or setting (if they're wearing a beautiful ruby gown at a ball, or maybe dirty and torn to indicate a fight) but just on a normal day? Do readers need to know what characters are wearing?

The issue of whether or not to describe a character’s clothes is a common dilemma faced by many creative writers. The answer to this question, however, is not a simple one. It ultimately depends on the specific context and requirements of your story. Let’s dive into how to strike the right balance in descriptions of clothing, and when it helps or hurts your narrative pacing.

When should you describe a character’s clothes?

Setting the tone and atmosphere

In scenes where the character’s clothes significantly contribute to the setting or atmosphere of the story, a detailed description is good to include. A vivid description can immerse a reader fully in the scene. Examples could include a fancy gown at a ball or an inappropriate costume at a house party.

Defining characters

Clothes have the potential to be a powerful tool in defining your character, as they can reflect their social status, personality traits, and even their current mood or mindset. Whether it’s a sleek suit that exudes sophistication or a colourful ensemble that showcases their vibrant personality, the clothes your character wears can provide valuable insights into who they are when they are first introduced.

Moving the plot forward

The type of clothing a character wears can help to move your plot forward. A character in a magician’s robe, for instance, can spark reader curiosity but also heighten anticipation for the future role they may have in the story. It becomes a visual cue, subtly hinting at the possibility of magic and the potential impact the character might have on the story’s unfolding events.

When should you not describe a character’s clothing?

When it doesn’t add anything to the story

It is important to consider whether a description of a character’s clothing adds crucial information to the story or character development. If it doesn’t serve a purpose in enhancing the plot or providing insights into the character’s traits, it is usually best left out. Instead, focus on elements that truly matter and contribute to the narrative.

When it slows down the story

Detailing every piece of clothing in every scene can result in a slow progression of the story. While it is important to create a vivid and immersive world for your readers, focusing too much on clothing descriptions can detract from the overall pace and flow of your narrative. Instead, prioritize the elements that truly matter to the plot and character development. Choose key moments or scenes where the character’s clothing holds significance, such as pivotal events or instances where what they wear contributes to the atmosphere.

When it distracts from plot development

Detailed descriptions of clothing can sometimes divert readers’ attention away from the main plot and essential details of the story. When the focus on clothing becomes excessive, it can interrupt the flow of the narrative and hinder the development of more crucial elements.

Strike the right balance

It’s all about striking the right balance. Descriptions are necessary when they have a purpose and impact on the story or characters. Consider the following tips to accurately depict your character’s clothing:

Do not overload your description in a single paragraph. Distribute it throughout the story.

Maintain variety. Describe different aspects of clothing in different scenes.

Keep it relevant and contextual.

#writeblr #writing asks #character description #writers #creative writing #writing #writing community #writers of tumblr #creative writers #writing inspiration #writerblr #writing tips #writblr #writers corner #character development #nanowrimo 2023 #nanowrimo #nano 2023 #national novel writing month #writing advice #writers on tumblr #writing resources #writers and poets #writer things #writer problems #let's write #writing ask #quick writing tips #writing quick tips #writing tips and tricks

[agoddamn]

Tales of Duviri is a storybook written by Euleria Entrati for the purpose of teaching children how to handle the manic flood of emotion that comes with Void exposure.

I pose a question: why does Euleria feel so strongly about this?

Her interactions with her own children are... let's call them wanting, and dialog implies that the negative aspects of their relationship--her denigrating, controlling nature, the distrust, etc--did not begin only after the Infestation brainrot set in.

We also know that she holds her father in extremely high esteem, but Albrecht did not think much of Tales of Duviri (see: him talking about his previous disdain for it in his own Duviri notes). Euleria put resources into writing Tales of Duviri instead of more traditional science, and Albrecht did not think much of it.

So why did Euleria write Tales of Duviri?

Let's rewind a step. Void exposure-induced mania, the whole thing Tales of Duviri is written to help manage.

How was that discovered and studied? It clearly was studied, enough to be a recognized condition and for the Orokin to build the iso vaults and for Euleria to write Tales of Duviri. But who would they have observed this mania in if Void research was an abandoned dead-end line of study?

Perhaps...the man obsessed with the Void who'd survived an unshielded Void dive?

Euleria had patient zero of Void mania sitting at her dinner table. Albrecht is the character who's undoubtedly had the most Void exposure.

Albrecht himself must have exhibited the Void mania and mood swings that Tales of Duviri exists to teach caution of.

And that's why Euleria wrote it; she had this gyroscope of a mood swing at home. She admired Albrecht too much to consciously deride his lack of control as irresponsible and so she channeled her energy into writing Tales of Duviri instead.

The emotion spirals of Duviri are loosely based off of what Euleria witnessed in the Entrati household and particularly Albrecht himself.

I don't believe that any courtier is a 1:1 translation of a member of the Entrati household, but more that their toxic interactions and dramatic heights reflected things that Euleria herself saw--or lived.

This reading of the Duviri characters and story--that they mean things to Euleria specifically--gives us a fun new lens to look at all of the chapters with.

For example, Mathila.

"Two children, and no memory of her husband. Poor Mathila."

Two children like Euleria herself, eh?

Mathila loved her husband. He also textually does not exist. He's not on the screen or in the text. He is a memory, and one that Mathila herself cannot even remember. There is no portrayal of their love.

Pivot to a writer's perspective. You need to write a loving relationship. You look to real life for inspiration, right? If you're a married woman needing to write a married woman in love, you naturally look to your own relationship.

And if you can't find anything to base that love off of? Well...move that character offscreen. Just tell about the loving relationship, don't show. Actually, do you even have anything to tell about? Well. Move the entire loving relationship offscreen, then. She's got amnesia. Nobody needs to talk about the love to sell it or make it feel real now. The narrator can simply mention it as a fact and it need not be challenged. Euleria doesn't have to imagine a loving family life between a husband and wife and their two children and question why that's hard for her. There. Problem fucking solved.

Another parallel that fairly started screaming at me once I started considering that the Duviri courtiers had meaning to Euleria specifically: Luscinia.

"I was created to be Sorrow, written into being, to serve as a lesson... can that change?"

Luscinia knows that she is a tool. As much as she dreams of being more, she knows very well that she is a tool--both a literal narrative element to teach a lesson and within the story itself Thrax's servant (his personal songbird).

Is there anyone in Euleria's life who might have some angst over their position as a tool? A servant who wants to escape the limited definitions of their role?

And so... here I am, back to my old role. The diligent servant. Albrecht would have smiled at that, I think.

Loid. It's Loid.

Luscinia: "This structure and I share much. Both of us once useful, both of us discarded, both of us now derelict. Both forgotten." Loid: "How might this relic make himself useful today?"

Both Luscinia and Loid are also capable of surprising amounts of ruthless violence. Luscinia has no hesitation telling you to kill the Dax or otherwise wreak vengeance on her jailers. Loid's Necramech lines feature him ranging from being excited for ensuing violence to coldly promising the Murmur regret.

The Duviri Tales were a subconscious form of therapy for Euleria herself as well, allowing her to write a story where emotional explosions were a problem that must be addressed rather than a social struggle to be suffered through at the whims of the more powerful.

#warframe #bootsmeta #euleria entrati #gomaitru entrati #albrecht entrati #tales of duviri #loid warframe #mathila warframe #luscinia warframe #luscinia

[horse-girl-anthy]

Mikage: Boy of the Black Rose

I've long struggled to write about Mikage, who I find to be an intriguing yet elusive character. or rather, his character is understandable--his motives and feelings are communicated clearly enough--but his narrative is one of the most inexplicable in RGU. thinking it over tonight, I put my finger on one aspect of the Black Rose arc which I previously didn't know how to approach: specifically, Mikage's relationship with the Boys of the Black Rose.

the boys act as a kind of collective character, a mass of faceless people who whisper in dark corners. since RGU is about social reality, it often uses extras to deliver exposition or set the mood. the Shadow Girls are meta characters, existing somewhat outside the narrative, but regular schoolgirls at Ohtori can serve a similar purpose. they might demonstrate that Touga and Saionji are considered the hottest boys in school, or gossip about Ruka and Shiori's recent breakup.

the Boys of the Black Rose are slightly different, maybe a little closer to the Shadow Girls. rather than acting as bit characters in the larger world of Ohtori campus, I believe their existence is contigent on Mikage. while this could be put in various ways, in the most straightforward terms, the writers created them to help reflect on Mikage's character.

only one Black Rose Boy is given a face: the first one Mikage (Nemuro) talks to. when Mikage asks not to be called "professor," since they are the same age, the boy replies:

obviously, RGU relies on making its main characters visually distinct from "normal people." Wakaba calls them "special" and resents them. Utena is popular for her specialness, well-liked; in contrast, Mikage is an outcast for his. for a person to be special or a genius, there must be others for them to stand in opposition to. Mikage is set apart from his peers by his pink hair, by his unique uniform, and by being a professor.

after Mikage is introduced to his new work, the boys begin to gossip about him, saying he knows nothing about what's really going on at Ohtori. towards the end of this conversation, there's a shot of Mikage, and then he actually replies from the future to the gossip they were spreading about him.

this is Mikage's eternal reality: his recollection of the past. even during the "present" of Utena's narrative, he is still walking through Nemuro Memorial Hall, which is why it's still standing, unburned. the Boys of the Black Rose that the audience sees are filtered through Mikage's memory; whether or not the boys really said these things about him is ambigous. it's possible, but the important fact is that Mikage believes they did.

this transpersonal mirroring keeps Mikage trapped, unchanging. he feels himself defined as unable to connect with others, so he keeps away from them. this becomes a self-perpetuating cycle, leaving Mikage a total outcast.

even outcasts, however, are members of society. the Boys of the Black Rose actually have more in common with Mikage than the average Ohtori student. they're all scientists working on the same project. they have much of his coldness, sense of superiority, and intellectualism. the main difference is that they're the in-group.

while Mikage believes himself to be emotionless, it's made clear that his social isolation hurts him. he doesn't want to be set apart, but he doesn't know how to break through the barrier between him and others. it's very easy to do a queer reading of the character, given the way this is conveyed to the audience.

Mikage's fixation on Tokiko and Mamiya is easier to undestand with all this in mind. the world he was living in, occupied by the Boys of the Black Rose, was a cold and alienated one. in contrast, Tokiko has genuine passion, caring for her brother deeply. Tokiko's tears move Mikage, allowing his own buried emotions to break through the surface. but she also reinforces his social isolation; he is equally as hurt by her as he is drawn to her.

this is part of why Mikage is so determined to "defeat" Tokiko; she offered him hope of connection, but he was never able to "win" her, as men so often try to do with women.

Mamiya is something else altogether; a boy, like Mikage and the Black Rose Boys, but altogether different. warm, friendly to Mikage, not intimidated by his intelligence or reputation, and insightful. in a show full of characters obsessed with holding on (to the past, to a person, to their self-image), Mamiya is the only one who can see the wisdom in letting go.

Mikage at first is open to Mamiya's words, preparing to call off their quest for eternal life. but like every character who threatens the system in RGU, he is faced with Akio. in a prototype of the later "End of the World" sequences, Mikage comes across the kissing Tokiko and Akio. this proves to be too much for him; there are some things he can't afford to lose.

the scene has significance to Mikage far beyond disappointment in love. he wanted to create a family with Tokiko and Mamiya; marriage to Tokiko would tie them together "forever." if he could be by Tokiko's side as they lost Mamiya, then at least he wouldn't be alone after his death. but if he's only Tokiko's coworker, when their work is done, he's back to being a computer.

in desperation, Mikage plays into Akio's hands. under contract, he sacrifices the Boys of the Black Rose and burns down the hall that bears his name. when justifying himself to Tokiko, he claims that this act will allow them to attain eternity. in the events of the series, he's still at it: installing Mamiya as the Rose Bride will, after all, make him eternal, even though it's the very kind of eternity Mamiya wanted nothing to do with.

Mikage retreats into delusions on feeling the sting of Tokiko's rejection. though he is the one who betrayed her, he turns it around and feels betrayed himself. going even further, he casts Mamiya as the one who set the fire.

the Boys of the Black Rose are also used to emphasize his inability to face his own actions. throughout the arc, the boys are seen pushing coffins around. however, in episode 23, Mikage takes their place right before he is forced to face the truth about himself.

at the end of the arc, Miki claims that no one was hurt in the the fire, contradicting the previous story of Nemuro Memorial Hall. this possibly indicates that the murders are a figment of Mikage's imagination--the older Tokiko doesn't seem to react to him as if he's a murderer. more than anything, he seems guilty of self-denial and retreat from reality. Tokiko went on to accept Mamiya's death and even mourned for Mikage, while he ignored her in favor of his memories. the fact that he does not recognize her feelings is another aspect of his tragedy.

Mikage, through his fruitless revolution, loses the very things he always wanted. he attempts to throw away his past self, the cocoon of Nemuro hatching into the butterfly that is Mikage. with it, he burns away the boys who rejected him, who embodied the cold world he used to live in. he uses their sacrifice to enshrine Mamiya, idealizing him as the perfect companion. but as Ikuhara said, he was doomed to fail from the start:

Those who reject that place are, conversely, rejected by it as well. This is the nature of systems: the moment you reject them, you are forced to realize that they’re the very ground you’re standing on. Mikage noticed the trick behind the system, and he hurriedly attempted revisions. But the adult who’d created the system just said “Let’s not,” and unilaterally brought the curtain down.

the "trick within the system," is, I think, the fact that it's socially constructed. Mikage believed that on realizing this, he could simply remake the world as he wanted. he was allowed to do so for a time, when it was useful. when he ceased to be useful, he was dispatched with, because while he had operated within the system, he was not in control of it. and beneath his delusions, there was still a reality.

Mikage is the true Boy of the Black Rose: the true ghost, the true sacrifice, living in the desiccated world of a preserved flower. throughout the arc, he takes possession of Ohtori students who suffer from the same afflictions as him, and every time Utena defeats one of his duelists, another part of him is exorcised--another Black Rose Boy burned away. in the end, the only thing left of him is the ruin of Nemuro Memorial Hall, shown briefly in the final episode. he graduates at Ohtori, but only after losing absolutely everything. that seems to be the only way to step into adulthood: naked and shivering, like the day we are born.

#rgu #revolutionary girl utena #commentary

[amwritingmeta]

Friendly Nov 5th reminder: The theme in 15x18 was loss (hence the title Despair). This theme was underlined through the motif Berens chose, where he tied the theme of loss specifically to despairing over the sudden, traumatic loss of the person you are in love with. Romantically.

I’ll repeat that for the nosebleed section: the theme of loss in 15x18 is specifically stated through the repeated narrative motif of a character in love losing the one they are in love with.

This motif was established with Charlie losing Stevie and was furthered around the midpoint by Sam losing Eileen. Berens could have left the motif as a bookend, but he went one step further and had two deep losses in the narrative to create foreshadowing through this motif for the gut punch of the final loss. Why? I would assume because he really wanted those looking for it to know beyond a doubt that this narrative choice was intentional. And that it served a deeper purpose than simply creating a mirror moment of people losing each other.

(and yes I’m speaking for Berens and I shouldn’t but the writer/screenwriter/editor in me cannot fathom that this choice wasn’t intentional so I’m leaning on that as the basis of my assumption)

Again: the theme of loss in 15x18 is specifically stated through the repeated narrative motif of a character in love losing the one they are in love with.

And why did Berens choose a freshly in love and happy couple and then another not so freshly but equally narratively stated to be in love couple to tear apart in order to explore the theme of loss?

Because our final pair weren’t stated to be in love with each other because they couldn’t be outright stated. And yes it will hurt forfuckingever that they weren’t outright stated, but Berens still gave us an unequivocal statement through this intentional and deeply resonating motif. Because through it, he told us that Dean loves Cas back.

Charlie was in love with Stevie and was the one left to deal with the loss. Sam was in love with Eileen and was left to deal with the loss. So, it’s not a leap to assume we’re meant to understand that the person sitting with his head in his hands and having to deal with his loss is not simply dealing with the loss of his best friend (though that too) but the loss of the person he is in love with.

Dean might not have said the words, but Berens signalled Dean’s true feelings to us very loudly and very clearly.

I’ll always be grateful for that.

Happy 5th, lovelies!!

#destiel #deancas #spn meta #spn 15x18 #dean winchester #cas #robert berens #nov 5th #it’s a love story #the greatest love story ever told

[thewriteadviceforwriters]

How to Create That Perfect Witch Character | A Guide You'll Need

Introduction

Witches have captivated our imaginations for centuries, with their mystical powers and enigmatic presence. They are fascinating characters that bring a touch of magic and intrigue to any story. If you're an aspiring writer looking to create a compelling witch character, this article is for you. In this guide, I'll help you explore the different aspects of crafting a witch character that will captivate readers and leave them enchanted.

What is a Witch?

Before we delve into the intricacies of creating a witch character, let's first understand what a witch truly is. A witch is often portrayed as a person, usually female, who possesses supernatural powers and knowledge of arcane arts. These powers allow them to manipulate the forces of nature and harness magic for various purposes. Throughout history, witches have been depicted in different cultures and have played significant roles in folklore, mythology, and literature.

Different Types of Witches (Some of the many witches)

Witches come in various forms, each with their own unique attributes and abilities. Exploring the different types of witches allows you to add depth and richness to your character.

Here are a few examples:

Elemental Witches: These witches have a deep connection with the elements - earth, air, fire, and water. They can control and manipulate these forces to their advantage, using them for both offensive and defensive purposes. Earth witches harness the power of plants and minerals, communicating with the earth itself.

Air witches excel in manipulating winds and manipulating atmospheric conditions. Fire witches have an affinity for flames, using them to both destroy and create. Water witches can bend the tides and command the waters, making them formidable opponents.

Witchcraft Traditions: Witches can also be associated with specific traditions or cultures, each with its own unique practices and beliefs.

Some examples include:

Traditional European witches who draw inspiration from folklore and ancient rituals. African witch doctors who use their powers for healing and protection. Hoodoo practitioners who combine elements of African, Native American, and European folk magic.

Witch-Hunters: In some stories, witches are pitted against a group of individuals known as witch-hunters. These characters possess knowledge and abilities to counteract witchcraft, creating a dynamic conflict within the narrative.

Why Write a Witch Character?

Now, you might wonder, why should you consider writing a witch character in the first place? Well, the answer lies in the endless possibilities they offer. By incorporating a witch character into your story, you inject a sense of wonder and enchantment. Witches bring an element of magic that can create tension, intrigue, and a touch of the supernatural. Additionally, witches can serve as powerful symbols of empowerment, representing individuals who break societal norms and embrace their own unique abilities.

How to Create a Compelling Witch Character

Crafting a compelling witch character involves careful consideration of multiple aspects. To create a well-rounded and captivating witch, pay attention to the following:

Appearance

A witch's appearance forms a crucial part of their character. Experiment with unique and unconventional descriptions to make your witch visually striking. Consider elements such as:

Unusual eye colors that hint at their magical abilities. Intriguing tattoos or runes symbolizing their connection to ancient forces. Clothing choices that reflect their personality or cultural background.

Personality

Beyond their appearance, a witch's personality should be equally captivating. Ensure your witch possesses a multidimensional character by incorporating traits such as:

A tendency towards mischief or a mischievous sense of humor. An air of wisdom and ancient knowledge, gained from their connection to the supernatural. Complex emotions and internal struggles, showcasing the human side of their magical existence.

Powers

The extent and variety of a witch's powers define their capabilities within the story. Consider incorporating different types of magic aligned with their character and backstory. Some examples include:

Divination: The ability to see the future or gain insight through various means, such as reading tea leaves or scrying. Potion-making: Mastery in brewing concoctions with mystical properties, allowing them to heal or harm. Elemental manipulation: The power to control and command the elements, shaping the world around them.

Backstory

A well-crafted backstory adds depth to your witch character. Delve into their origins and history to create a compelling narrative. Consider elements such as:

Mysterious circumstances surrounding their birth or discovery of their powers. Significant events or mentors who shaped their magical abilities. Personal tragedies or conflicts that molded their motivations and worldview.

Motivations

Understanding your witch character's motivations will guide their actions and decisions throughout the story. Some common motivators for witches include:

Seeking vengeance for past grievances or personal losses. Protecting and preserving the balance between the natural and supernatural realms. Uncovering ancient secrets or reclaiming lost knowledge.

Goals

Every captivating character has goals they strive to achieve. Your witch character should have clear objectives that propel the plot forward. Some examples of goals for witches could be:

Mastering a previously unattainable spell or magical technique. Overthrowing an oppressive regime or exposing corruption within their magical community.

How to Avoid Common Witch Character Pitfalls

I had to make sure to add this important step for all your writers to note down.

While crafting a witch character, it's essential to avoid falling into common clichés or pitfalls. By steering clear of these stereotypes, your character will feel fresh and engaging. Be cautious of:

Making Them Too Evil or Too Good

Avoid creating one-dimensional witches who are either purely evil or overwhelmingly good. Add shades of gray to their morality and consider their reasoning behind their actions. This complexity will make them more relatable and intriguing.

Making Them Too Powerful or Too Weak

Finding the right balance of power is crucial. A witch who is invincible or all-powerful lacks vulnerability and can easily become dull. Conversely, a witch who is constantly helpless undermines the credibility of their powers. Strive for a believable power level that allows growth and challenges for your witch character.

Making Them Too Predictable or Too Boring

Predictability can diminish the impact of a witch character. Introduce unexpected twists and surprises that keep readers on their toes. Additionally, avoid making them one-dimensional or lacking depth. Explore their fears, hopes, and dreams to make them more relatable and dynamic.

Conclusion

Writing a captivating witch character requires careful planning and consideration. By focusing on their appearance, personality, powers, backstory, motivations, and goals, you can create a multi-faceted character that will enchant your readers. Avoiding common pitfalls and adding originality to your witch character's traits will make them stand out in any narrative. Embrace the magic and possibilities that come with crafting a witch character, and let your imagination take flight.

Tips for Writing a Great Witch Character

(An extra little something for my witch-fanatics)

Research various witchcraft traditions to add depth and authenticity to your character. Read literature and watch films featuring witches to gain inspiration and insights. Experiment with unique magical abilities and incorporate them seamlessly into your character's story.

Resources for Further Research

If you're looking to expand your understanding of witches and their portrayal, consider exploring the following resources:

Books on witchcraft and its history, such as "The Witch: A History of Fear, from Ancient Times to the Present" by Ronald Hutton. Films and TV shows that feature witches, such as "Practical Magic," "The Craft," and "American Horror Story: Coven." Websites and online forums dedicated to witchcraft and its various traditions, such as Witchvox or r/witchcraft on Reddit.

Now that you have the tools to create a captivating witch character, let your imagination soar and bring forth a magical being that will captivate readers and leave them spellbound. Happy writing! - Ren T.

Copyright © 2023 by Ren T.

TheWriteAdviceForWriters 2023

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[crimeronan]

hi I saw you posting about the silt verses. it sounds interesting so I googled it but I'd like to hear what You have to say about it!!

(I'd also like to ask if it has any emphasis on bug-related horror bc that's a huge no from me, but if it doesn't I think I'll take a listen)

oh lord i have So Much to say about it. asking me what i have to say about the silt verses is like asking me what i have to say about call down the hawk or the owl house, like. it's a piece of media that is so immaculately conceived and well-executed that i can meta about Literally Every Single Line. if you've followed me for a while you probably know that i have high standards for horror media bc it's my most-consumed comfort genre; the silt verses is my fave piece of horror media Of All Time.

as for bugs, they don't play a huge role in the overarching story, but i do FOR SURE remember some imagery about parasites, insects, and people being transformed into bug-like creatures. so i'd look up episode warnings prior to consuming it, i can't remember off the top of my head which episodes specifically involve that.

the silt verses is, on the surface, a typical horror story about another world where gods are created through belief & fed through sacrifice. different gods have attracted cult followings, some gods are outlawed, some are not. it's stuff you've probably seen before if you're an avid supernatural horror fan.

however the writers then take the time to do absolutely Vicious and Scathing social commentary about pretty much every leftist topic you can think of. cult abuse, late-stage capitalism, corporate "we're all a family" speak, war, fascism, the creation of Unpersons with unhoused and mentally ill populations, prison violence, police violence, copaganda, generational trauma, environmental catastrophe, rural vs city mindsets and the political manipulation behind them..... Every Single Plot Point and piece of imagery serves a social commentary purpose. every single god and political movement is a transparent metaphor or allegory for our own world.

but what really keeps me coming back to it are the character arcs. from a horror writer's perspective, i can see exactly how carefully those arcs were sketched and plotted out. each of the narrators is dynamic and goes through a huge amount of character development -- positive for some, Horrifically Negative for others. characters are frequently caught between a rock and a hard place, forced to choose between two things they've always wanted...... and they also frequently choose Wrong.

and then they have to live with the consequences of those choices.

the protags are all messy and flawed and complicated, the antags are all messy and grounded and Very Real, and the relationships between people grow in organic ways that make me go MMM... before falling apart in equally organic ways. if you've ever enjoyed the same kind of desperate codependent and messy relationships that i most often write, HOO BOY you will have a good time with this podcast.

and if you like stories about people who are Genuinely Trying Their Best In The Face Of Impossible Circumstances, you'll ALSO get a lot of mileage out of this. it's a show where people make a lot of terrible decisions but also, people care So So So So So Fucking Much. really hits that sweet spot between nihilistic "everyone sucks" media and saccharine "everyone is always good at heart, all the time" media.

it also features some of the most stunning voice acting i've ever heard, not just in podcasts but in any media, ever. méabh de brún, b. narr, jimmie yamaguchi, and lucille valentine in particular all fucking KILL IT. like DAMN

and i can wholeheartedly recommend it without adding this, but if it's important to you: like 98% of the characters are queer. lots of trans cast members, lots of gay relationships, ace rep, los jibbities who get to be just as Fucking Terrible and embarrassing and hopeless as the characters in my fave White Man (TM) tv shows. u know how it is. i want queer people who are shitty bitches, always. and the silt verses DELIVERS

it's just. really good. i realize that this doesn't even get into the intricacies of who the characters are and what they want and what happens, bc like i said, i can talk about this show for a novel's length of meta. but these are the broad strokes of what has me in love with the narrative. it's So Good.

#replies #the silt verses #the silt verses meta #long post

[randomfoggytiger]

X-Files IWTB: First Time React (Part II)

Okay everyone, back for Part II! Hopefully I’ll make quicker progress because all the BIG problems were parsed over in the Part I, right? …They were parsed over in Part I, right? 

To catch up: IWTB is broken 10 minutes into the movie-- the FBI’s helicopter flying TO Mulder’s house destroyed that hiding place; and if he were to back out of the case at Scully’s say-so, he’d likely have been captured within days or weeks and been forced to broker a deal to help, anyway-- and further broken not even 20 minutes in-- destroying new characters in seconds, out-of-place dialogue, and skewering both Mulder and Scully by placing their in-character reactions in wrong scenes and scenarios. 

Reaction below the cut~

Not even two seconds into my watch we have Mulder avoiding the “Your sister’s dead, isn’t she?”-- which is fine-- only for Whitney to be featured prominently, sympathetically watching him gaze at the missing agent’s picture. I'm. Annoyed. 

The writers are setting up Agent Drummond? to be a Samantha replacement, that Mulder is so driven on this case because he wants to save a lost girl, etc., etc. But… that was put behind him in Closure; and it tears away the nuances and layers of Mulder’s character leaving only a simple “I help people ‘cuz my sis disappeared once” to motivate him. Mulder has gone above and beyond the call of duty to help people from monsters and men countless times; and the only cases that made him lose his objectivity were when the victims' stories exactly mirrored Samantha's circumstances, i.e. a little girl was abducted (Conduit, Oubliette, Paper Hearts, etc.) Furthermore, Mulder only ever lost himself "in the darkness" ONCE on a case, and that wasn't even about a little girl: Grotesque. Losing himself in the darkness is not Mulder's norm or even, really, in his wheelhouse (which was the entire point of the Bill Patterson storyline.) To make this a problem NOW in order to create a nonsensical wedge between he and Scully is... not laughable, but snortable.

The obvious cracks in the writing shine through again. Mulder only rode in the car without Scully so Father Joe could be there to open old wounds, the male agent could be there to poke them, and Whitney could be there to observe his silent, bleeding heart and fall more in crush with him. In order for this scene to happen, we have to think that: A. Scully would rather ride with random FBI people than with her partner (despite her natural suspicion of them-- though that’s missing in the movie and breaks her character, discussed in previous part) and B. Mulder, despite stipulating that she join him on the case, was just fine and dandy riding beside and playing nice with a pedophile rather than sticking by Scully’s side even though they’re going to the same place, not splitting up to look for clues. 

Whitney hasn’t been given focal characterization yet, which is fine for now since she’s displayed character trait specific responses (her reactions to Mulder, to male agent, to Scully in the FBI building and at Father Joe’s and here.) It’s obvious she’s being set up as a person more-than-interested in Mulder; but that would require an explanation as to WHY. If that’s not given… then what’s the point of her crush in the narrative? It, like Father Joe’s pedophilia, would serve no purpose other than a footnote or perhaps an implication (i.e. her expressions remain intact but are not given their own camera focus as if it’s plot relevant, etc.) 

It’s… not good. 

The music’s still really good; and the shots are gorgeous. And that’s it. Oh, wait, the acting is good, too. 

The FBI taking Father Joe to a false house is a good idea… except there’s no warning tape wrapped around one house but IS decorated all over its neighbor’s house. How is that important? Father Joe would have been facing the neighbor house covered in yellow warning tape when the vehicle drove past it and up the drive. The characters-- trained FBI agents-- don't notice or comment on this.

Screenshots in order:

You see, kids? This is why locations and camera angles and shots are so important-- they cut you off at the knees if the movie isn’t shot in a logical way. 

WAIT. CHARACTER BREAKING MOMENT. 

Whitney brought Mulder on the case because of the paranormal aspect, Whitney sent a helicopter out to fetch him, Whitney has been crushing on him this entire time (silently), Whitney is being set up as a powerful woman who can tell people what to do and when-- Mulder’s exact type ala Phoebe Green, Detective White, Diana Fowley, etc.-- and… now she’s denying the paranormal angle???? AGAIN WITH THE MILLISECOND CHANGES: awed that Father Joe sensed their fake out house was a trick, then denied his intuitions with a bogus excuse the next second….

Wait. Chris (and the writers.) Did you set her up to be a powerful, skeptical woman who’s into Mulder (ala Scully) ON PURPOSE. CHRIS (and the writers.) We need to talk.

This movie’s going to kill me: I’m only 23:07 into the watch time. 

Wait. WHERE’S SCULLY?? IS SHE JUST SITTING BACK THERE IN THE OTHER TRUCK?? WHERE’S SCULLY??

ALSO, WHY ARE WHITNEY AND MULDER BACK-AND-FORTHING “IS HE OR ISN’T HE”S ABOUT FATHER JOE WHILE FATHER JOE IS IN HEARING DISTANCE.

I’m now 23:34 into the movie and it’s going to kill me. Very pretty, lethal poison. 

Also, Father Joe still wants to work with the Church? FAT. CHANCE.

YAY, GERALD SCHNAUZ MENTIONED. 

Also, finally getting some backstory on Whitney (even if she’s not 'fessing up to having more than a professional interest in Mulder, ala Diana Fowley’s close-to-the-chest-but-really-is-overt-with-her-intentions style.) 

“Yeah, well, I’m only half the team.” YEAH, AND WHERE IS THE OTHER HALF OF THE TEAM, MULDER? WRITERS??

I don’t have complaints about Mulder not batting back Whitney’s “But it’s your insights I need” because flattery gets him everywhere, always, and he’s not leaning into it, BUT, again, where’s Scully. This would be a great time to establish that Scully isn’t the type to sulk in the truck by showing off her chops as a professional while she and he banter back and forth about this information. Mulder could be telling it to her, filling her in on the relevant details she missed during the interrogation and truck ride. Meanwhile, we can establish Whitney as an individual by showing how she deals with Father Joe rather than letting her male agent nanny the old pedo around. 

WHITNEY’S YELLING AT FATHER JOE FOR NO REASON WHILE HE’S IN THE MIDST OF A VISION-- THAT'S SO STUPID. 

He’s already giving her the information; and her heightened aggression will probably stress him out and lose whatever he’s telling her. I know they were meaning to establish her as a ruthless skeptic who thinks Father-- you know what, I’m calling him Joe from now on-- who thinks that Joe’s faking it and is pressing, pressing, pressing for him to crack because he’s “vulnerable” right now… but this is just stupid, and likely against a ton of FBI regulations. 

I'm torn about Mulder not telling her to stop because he's put immense pressure on psychics or other suffering victims in the past if they had time-sensitive information (ala Space)... so, I think? it could be in-character. ...EXCEPT he's soft on Joey, Whitney is not, and that dynamic would make him advocate for the pedo more (wow, what a sentence.)

Wait, now male agent disbelieves??? WHAT. BUT YOU ESTABLISHED BACK IN THE FBI… uhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhgggggggggggggghhhhhhhhhhhh. 

WAIT, SO SCULLY WASN’T OUT IN THE CAR??? SHE JUST DITCHED ANYWAY???? SHE’S BACK IN THE HOSPITAL??

Wait, wait, so: 

Last night, she and Mulder are flown into the FBI.

She decides to ditch the case because she doesn’t believe in Joe.

That’s stupid because it puts Mulder’s safety on the line and breaks her half of the deal-- that she come with him. 

As she’s leaving, Mulder convinces her not to go. She sighs and heads for the trucks. 

It’s daylight and there’s two FBI trucks. Mulder is with the two agents and Joe in one truck, and we’re not shown who’s in the other (likely Scully and some escorts.)

Scully doesn’t follow Mulder onto the crime scene. 

BUT SHE’S NOT IN THE TRUCK ANYWAY BECAUSE SHE’S BACK AT THE HOSPITAL EVEN THOUGH THE ENTIRE ESTABLISHING SCENE PRIOR WAS ADDRESSING THE FACT SHE WAS LEAVING THE CASE.

BUT SHE STILL LEFT THE CASE. Yes, she has a patient to worry over; yes, that is important to her; but NO, she did not discuss this with Mulder when he stipulated he needed her WITH him on the case.  

Mulder asked her to stay, she implicitly agreed, took his documents, seemed to be going with him… but nope, went home, went to sleep, went to work without discussing things further. What. 

I feel like there were rewrites and it was just… never addressed on screen.

So, Scully agreed to help the case, took Mulder’s papers, walked to one of the trucks and… teleported back to her clinic? Went home? Never went to begin with? …Why did she need the file if she’s just going to take it home?? She’s not FBI anymore, the FBI wouldn’t let her do that. She can’t take the papers home as a civilian especially because-- okay, here’s another list:

Scully is a civilian who was not asked on the case. She’s only there because Mulder stipulated he wanted her to work on it with him. 

She ditched THAT part of the bargain, but regardless--

Scully went home (WHY) and took FBI documents with her because…?

The FBI would never let that happen: they didn’t seek her out, she’s a civilian, they have other medical experts to consult with about their cases. 

I do like Scully’s interactions with Christian, probably because it smacks of her old self (disguising the world-weary attitude of an adult for a child’s sake…) and was more in-character with her regular pre-S9 character, which is… weird for me. I’ll take it, I guess. 

I’m only 25:33 minutes in.  

ANOTHER TERRIBLE FATHER??? WHY???????????

“We are here to heal the sick, not prolong the dying” ummmmmmmmmmmm what. This is a Catholic hospital, is it not? Isn’t that strictly against Catholic dogma? …What is this mafia low beat and why is everyone in this hospital bent on the kid dying and being taken off their hands?

I know, I know: Chris is a Catholic of sorts with his own criticisms and stories to tell, etc…. And here it comes, BUT two overheads trying to pry this dying child off of Scully’s hands because he’s “incurable” doesn’t make sense here. It wouldn’t be to their benefit, would probably cause quite a scandal, and, overall, would probably result in a report and a lawsuit. Perhaps this is a big issue in private hospitals; and humans are humans and full of corruption, etc. etc. BUT I assume the boy’s parents are paying the bills on time sooooo… it would be against the hospital's? clinic's? best interest to want to kick Christian from the facility. Again, it’s stupid and makes no sense. 

26:27. 

Scully crying in her office was the best scene of this movie, hands down. It’s perfect for this moment, perfect for her character…

BUT. It comes after she walked out on a case of a missing-possibly-dead FBI agent, so it makes her look like a woman who only hands out sympathy or empathy to those people SHE deems worthy of it. Yes, a child dying is tragic; yes, he reminds her of William; yes, she lived through this with Emily… all of that is tragic and heartrending (and her Emily arc could have been mentioned in the movie to give her dynamic with Christian more weight), BUT it ends up hurting her character in the long run. Why? Because she sacrifices Mulder’s chance for freedom AND separates from him because she wants to save this child while ALSO accusing him of doing the exact same thing. 

So, while it’s one of the best scenes in context, it’s also one of the worst overall. 

People are swimming now. Ohhhhh, noooooo, run off the road, dead. 

30:35.

Here’s the thinking scene between Mulder and Scully. 

The delivery from DD and GA is top-notch-- did not imagine Mulder’s “thank you” to be as upbeat and humorous, expected it to be more drawn out and monotone. I like it better this way. And Gillian is doing a fantastic job with the scripts she’s given: thus far, she’s selling this version of Scully (MINUS THE ENORMOUS MISCHARACTERIZATIONS)... but her performance (and DD’s) is constantly undersold by the script. It’s sad, man… well, it’s not sad because I’m not invested in canon post S8; but it’s something. 

“Rare brain disease” great acting on both their parts, excellent and in-character, nice. 

Also: child, boy, sick child, brain disease-- I see what you did there, Chris Carter and writers, and it would have been very cool except. To be fair, I don’t mind the Christian side-plot: it gives Scully a chance to be in her element, and the boy actor is nice. Again, BUT, it also has hokily evil villains and destroys other likable aspects of Scully’s personality, soooooooooooooo yeah. 

“Why haven’t you told me about this before?” / “I thought there was something I could do.” 

BINGO, I’LL GIVE IWTB THIS ONE THING, THIS MOVIE WAS WORTH THE WATCH FOR THAT LINE. Here’s why: because that’s always been Scully’s M.O.: she hides her problems under the surface hoping to solve them herself, not wanting to be a bother (ex. Irresistible, Memento Mori, Elegy, Gethsemane, A Christmas Carol, etc. etc.) At least I have it said in black-and-white to reference. 

ALSO, this is why Mulder’s brain disease makes no sense: Mulder is a secret keeper but only about his past, not his present or future. Example: he never mentions former partners but will yell to the sky about current crises or injustices against himself and others. If Mulder had a bad scan, he’d draw Scully into it IMMEDIATELY because he believes their unconventional ways would be able to cure anything-- ala Demons and Biogenesis; and would make a mission out of it to try to take down what’s left of the Syndicate. If he’s given a death sentence, it would then become a struggle or fight between his desire to keep crusading and her insistence that it's only killing him faster (again, ala Demons.)  

Mulder’s quip about God not losing any sleep is so Mulder, that’s great. 

Scully’s “Why bring a kid into the world just to make him suffer?” is another symptom of her leanings away from strict Catholicism; BUT, more importantly, it’s not God making him suffer in this case, it’s her private medical system who won’t even TRY because of the bottom line? I guess? Though that’d make them more money?? Seems rather weird that Scully wants to cure this boy and she’s not really that Catholic whereas the Catholic facility just wants him dead for no explicable reason other than he’s going to die, YOLO. 

Also… we’re just going to skip right over Emily and the fact you two already had this conversation before, aren’t we? Yep. 

“I don’t know, Mulder, I’ve got such a connection to this boy.” 

ANOTHER great piece of dialogue, because this plugs into Scully’s biases in past cases and Mulder’s twitchiness when he senses said biases. BUT IN THIS CASE IT’S GOOD: it highlights how far they’ve come, that Scully discloses this detail and their further conversation to Mulder without batting an eye and he has the learned patience and understanding in order to gently peel back her layers and get to the root of the issue.

“I think our son left us both with an emptiness that can’t be filled” and that’s GOOD, that’s a GOOD piece of writing, GOOD FOR YOU. 

HOWEVER, like everything else in this movie it gets lost in the ridiculous drama coming up; but further, it’s undercut because of the stupid choices that they made in the past that led them to this moment. So… sympathy low. 

Acting’s excellent as always, though. 

And look at that crazy comforter-- that’s a Scully thing if I’ve ever seen one. 

Despite the staggering flaws of the script, I like how the writers wrote Mulder and Scully's domestic dynamic, specifically that Mulder let Scully completely decorate the house (everything's in her style) and even snuggled up with her under a blue, swirly comforter (that she very obviously picked out) without a fuss. And maybe this is an unpopular opinion, but I believe that came straight from Chris Carter's brain; and I also believe it's something he likes about Scully, that she puts Mulder (i.e. her thoughts in the Pilot script while batting back and forth with Mulder) or Mulder's stuff in his place (his office pre-and post Ghost in the Machine, her hints about his shoelaces in Bad Blood, and the house now.) There's a give and take, of course; but Mulder's chaos is delegated to specific areas of the basement (and their house); and the compromise between the two people in their partnership and relationship comes together perfectly here... in moments. 

I’m stopping after Scully’s pouty “Scratchy beard” and Mulder’s playful response and Scully’s GIGGLE since it’s nice and I don’t have to think about the plot--

“Oh! There’s something weird on the toxicology--”

LALALALALALLLALALALAAAAAAAAAAAAAAAAAAAAAAAAAAA

Also…

Sigh……………………….. one last rant:

ALSO, you’re telling me that the dastardly Catholic overlords at the private clinic WANT TO TOSS A DYING CHILD OUT BUT THEY’LL JUST LET SCULLY DO A WILL NILLY RANDOM TOX SCREEN THAT HASN’T BEEN AUTHORIZED BY THE FBI TO DO IN THE FIRST PLACE OR IF SO ONLY OFF-SCREEN??????????????

Whyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy???

I’m out, I’m done, will finish the next parts sometime later. 

…Ugggggggggggggggggggggggggghhhhhhhhhhhhhhhhhhhhhhhhhhhhh.

Thanks for reading~

Enjoy!

#txf #X-Files IWTB: First Time React #Part II #mine #analysis #xf meta #meta #xfiles #x-files #the x files #Mulder #Scully #Dakota Whitney #Father Joe #thoughts #IWTB #movie

[tyrantisterror]

I want to talk about Harley Quinn for a bit, unprompted by anything, because fuck you it’s my blog I do what I want.

Because I’m a nerd who thinks too much about stories I like to sort the stages of my life by the heroes that defined them.  Godzilla was the hero of my childhood, a big dinosaur who taught a bullied kid me that you have a right to dig in your feet and assert who you are even when the world is against you for it.  Spider-Man was the hero of my teens, helping me cope with learned just how chaotic the adult world I was preparing to enter is and survive the rocky road to growing up.  Sherlock Holmes was the hero of my college years, a person who found what he wanted to do in life and devoted himself entirely to it, which is what I tried to do in turn.

Harley Quinn is the hero of my current stage.  I know most people would find that weird since she’s, like, a supervillain most of the time, and at best a very amoral anti-hero, but I mean it entirely sincerely.  And she’s the hero of my current age in part because she’s defined so much by her failures.

In almost every incarnation, Harley’s backstory begins with her going to college and pursuing a career that will bring her material success and prestige, as so many people in my generation were told to do.  She does as instructed and gets that career, only to immediately be shown the grim reality of what she signed up for, and getting broken by the stress that comes with the job almost immediately.  Saying she became a supervillain is actually generous because Harley really becomes a supervillain’s henchman, completely subservient to and exploited by a character who’s basically a personification of the corruption that made her dream job a living hell.

As a villain/henchman, Harley’s fun but a bit limited.  She exists to provide comic relief - both by being a goofier, lighter sort of evil compared to the other, more dangerous villains, and by being just debauched enough herself that we can laugh when she fails and gets knocked on her ass.  She’s a punching bag for the narrative, a joke to be laughed at and only occasionally pitied (but never enough to keep us from rooting for her to lose).

It’s important to note here that Harley was initially created for Batman the Animated Series, which is specifically a version of the Batman story where redemption doesn’t happen.  There have been papers written on this, even.  Because B:TAS was a serialized story designed to go on as long as the executives at Warner Bros thought it was making money, its villains had to stay villains, because if they ever changed from that they’d no longer serve their narrative purpose.  There are countless episodes where various villains try to turn over a new leaf (including one for Harley), but they always end with the villain in question backsliding into villainy.  As one critic pointed out, it’s kind of Calvinist that way: you’re either good or bad from creation, and no matter what you try to do you can’t change that, no matter how much you might want to be good.  A B:TAS villain has no choice but to be a villain till the story ends, and the story is never meant to end.

Comic books are also serialized and meant to be endless, so in this way B:TAS is pretty true to the source material.  However, because of just how long comics have gone on, sometimes writers are given permission to shake things up and change the status quo for a bit, to keep people engaged.  And while these changes are generally dialed back (there’s countless jokes about how rarely even death sticks in comics), occasionally they prove popular enough to become the new status quo.  It’s not common, but it has happened.

And this is where Harley goes from fun to inspiring - because Harley made a new status quo.

Being incredibly popular, Harley Quinn eventually got her own comic book series, which is a pretty big deal for a glorified henchman.  And because it was her comic series, the writers had to figure out who Harley was without the presence of Batman or the Joker, the characters who had defined her up to this point.  They looked at Harley’s personality and backstory and tried to figure out what Harley would do on her own.

And the result was something really interesting.  She stopped being a henchman, and ultimately proved too good-natured to be a villain, yet a bit too chaotic  and counter-culture to be a traditional hero, while also being too plucky and sweet to resemble most comic book anti-heroes.  Her background as a psychologist became more prominent as people realized that a comic book world actually kind of desperately needs some good psychologists around, and her wildcard status made her bounce off of other characters, both villains and heroes, in interesting ways few other characters could do.

It was fun and interesting and popular, so it stuck.  Harley, who was born in one of the most rigidly static versions of the Batman mythos, where villains stay villains and heroes stay heroes, broke the status quo and remade it.  Harley, who was originally defined by her failure and victimization, made a whole new role for herself, and found success despite it all.  The punching bag became so beloved that the rules of the universe bent for her, and what once was the sum of her character became just an added wrinkle of backstory to creating the trickster that comics fans love.

Harley went to college, got her dream career, promptly got her ass kicked by said career when it turned out to suck ass, and spent a decade or so going through hell before finally discovering who she really wanted to be, and then became that person to the love and support of all.  That’s why Harley Quinn is inspiring, and that’s why she’s my hero.

#Also she's very attractive

[sneezemonster15]

https://at.tumblr.com/oxydiane/wait-kishimoto-accidentally-confirmed-trans/evalldm8en5f

😮‍💨

Hahahahhahah.

I am wheezing. Wow. These kids. It's like a little fairy tale they imagine for themselves and then they live in it.

Okay so they said this :

"meaning that in the case of naruto’s kids they’d have to have grown in his womb to have those markings which confirms naruto as dfab and also confirms hinata as dmab as they’re her kids too. if you were referring to them being Naruto’s kids, then the correct pronoun would be ‘his’. But no, it pretty much has to be him and Hinata, with Hinata being trans too - Himawari has physical characteristics similar to Hinata. And the show and manga both confirmed it by having the kids exist with the markings - that is itself the confirmation, regardless of if Kishimoto meant it to be (which he likely did not - he probably forgot the specifics of his own rules and just wanted the kids to look cool). But according to the universe rules he created, that’s how it has to be."

So Naruto grew his kids in HIS womb because otherwise his kids won't have the whiskers (not whiskers btw, just marks). So apparently the 'universe rule' that Kishi made, according to these kids, basically 'implies' Naruto carried the kids which is why he is trans and his kids have whisker marks. They can't see that this universe rule is simply their assumption without any validation in canon. Heh. And apparently Hinata is also trans. Why? How? Himawari had physical characteristics that are similar to Hinata.

Umm yeah, she is her daughter. That's how genetics work. Smh.

Universe rules Kishi created. Lol. Can't read narrative for shit but ready to follow up on the non existent universe rules Kishi 'created'. It's just so dumb.

Kishi didn't mean it, he must have forgotten his own 'specific' rules. For his MC. Sure.

Noice. Because that's what professional writers do. Make specific rules for their protag and then conveniently forget about them. Totes. Spot on. Emphatically accurate.

Hehehe. They can't digest the fact that Boruto and Himawari having whisker marks is just a design aspect so they can appear distinctly as Naruto's kids. That's literally it. No other reason. For Naruto, those marks were functional, as they would flare and darken when his kyuubi chakra leaked out. They served a design purpose in Naruto's story. They don't serve any purpose in Boruto. Boruto simply has them because he is Naruto's offspring whose design necessarily needs to look similar to Naruto. So he is instantly recognisable by the audience. That's really all. No mental gymnastics required.

These kids are playing make-believe stories for their heart's pleasure. They find themselves too het and vanilla in an increasingly complex world and so, they look for diversity where there isn't any. Can't follow a very gay love story for shit (wherein they ignore the story and major characters but glorify and overestimate their largely irrelevant and less than sidey fave character, a selfish and boring woman married to a gay man) but they can and will appropriate queer theories to feel better about themselves. Reassure themselves. They also want to be seen as woke and forward thinking. Lol. And they think appropriating important concepts without an iota of intelligence, objective thought or consideration is the way to do it. Won't acknowledge a very visibly canon and credible gay love story that makes this manga, but will surely pull their heads out of their asses to believe Hinata is queer and NH is special. Wow, so woke. So QuEeR. Lol silly lil hypocritical ones.

I think they are just little kids or young adults who want a little feel good hormones and I guess, just let them have fun? They will get it sooner or later. Including how to comprehend media. All sorts of eye openers around, they just gotta look for it, maybe have an epiphany. Lol. If they don't, it's their loss.

#ask #naruto #hyyuga hinata #anti hinata #anti nh #yes ss and nh are equally deluded #but i find nh shippers especially tragic #cant respect anyone who thinks Hinata is a good or even mentionworthy character #if you genuinely like canon hinata #a very important sense is missing in you #common sense

[hayatheauthor]

The Writer’s Guide To Creating Animal Companions 

Animal companions have played an essential role in countless stories. From loyal dogs to mystical creatures, these furry or feathered friends have added depth to characters and narratives, leaving a lasting impact on readers. As a writer, understanding how to create and utilize animal companions can be a powerful tool in your storytelling arsenal.

So, if you’re looking to create an animal companion for your character, here is my comprehensive guide for everything you need to know when writing animal companions. 

Do You Need to Have an Animal Companion?

When deciding whether to include an animal companion in your story, it's essential to consider the narrative and thematic elements at play. The presence of an animal companion can significantly impact the storytelling experience, and it's essential to ensure it aligns with your narrative objectives. Here are some scenarios where having an animal companion can be particularly appropriate:

Enhancing Character Relationships: Animal companions can deepen the connections between characters. For example, in J.K. Rowling's "Harry Potter" series, Harry's snowy owl, Hedwig, serves not only as a beloved companion but also as a means for Harry to communicate with the wizarding world. Hedwig's presence strengthens Harry's character and relationships.

Symbolism and Metaphor: In literature, animal companions are often used symbolically to represent themes, traits, or personal growth. For instance, in George Orwell's "Animal Farm," the animals on the farm symbolize different aspects of society and politics.

Emotional Support: Animal companions can provide emotional support and serve as a source of comfort for characters, particularly in challenging or lonely situations. Think of Samwise Gamgee's unwavering devotion to Frodo in J.R.R. Tolkien's "The Lord of the Rings."

Plot Advancement: Animal companions can become instrumental in advancing the plot, offering unique abilities, perspectives, or assistance that the human characters lack. Consider the role of Toto in L. Frank Baum's "The Wizard of Oz," who often aids Dorothy on her journey.

Thematic Consistency: In some stories, the inclusion of animal companions is necessary for thematic consistency. If your narrative explores themes related to the environment, animal rights, or the bond between humans and nature, animal companions can be integral to reinforcing those themes.

By integrating an animal companion that aligns with your narrative and thematic objectives, you can create a more engaging and immersive reading experience for your audience. Keep these considerations in mind when making your decision.

Choosing the Right Animal

Once you've established the narrative and thematic reasoning for including an animal companion, the next step is to select the right creature to fulfill that role. Here are some factors to consider when choosing your animal companion:

Relevance to the Story: The chosen animal should have a direct or symbolic relevance to the story. Consider how the animal's traits, behaviors, or symbolism align with the narrative purpose. For example, a story centered on the theme of freedom might feature a soaring eagle as an animal companion.

Character Compatibility: The animal companion should complement or contrast with the character it accompanies. Think about how the animal's personality or abilities can enhance or challenge the character's journey. A timid character might be paired with a bold and protective animal, creating an interesting dynamic.

Unique Qualities: Select an animal with distinctive qualities that set it apart from generic pets. It could be an uncommon species, a creature with magical abilities, or a hybrid of animals. These unique qualities can add depth and intrigue to your story.

Practicality: Think about the practical role the animal companion will play in the story. If your narrative requires the animal to perform specific tasks, ensure that the chosen creature is suited for those roles. For instance, a hunting dog might be essential in a survival adventure.

Symbolic Significance: The animal companion's symbolism can be a driving force in the story. Consider how the animal represents themes, emotions, or concepts important to the narrative. A black cat might symbolize mystery and superstition in a story set in a quaint village.

Emotional Connection: As an author, aim to create an emotional connection between readers and the animal companion. Whether through endearing quirks, heartwarming moments, or shared challenges, the bond between the character and their animal should evoke feelings in the audience.

Research: Invest time in researching the chosen animal, understanding its behaviors, needs, and characteristics. Accurate portrayal of the animal can enhance your story's realism and resonance. Whether it's a fierce predator or a gentle pet, knowing your animal inside out is essential.

Cultural and Mythological Significance: Some animals carry cultural or mythological significance that can add depth to your narrative. Explore how certain animals are perceived in different cultures and mythologies and consider weaving these interpretations into your story.

Choosing the right animal companion is a critical decision that can greatly impact your narrative. By considering these factors, you can ensure that the animal complements your characters and story, enriching the overall experience for both your characters and readers.

Portraying and Developing Your Animal Companion

Once you've selected the ideal animal companion for your story, it's essential to portray and develop them effectively. Your readers should connect with the animal on a personal level and feel invested in their journey. Here are some key aspects to consider:

Character Development: Treat your animal companion as a fully developed character. Just like any human character, the animal should have a backstory, quirks, motivations, and a character arc. Whether it's a loyal friend, a protector, or a guide, their growth and transformation should be evident throughout the narrative.

Show Their Personality: Give your animal companion a distinct personality. Think about their likes, dislikes, fears, and preferences. Are they mischievous, stoic, or curious? The animal's personality traits should shine through their actions and interactions with other characters.

Dialogue and Communication: While animal companions may not speak human languages, they can still communicate. Use non-verbal cues, body language, and noises to convey their thoughts and emotions. An attentive reader will pick up on these cues to understand what the animal is trying to express.

Bond with the Protagonist: Highlight the unique bond between the animal companion and your main character. This connection should be palpable, with mutual trust, loyalty, and emotional support. Readers should feel the strength of this relationship, making them emotionally invested in the animal's welfare.

Purpose and Impact: Ensure that the animal companion has a clear purpose within the story. Their presence should contribute to the plot's development, whether by assisting the protagonist, creating conflict, or acting as a symbolic element. Avoid including the animal just for the sake of it; they should serve a meaningful role.

Growth and Challenges: Like any character, the animal companion should face challenges and obstacles. These experiences can lead to character growth and development. Whether it's overcoming fears, learning new skills, or deepening their connection with the protagonist, their journey should be dynamic.

Readers' Emotional Connection: Use your animal companion to evoke emotions in your readers. Their well-being or safety can become a source of tension and concern for the audience. Whether it's a heartwarming moment, a daring rescue, or a bittersweet farewell, these emotional elements can leave a lasting impact.

Realism and Consistency: Ensure that the portrayal of your animal companion is consistent with their species and behavior. Be mindful of realistic attributes and instincts. It's crucial to balance anthropomorphism (attributing human characteristics to animals) with authenticity.

Symbolism and Themes: Leverage the animal companion to reinforce themes or symbolism in your narrative. Consider how their actions and characteristics align with the broader messages of your story. This adds depth and layers to the storytelling.

By developing your animal companion as a fully fleshed-out character and maintaining consistency in their portrayal, you can create a powerful and engaging narrative. Readers should find themselves emotionally invested in the fate and experiences of your animal companion.

Challenges and Common Pitfalls in Writing Animal Companions

While animal companions can enhance your storytelling, they also come with potential challenges and common mistakes. It's important to be aware of these pitfalls to ensure your animal companion is a valuable addition to your narrative. Here are some common issues to watch out for:

Stereotypes and Clichés: One common pitfall is relying on stereotypes or clichés when developing animal companions. Avoid making them overly predictable, such as portraying all dogs as loyal and all cats as aloof. Instead, give your animal companion unique traits and behaviors that break free from these molds.

Lack of Individuality: Failing to give your animal companion a distinct personality can lead to them feeling one-dimensional. Each animal, even within the same species, should have its own quirks and characteristics. Make them memorable and unique.

Inconsistent Behavior: Maintaining consistency in your animal companion's behavior is crucial. Avoid having them act unpredictably or against their natural instincts. Any sudden changes in behavior should be justified within the story.

Overemphasizing Anthropomorphism: While anthropomorphism can be used to convey the animal's emotions and intentions, overdoing it can make the character seem unrealistic. Strive for a balance between human-like qualities and authentic animal behavior.

Underdeveloped Bond: Failing to establish a strong bond between your protagonist and their animal companion can undermine the emotional impact of their relationship. The connection should be evident through interactions, trust, and mutual understanding.

Neglecting Character Growth: Just like human characters, animal companions should experience growth and development throughout the story. Neglecting their character arc can lead to missed opportunities for emotional depth.

Unexplained Abilities: If your animal companion possesses unique abilities or characteristics beyond their species norm, provide a plausible explanation within the narrative. Readers appreciate when these traits are justified and integrated into the story's world-building.

Neglecting Consequences: Consider the consequences of your animal companion's presence in the story. Their actions should impact the plot and other characters. Failure to address these consequences can lead to plot holes.

Ineffective Use: Don't introduce an animal companion if they serve no significant purpose in the story. Every character, including animals, should contribute to the narrative's development.

Sacrificial Companions: While dramatic and emotional, the trope of the sacrificial animal companion should be used sparingly and meaningfully. Overusing it can become predictable and lose its impact.

Avoiding these common pitfalls and challenges ensures that your animal companion remains a compelling and integral part of your narrative. By giving them depth, individuality, and a meaningful role, you can create a character that resonates with your readers.

I hope this blog on The Writer’s Guide To Creating Animal Companions will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

#hayatheauthor #haya's book blog #haya sameer #haya blogs #writers on tumblr #writer community #writer tools #writer blog #writer stuff #writer wednesday #writer tips #creative writing #writers of tumblr #writerscommunity #writeblr #writing community #writer spotlight #writer things #writing prompt #writing tools #writing stuff #writing #writing life #writing inspo #writing help #writing advice #writing inspiration #writing ideas #writing things #writing tip

[t0pitium]

Mastering the Art of Storytelling: 7 Essential Tips

Storytelling has been an integral part of human culture for centuries, allowing us to connect, inspire, and share experiences. Whether you're a writer, public speaker, or simply someone who loves to engage others with anecdotes, mastering the art of storytelling can leave a lasting impact on your audience. In this blog post, we'll explore seven essential tips to help you become a captivating storyteller and weave narratives that resonate with your listeners or readers.

1. Use Firsthand Experiences: The key to compelling storytelling lies in drawing inspiration from your own life experiences. Share personal challenges and triumphs, offering insights into how you overcame obstacles. By revealing your vulnerabilities, you create an authentic connection with your audience, making them more receptive to your message.

2. Evoke Emotional Involvement: Emotions are a powerful tool in storytelling. Weave feelings of joy, sorrow, and perseverance into your narratives, enabling your audience to connect with your story on a deeper level. When your listeners empathize and root for you, your storytelling becomes memorable and impactful.

3. Construct Clarity in Structure: A well-organized story is like a well-constructed building with a strong foundation. Create a clear structure with a beginning, middle, and end. Introduce the setting and characters, build up the conflict or challenge, and provide a satisfying resolution. This framework keeps your audience engaged and invested in your story from start to finish.

4. Embrace Anticipation: To add excitement and intrigue to your storytelling, incorporate anticipation. Set up expectations and then subvert them with unexpected plot twists or surprises. This keeps your audience on the edge of their seats, eager to see how the story unfolds.

5. Foster Relatability: While accomplishments are worth sharing, relatability is crucial in storytelling. Be open about your mistakes, vulnerabilities, and challenges. By sharing your humanity, you create a genuine connection with your audience, allowing them to see themselves reflected in your experiences.

6. Enrich with Vivid Details: Paint a vivid picture with specific and sensory-rich details. Describe scenes, characters, and events in a way that makes your story come alive in your listeners' minds. This attention to detail not only makes your content more memorable but also enhances its authenticity.

7. Continuous Improvement: Storytelling is a skill that can be honed over time. Continuously refine your content, eliminating unnecessary elements, and staying focused on the core message. Every word should serve a purpose, guiding your audience through an emotional journey.

By incorporating these seven essential tips into your storytelling repertoire, you can become a master storyteller, captivating your audience with every word. Remember to draw from your own experiences, evoke emotions, construct a clear structure, embrace anticipation, foster relatability, enrich with vivid details, and continuously improve. With dedication and practice, your storytelling abilities will soar, leaving a lasting impression on everyone who listens or reads your stories.

#writing #tips #writing tips #writerscommunity

[haissitall]

very messy thoughts on comparing (scared to say!) political angles of the second war in heaven and the time war, specifically in the gallifrey series

i feel that lawrence miles’ second war in heaven went through iterations, but its final form in the book of the war invites some obvious political readings. it’s easy to look at it as a story about the universal hegemon - the homeworld - which struggles against the entropy of its dominance. this dominance is not of a conventional empire, it lies in the more subtle cultural sphere, represented as their ability to lord over history and time. this dominance is also characterised by its totality, with any possibility of an alternative seemingly impossible. the identity of the enemy is irrelevant, as it can be anyone, because the real enemy of the houses is the march of time itself which they thought didn’t apply to them.

on the other hand, it feels to me that rtd’s time war was never supposed to bear any kind of real political allusions. it was sketched out very roughly and served completely different purposes. however, when big finish got ahold of it, this war started getting actual content, and that’s when it all became kinda messy.

now if we step back and look at gallifrey and timelords in dw eu, we can see many various interpretations from various times and writers. and they can differ greaty! but, looking at it in general, if you make the timelords have an organisation called literally the CIA, you are inviting some associations. then you have series like gallifrey which gives them some vague politics, and sometimes even very concrete politics, with early time war box-sets, as far as i remember, doing wink-winks about then-current american political situation. to put it bluntly, you have some general parallels/feeling of gallifrey as the us/britain/the west. it’s impossible for it to not have snuck in if you have british writers writing about the homeworld of the main character of the show.

so you take this ecosystem of vague allusions towards gallifrey's real-world counterparts, and then you have them fight the daleks.

first of all, i think that any political meanings which can be derived from these stories are probably unintentional. and i don’t think it’s very good. because it means that the writers just don’t think through the implications of what they are creating and don’t have much to say, even though they are prepared to flirt with political commentary.

second of all, i just think it’s funny how the war in heaven, even though it was created earlier than this eu time war, seems like a much more modern conflict. the time war has this feeling of... ww2 in space? it just does not compare to the book of the war which is a textbook on hybrid warfare. and the enemy being the daleks doesn’t help.

now, gallifrey is consistently depicted as being corrupt and shady, sometimes downright nefarious. it’s either about gallifrey’s terrible past misdeeds or an evil clique with a wicked leader which need to be fought by more righteous gallifreyans. this continues into the time war as well, and there is a lot of effort put into telling the audience that timelords are sometimes as bad as the daleks, “who can tell the difference anymore?” and all that. however, when it gets to the actual war, it’s pretty apparent who gets the audience’s sympathies. timelords can be evil, sure, but they are not goddamn daleks. for all intents and purposes, it’s a story about timelords valiantly defending the universe from their aggression. the sentiment, which often crops up, of “neither gallifrey nor skaro” seems to be rather pointless. no matter how corrupt timelords can get, you are obviously going to pick the former over the latter.

all of this together creates a certain narrative. sure, timelords can be awful, but their enemy is much worse. their enemy is as dehumanised as it can get, it’s impossible to negotiate with, and it’s everything bad and evil you can imagine combined. while the timelords’ status quo can be questionable, the alternative the daleks have in mind is absolutely dreadful.

the unfortunate implications created by the enemy being the daleks are hard to blame on big finish writers, since they inherited this element from the show. but big finish really feels like the time war is the new who intellectual property they should use to its fullest, they rushed to it as soon as they got it, sensing that it was an important story to be told. gallifrey fighting the daleks is apparently very exciting and gets regular spotlight.

so far i can say that the war in heaven, being more thought through, provides commentary on the real world. its modern counterpart, the time war of gallifrey and big finish, is created unconsciously, almost coincidentally, with little awareness. this makes it more earnest, more revealing, like it was written from the inside of the system described in the book of the war. 

#faction paradox #Gallifrey audios #long post

[manicr]

Sniktfam names

Since I know it's a hot debate (though I usually avoid those) I'm gonna just make a statement on what I'm doing to avoid an upset inbox or quarrels in the tags.

James "Logan" Howlett/Wolverine: I call either Logan or Wolverine depending on if I'm thinking of him in his hero role or not. Writers use Logan, and we didn't know about the James part for ages.

Laura Kinney/Howlett/X-23/Wolverine: I use Laura or depending on when it was set Wolverine (since she took up her mantle) or X-23. The name X-23 was denounced in her current form but If I'm talking about teen or child Laura then that was her moniker. For tagging purposes I will try to fit as many of the names in for spread of content.

Laura Kinney from the Vault has now taken the name Talon. I'll use Talon or vault/old Laura for her.

Gabrielle "Gabby" Kinney/Howlett/Scout/Honeybadger: I use Gabby. I frankly do not like the name Scout, so I use Gabby.

Akihiro/Daken/Fang: (Note: Akihiro has not claimed a surname.) I use Akihiro or depending on when it was set Fang (since he took up the name) or Daken. The name Daken was denounced in his current form as of 2022/2023, but If I'm talking about before then, or setting it earlier in the timeline, I will use Daken. For tagging purposes I will try to fit as many of the names in for spread of content.

Using old code names, even when they are insulting, is to place it in a time-frame. These aren't real people, their names serve a narrative purpose.

Using X-23 in the earlier runs showed that Laura did not yet see herself as something else than what the Facility made her. It was a narrative device to show that she struggled with identity, purpose and growth. There was narrative satisfaction and momentum when she DID change her code-name to Wolverine. It was a cathartic to let go of the old name, it showed her forward momentum.

The issue is the same with Akihiro using Daken and then letting it go. Daken was the identity he used when he was a tool under Romulus, and those that came after, it was the name he used to embrace the hurt others caused rather than to redefine himself. Daken (Mongrel/Mutt) is him denigrating himself yet also reclaiming it. Narratively, it also serves as his villain code-name. It shows him being what others thought of him: you think I'm bad, I'll show you bad. Him being given the title and taking up Fang for acts of heroism are again a point of narrative satisfaction. Name change to symbolize growth.

Then one can have the discussion of how bad in taste Daniel Way, Steve Dillon and Marjorie Liu (who early stepped in to define the character) were in picking Daken for a biracial character as a narrative device of identity and later growth. Most fans are happy with him no longer carrying a code-name that is that implicit insult, and are satisfied with one that reflects his heroic status.

Real world note: biracial and mixed people in Japan are very discriminated against, but the term daken (駄犬 kana reading だけん) is not used as a slur: it literally means mongrel/cur and refers to real dogs. Rather Hāfu (ハーフ, "half"); the slightly more positive Daburu (ダブル, lit. double); the slur Konketsuji (混血児, lit. mixed-blood child) are used, among other more specific terms.

It is as such a very IRL influenced choice to have his heritage as a point of narrative conflict and a code-name that reflects that conflict; and they did avoid the IRL slurs for a person who would have been in that situation IRL, making up their own word i.e. daken, which of course, might in practice be used but is not THE slur related to hafu.

I'm very aware and have been personally affected by the IRL issue of racial/national slurs (I was considered a hurri and literally beaten for it), but fiction does not follow the same rules. Its point is to create narrative conflict and then resolve it; both Laura and Akihiro's stories re: names have followed this. Narratives have the right to write about the uncomfortable, scary and traumatizing since those are a part of human experience; muting those voices mute the stories of those who have suffered.

As an additional note: I will not police or care what others use. For me, personally, these are narrative devices. Feel free to disagree. But I won't go into deep discussion on it either.

#the name debate #whoop here it goes...

[airiat]

writerly thumbprint challenge~

rules: look back on your work, both past and present, finished and unfinished. what are five (or more!) narrative elements, themes, topics or tropes that continuously pop up in your work?

tagged by the distinguished @mareenavee, tagging @banjotea @mongoose-bite @obsidianshadow & anyone else who sees this and is down--tag me!

in particular order: fate, trauma, romance, figurative language, kurt vonnegut(?)

fate

always, always always. it's all i write about. different shades, different depictions, but that's what it comes down to. i'm obsessed. i'm obsessed with the idea that the world could bend itself to bring people who need each other together. what that looks like, what that means, how it falls apart--that's what i live to write.

2. trauma

everyone has it. why would i not write about it? but maybe that's just the psychologist in me. usually, i keep the actual trauma in the past. i write the recovery. i tend to like to spin the most convoluted, fucked up situation i can possibly think of, then work my way back out of it. what would it take for this character to heal? that's what i write.

3. romance

maybe this is not so unique and too broad. i have this yearning to experience every single manifestation of love, but unless i somehow become immortal, that's impossible. it's even impossible to achieve in writing. so, i just write what's otherworldly and entirely unachievable.

lmnit is about two literal chosen ones falling in love; ap&nd is about two people loving each other for literal hundreds of years and shepherding in a new world together, which becomes folklore; awfw is about someone who was literally created to love this one specific person. i suppose northern sky is the mundane outlier, but that one's more just for me anyway.

maybe i'll eat my words somewhere down the line, but i cannot imagine ever writing anything other than romance.

4. figurative language

"who cares if the curtains are blue? that doesn't mean anything!"

yes, it does. for me, it does. well, maybe not the curtains, but most of everything else. i'm heavy, heavy, heavy on metaphor and symbolism. i've always been detail-oriented. it's fun to me to string together a collection of little, significant details to paint the big picture. i'm pointillism. everything has to serve a purpose, to mean something. maybe things are missed by a reader, sometimes. that's okay. maybe they'll get it in the next read, maybe it infiltrated the quiet, hidden part of their mind and they don't realize except to have a whole understanding. but maybe it's misinterpreted. that's okay, too. i account for that. i encourage that. you'll see what you want to see, and get out of it what you need to. i'm just painting my little dots on a canvas.

5. kurt vonnegut?

this one's a little murky to me. i read a few of his books in high school, which was a while ago. slaughterhouse five and cat's cradle were chiefly among them, but there may have been a third or even a fourth. i'd have to read them to be reminded, but i haven't done that yet except for slaughterhouse five. i was going through a time when i thought i had to read widely lauded authors to be taken seriously as a writer. now, i don't care. every single bit of writing has merit. but, then, i would say that i enjoy reading vonnegut. and i would say it just like that: vonnegut. baby, you were 15 years old. it's not that deep. anyway, i'll call him kurt vonnegut now and i'll say it with this gentle sort of affection like he's my grandfather, my predecessor, because i'm fairly certain--i feel it as flicker of kinship in something i hadn't read in ten years--that many of my more metaphysical concepts were born from his. without even realizing it. but i'll need to do a little more investigating on this one.

#my posts #my writing

[narratingvoice]

Hello again!

I just had a cursed thought while writing some fanfiction in the middle of the night (Stanley Parable, of course), and now I'm afflicting it onto other people.

Since you created Stanley, does that make you his Father.

[[gonna preface this by saying I'm not trying to knock anyone's HC, but on this blog they are in a romantic relationship. kind of. it's complicated]]

Oh no!!! No no no no no! My feelings toward Stanley are not paternal at all! Artistic creation is only similar to parenthood in a very abstract way, removed from the actual process of realization. Yes, I feel a great deal of love and pride when I look at him, but it is exactly the same feeling as when I look at a really glowing review of the game. In that sense you could consider him the Galatea to my Pygmalion. He and I are equals, both thrust into the world to serve a specific narrative purpose. You cannot separate the story from the feeling, for our relationship is the intricate dance between playing out our predefined roles and defying each other. It is something so deeply intimate that a mere genetic relationship could never hope to capture.

You're a writer, so you must understand this as well. When you create an original character, how do you feel about them? Have you ever made one that represented some kind of wish fulfillment for you? Like being a cherished companion in your solitude, for example? The emotions you poured into making them do not change if the character comes to life; if anything, they only get stronger. And on the flip side, I really don't consider Davey to be my father; he's just some guy I've never met. Write whatever fanfiction you want. I will be over here kissing Stanley on his sweet stupid mouth.

#tsp #the stanley parable #ask blog #reply