...So once again it's the time of year when I return to this piece of digital art (or its earlier versions), tweak it a little in the attempt to get closer to what I see in my head, and repost it for Pride. (ETA, 3 June 2024: image tweaked a little bit more via late-night re-render because the upholstery wasn't rendering correctly, and as a result the kitty sort of vanished. Which would not be at all her style...)
At the moment I'm looking at These Two Idiots (for so they are) and considering with the usual bemusement how long I've been working with them. Of all the characters I've worked with in print, the only ones I've known longer would be the crew of NCC-1701—and very shortly now, for the first time as paid writing, a couple of gentlemen named Holmes and Watson.
I first "met" these guys in late 1970 in the form of the fellow college students on whom they'd be based: a couple of gents (not gay, as it happens) who were friends to me when I needed some. They were a tall dark guy and a short blond one with a mustache that came and went... so that, not even knowing the word "trope" at the time, I fell headfirst into one.
Less than a year after I met them, I changed educational tracks and schools, and we all drifted apart. But something about them stuck. The nature and depth of their friendship was unusual. So was one way it manifested itself: in ruthless snark that had no meanness or cruelty about it whatsoever—just affection.
In the late sixties I'd begun writing some very derivative fic strongly influenced by Tolkien. Rather to my surprise, though, as I started nursing school in 1971, the nature of that fiction started to change, and began rearranging itself around two characters who had a friendship like those of my college friends. With them as its core, a rather different kind of medieval-ish fantasy world started knitting itself together from various scraps of themes and imagery lying around in the back of my brain.
Even so early in the construction phases of this world, something the characters quickly made plain to me in the writing was that their relationships with one another were not what mainstream 1970s culture would consider conventional. They were gay... but that was a background issue,* and not at all the most important thing in their lives. They had far more important business to deal with—as became clear as their personalities and priorities started filling themselves out in the foreground.
One of them turned out to be the deliberate, analytical, methodical son of a provincial nobleman, all too aware of the expectations of those around him: that he might well eventually wind up running that province himself. Yet at the same time he also became aware that he had other problems, chief among them the discovery of a nascent power that would kill him young if he couldn't master it. And in the last thousand years, no one of his gender ever had.
The other presented himself more and more clearly as a difficult case: someone who wanted very much to be good at the family business, but wasn't... and knew it. Kind of a screw-up, repeatedly doing the wrong things for what he was sure were the right reasons. Yet, no matter how often he screwed up, he was also the kind of person who keeps picking himself up and trying again, because he's been told over and over that that's what people like him have to do: otherwise they're no use to anybody.
Imagine my shock when I realized that these two men—initially canonically enemies in their adolescence, then best friends as they grew, and eventually much more—were the (incomplete) answer to the question I'd once asked my Mom at the end of the bedtime reading of some fairy tale or other: "Why can't a prince rescue another prince?" Because one of them got himself more than once into situations where he really needed one kind or another of rescuing. The other one obliged him, while once or twice getting rescued himself. Those interlocking patterns started to solidify out of concept and into character detail and plot, while their world grew and proliferated into its own detail around them.
Then, without warning, in 1978 both world and characters decided they were ready to get real. I was abruptly dragged gasping and flailing under the surface of a novel that would begin the tale of what those two characters had yet to become. The period it took to produce that first draft was possibly the most interesting six weeks of my life... and that includes the six weeks during which I first scrubbed in on brain surgery. Day and night, for days at a time, I barely even existed except as something for a novel to come out of. When it was done with me, it just as abruptly dumped me back into my life and wandered away, leaving me staring around, blinking and wondering if anybody’d got the number of that truck. Nothing like it has ever happened to me since, which may be just as well. I’m none too sure that these days I could handle the strain.
The book—which sold a couple of weeks after it landed on its first publisher's desk—kicked off my career as novelist and screenwriter, and in its way proved that the world was at least somewhat ready for epic fantasy in which the basic culture was pansexual, polyamorous, and inclusive in ways that hadn't been attempted before.
So I owe them a debt, those two gentlemen up there: the tall dark curly-haired guy with the amateur strategist's mind, the blacksmith's shoulders, and the peculiar sword, his background thought always nibbling away at the question of how to heal the world's wounds: and the short fair gent who if he could would stay at home, live quietly in town, and work in the local library... except for when saving the world (or his found family) requires him to subsume his being into that of his ancestral demigod. Due to the success of the book in which they made their debut, these two became, in their way, the fairy† godfathers of the Young Wizards—and additionally enabled all that Star Trek fanfic I'd started writing a decade before to proceed to its logical conclusion.
More to the point, though, a lot of people in the 1980s and '90s who'd never seen queer representation in a fantasy novel, found it first, or at last, while following Herewiss and Freelorn down their road. It's been my pleasure to hold that space for new readers, and keep adding to it... because (if you ask me) it's needed more now than ever.
So, to the readership of the Middle Kingdoms works—now pushing half a century old—and everybody else who's celebrating the season: happy Pride!
*Not least because everybody else in their world is (at least potentially) some shade of queer, including God.
†(snicker)
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tamashina-mina event (aka the sunset savanna jp event)
so anyway because i cant read jp (the translated vid is in parts so thats why im posting multiple links)
leona brushes it off but
so LISTEN. The chamberlain whatever his name is isn't happy with Leona for not putting his intelligence to help the country
but when he DOES provide an idea (aka actually mining the mineral resources) its shrugged off because they're all for being with nature
so what im understanding is leona is proposing to actually make use of what the land has to, yes, make a profit, but also it could help with all loads of things? like spreading water to be a little more easily obtainable once having the funds to idk throw away money for the good of the people (i mean. they're already rich aren't they? i don't really get it but also the world runs on money. i dont know if there are any benefits to it just sitting there, or if there are cons to digging them out or not but leona seems very passionate about it.)
but so its like this then
where if its not modernized then people will just. not live modernized. and i get that ig, wanting to live with nature (well not really but i mean its all down to preference isnt it? which im not an outdoor person so uh)
maybe it'll make more sense in the EN version (whenever it comes). or maybe i need someone to dumb it down to me like im 5.
but anyway you see my point right?? Leona provides an idea (is very invested in it) that goes to the good of the kingdom (making more profit but its also like they dont have to mine ALL of it he at least just wants them to make use of it at least instead of not even touching it)
and then it gets shot down because. basically. tradition. ???
anyway heres my idea: if someone like Ruggie Bucchi can exist (i mean as in someone born in a poor environment) in the Sunset Savanna, then clearly there can still be something done to keep people healthy and in comfortable situations without compromising idk the beauty of also being able to live with nature at the same time? to help make it a bit more convenient in the process at least? (like there could be a system that brings them water, but it could still be in a well so they can still do that process by hand, there will just be more water so they dont have to worry about idk running out? i dont know how wells work but i imagine they can run out eventually)
and if anyones like 'oh but we wont make a profit' then propose ANOTHER way we can make big income. aka MINING the MINERAL resources so it could be like nothing even changed or that we might be even making more than we usually are (but also probably supervised so they cant take advantage and just i mean get rid of the entirety of it? cause. its.. important right? so some but not all.)
maybe i just dont understand this, maybe im biased towards leona who knows, but i kind of also feel like its dumb to just brush it off. and i mean who knows maybe hes proposed it many times before, maybe hes shown them so many ideas and proofs and proposals related but they mightve been flawed in some way i dont know and thats why they refuse. who knows. it just rubs me the wrong way
its also kind of related to people brushing off leona just as being lazy and stuff like that (also did you know he only failed ONE year? he joined NRC a year late) but leona isnt really doing anything to try to change peoples perceptions of him because 'thats what they think of me, why should i bother?' like people hating on him for being [something something] compared to falena so then just. takes that in and is like 'okay so people think of me this way. if thats how they view me, then whatever.' hes still very competitive and all that stuff but theres also apathy in 'people will think whatever they want of me, why should i even try to change it?' (and hes probably heard all kinds of things at a young age that really stuck with him and shaped who he was. which goes from being really hurt by it to not even caring about peoples opinions anymore. dont get me wrong it can still affect him because the part of him that got hurt by it the first time is still there but yknow)
but so then the chamberlain is like 'why dont you use your smarts for the country'
and leonas just like
THEN SAY SOMETHING TO MAKE HIM NOT SAY SUCH THINGS??? (you knew him as a kid surely you could do something) like. theres. just. such an utter lack of trying to convince him otherwise. and i guess to him it would sound so fake so he might not be convinced at all. but then if you stop trying at all then he'll think that he was right in what he thought people thought of him and wont try to correct anyone. or in fact will correct anyone if they think positively of him.
i mean theres also not wanting to say it in front of other people. but. listen. if youre afraid of what the people think then it will affect the other negatively.
like for example if you try not to do lovey-dovey stuff in public then your lover will naturally feel like youre just trying to hide them away. or that you might feel ashamed.
so if the chamberlain tries to convince him when they're in private but in public he doesnt. then you can see what kind of conclusion leona would come to, right?
its kind of a tough situation because i honestly dont know what youd do in that situation. its just. i feel like they could communicate better. that there could be things to be done and it just frustrates me.
yes he does go on to say that leona is strong
and that he believes in him basically but
it just. doesnt feel like enough. and it could definitely be on leona for also not being willing to listen so hh. and i also get the chamberlain has a lot of responsibility so he cant just be there all the time and everything hfeuishfdi
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So you’ve got an idea for a story….
Once again and as always, writing is highly subjective and any writing advice that says you *must* do X or all books *must* include Y or doing Z during your writing process is *wrong* kind of misses the point of the freedom of storytelling and I’m not a fan. This is how I approach writing and one way you could consider doing the same if you’ve got all these ideas and nowhere to put them, not the way you must approach writing.
Cool? Cool.
—
We’ll start with how I write fanfic because that’s a far less intimidating market. I don’t write drabble fics and coffee shop AUs. I grew up writing fix-it fics and in-universe canon divergences. Essentially: Stop the real story right here, now what if this happened instead?
Personally, I just don’t get fulfillment from writing fanfic fluff (though I do love reading it). Even if I’m committing time and effort into something that will never make me money and that people might not even read for fun due to dead fandoms or whatever, I’m still going to use it as writing exercise and give it some substance.
That’s just me, though. I used to write stuff like character studies and deep dives, and the last fic I wrote to date was a “hey what if this villain went to the good side way sooner and it wasn’t just played as a joke on his cowardice?” and its sequel.
So I started that first fic with an idea: What if K joined the good guys earlier? How would that impact the story?
Immediately after that, I was thinking about the ending and what tentpole ideas in the canon I wanted to keep, but the meat of the story I knew I wanted to focus on K’s emotional and existential struggle of switching sides, risking becoming an enemy to both factions, after the inciting incident of his (absolutely canonical) partner’s murder, that, in canon, did not get the justice he deserved. When I wrote my post about beginnings and endings, I said that endings for me are way easier than beginnings—this is why. Before I even start writing, my ending is decided.
Basically: Yes, I’m writing a story using someone else’s fictional characters, as one does when writing fanfic. The story uses cartoon characters, but it’s about one person’s struggle with their identity in the wake of tragedy, and how they take life by the horns to make it out of the story the hero they deserve to be recognized as.
And with that core idea in mind, then I write the story around it. The story, which, outside the canon that I had to keep, I had no plan for. The settings and minutiae of the set pieces weren’t as important as what each scene did for the themes and K’s emotional reaction to them happening. I needed to give him enough alone time with the characters of the hero team to learn something from them, enough time on his own to test his new loyalties, and enough time with his old team so he can juxtapose the two and make sure he’s doing the right thing by deserting.
The last thing on my mind was what tropes I wanted to fulfill. Romantic subplots and the like just kind of happened organically and weren’t planned.
—
For Eternal Night of the Northern Sky the idea I had was this: Most vampire stories are about the drama surrounding vampires that depend on humans to survive. So what if I wrote a story where humans depended on vampires to survive, in the exact same way?
Yes, the story is about vampires and everyone can say what they will about people who write vampire fiction. But it’s really about what it means to be a monster when survival demands some brutal decisions. What does it mean to be a monster if everyone is a monster?
ENNS wasn’t planned, I just started writing and had the first draft done in 31 days and through the entire editing process, the plot didn’t change from draft 1 to draft final, save for a few scenes where I had to fix the surface level problem some characters were facing, but not the reason why they were facing it.
The plot never needed massive rewrites because every scene reflected back on the core themes of the story, and every single scene was necessary to tell it. So even when I had to change the intensity of an argument or flesh out a conversation or change the tone of something here or there, the purpose of whatever was underneath remained.
With that throughline in mind, the rest of the book fell into place around it. My core characters each have a role to answer that thematic question, and side characters around then were created to fill in the world, provide friends, relatives, romances, and the like, each with their own perspectives still on that one big question. My villains, too, all exist to answer that question. Outside of the romances, every single scene is doing at least one thing either for the plot, the protagonist, or the deuteragonist to answer that question. ENNS’ secondary themes were also written into as many scenes as I could (of which I won’t spoil here).
When you write with a theme like this in mind, it gives you these sort of bowling bumper rails to help keep you from straying off into superfluous storylines that bog down the pacing and start to feel messy.
Yes, you’re writing fanfic. But what is it really about? Now maybe it is just a coffee shop AU or 50k words of smut—you do you. Not everything has to be deep and meaningful beyond being entertaining. Themes just provide direction.
For example, I like the idea of slowburn fanfics. The idea. I will happily sit down for a fic that’s half a million words long if the characters and the slowburn are compelling enough. There might not be themes, but the story never forgets its throughline—these two characters eventually coming together.
In practice, though, I see way too many “slowburn” fics out there that are just 90% fluff. The chapters stagnate, trading development for taunting the audience with the will they/won’t they. The plot toddles off to to play around in irrelevant scenes with irrelevant characters. Things that probably wouldn’t bother me if I wasn’t already expecting the romance that was promised, the romance I have to keep waiting for when I could just go read something else that delivers it faster and clearer.
—
Even if your writing process begins with a few scattered sticky notes and a notion of what you kind of want it to be about, you don’t have to hammer out pages of prose to be productive.
If you get stuck halfway through, having your throughline helps you sit back and ask yourself this very important question: What does Character want, how do they get it, and what’s in their way?
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Warning inane ramble incoming, it’ll probably be annoying I apologize. (*_ _)人
I spent the last several days reading every post here. I managed to convince myself to start liking some (sorry about that I’m sure it was annoying to get all those notifications) I have this weird thing where I get nervous about liking older posts cuz I mean it’s been a long time and it’s unprompted so that’s weird right? It feels weird like I’m doing something wrong or I’m being annoying, I considered reblogging too but somehow that felt worse? Sorry I am not good with social rules they confuse me both on and offline Idk my brain is wrong and I’m just a nervous socially anxious snail. (>﹏<)
Anyways just wanted to gush about how much I love it here and I’m never leaving (´꒳`) ♡ First and foremost Yniol has a special place in my heart they will forever be my favorite bestie (*^ω^)人(^ω^*), yes I am biased as my partner is grey and though they don’t play IFs they were thrilled to learn about your character! Also your writing is just phenomenal, your fans are fun and creative, your characters give such warm and positive energy I love them so much they’re perfect, the inclusivity is such chefs kiss ( ´ з `) 🤌🏻✨, the angst is delicious, the fluff is so sweet and comforting, the spice is ... very blush-worthy (⁄ ⁄>⁄ ▽ ⁄<⁄ ⁄). This has been a journey I laughed, I cried, I giggled, and I blushed and I have enjoyed every bit of it from pasta discourse to Moldien cult wars to Arthur bunnies, I’ve had the most wonderful time. Now my mind is gonna be filled with Arthurian stuff for months my maladaptive daydreaming is having the time of its life I have a road trip next week and I’m so looking forward to just staring out a window for 6+hours while my Hound's just alternating daydream adventures with the cast o(≧▽≦)o. Also speaking of your amazingly wonderful, sweet, and supportive cast I have decided my (though I love them all) favorite poly pairings are Arthur/Morien and whole crew polycule I’d sell my soul for those but I 100% understand why you can’t really do that. I don’t think I have the endurance in me to code a single poly no matter how much I wish it so the fact you’re doing any let alone several is just god tier you are awe inspiring.
Alas I have rambled far far to much I wish I could be more eloquent in expressing just how much I enjoyed experiencing all of this but for now this is the best I can do (╥ω╥). Thank you for sharing your wonderful work it’s truly a gift to experience. ଘ(੭ˊ꒳ˋ)੭✧ I wish you wealth, health, and all the best in all your creative endeavors. -🐌
No, please please do not apologize. You made my entire week <3 This ask is straight up going into the folder where i keep my motivation to write and to be just a little proud of my work, thank you so so much for sending it.
For anyone having the same thoughts about liking or reblogging old posts: please do it. When I see the notifications, get very giddy and pleased, and I hope you are enjoying the food. Liking, and especially reblogging things, even more so if you add tags and reactons, not only fills me with glee but it also reminds me of old asks that I want to reblog again for new followers. So yeah, I love it, please feel free to go on a liking/reblogging spree!
You are so relatable for the maladaptive daydreaming (this game was absolutely born out of my own mental movies), I wish I could speed up the writing and editing for the next update so you can read it while you travel but I'm afraid it's a lost cause (I have been working on things, even now, but I am currently rewriting like half of it and while it is way better it takes sooo much time and energy). Knowing my characters and story are in someone's thoughts it the best kind of reward I need. I will never likely monetise this game, so this is the thing I wish to leave people with, and I hope the characters can be comforting and keep you company <3
You have no idea how much I would love to write the full polycule... maybe one day :,) But don't lose hope for the Arthur/Morien poly yet, as I decided to cancel the Gwyar/Morien poly and now I have a potentially free slot. In any case, awww, please know that this ask made me so happy today and will be in my thoughts as tkh is in yours.
Please have a lovely day and a lovely week and also a very lovely trip! Thank you again so so much!!
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what is it with the aro community basically reinventing amatornomativity but including (some of) us this time. acting like QPRs are the solution to your problems and obviously theyre more meaningful and important than friendships and what do you mean you don't want a platonic life partner? well if you're "just friends" they're gonna leave you for their romantic relationship eventually — no, no, you can't mean that, "best friend" is either just the same thing as a QPR or not good enough to stay in your life forever. you don't like how you probably won't ever be able to have kids because who's going to let a single trans man adopt a child, and even if they did how would you support them, and no for the last time i don't want to marry anyone even platonically. i do not want a partner ever. ever.
but don't you know that all of us hate amatonormativity? but we're fine with it when we're included. oh and don't you know aros can date too? did you know? did you know you can date too?
you have problems? society isn't structured for you? you have to learn to navigate socially and legally in a world that's built for couples and that's a very distressing experience and you're invisible if you don't loudly proclaim your aromanticism after every room you walk in — but we're gonna keep arguing about shipping. what do you mean you have more problems than people being stupid in fandom? what, is the one aroace character who got "confirmed" off-screen and never mentioned outside of that at all not good enough for you? that doesn't actually change anything for you societally?
but you surely want a QPR. it's totally not just us forcing some watered-down romance on you after you said you didn't want it (but did you know aros can date too? surely you didn't forget that. aros can still love and we hate that you're implying they can't). all of your problems with society hating you for your singleness and aro-ness would be solved if you just got a partner — no, a platonic one, why would you assume otherwise? this is nothing like telling a gay man to just suck it up and marry a woman. see, that would be homophobic, but you? didn't you know that aros can still date?
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