#you know how sometimes the writer has one plan and the characters have another one? I feel like that happened here

[iamnmbr3]

JK Rowling: Harry Potter is 100% heterosexual.

Harry in book 6:

Meticulously catalogues Tom Riddle's evolving level of hotness in each memory he watches

Gets so distracted by seeing Draco Malfoy changing that he gets hit on the head by a piece of luggage

Is deeply horrified that large numbers of girls are interested in him, doesn't even consider dating any of them, and goes to great lengths to avoid them

#you know how sometimes the writer has one plan and the characters have another one? I feel like that happened here #also remember when harry is confused and a little disgusted by ron being so physical with lavender? #Harry Potter #harry x draco #hpdm #harry potter and the half blood prince #drarry #or i guess #tomarry #if you want

[breathlesswinds]

(Devlog) What We Learned Making A Trans Dating Game

Hello, Amelia here, the writer for Breathless Winds. It's been 250,000+ words, countless revisions, and three years since this game entered development, and I wanted to talk about what I've learned leading up to release.

The concept for Breathless Winds was actually sort of a joke between friends. I was talking with Doris about how there should be a dating game where you play as a trans woman and your dating options revolve around certain ‘tropes’ we’d both seen in trans fiction-- the totally accepting cishet guy who falls in love with the trans heroine before she even knows she’s a woman, the cool trans woman who the heroine doesn’t know if she wants to date or wants to be, and so on.

Doris wound up suggesting we make this game ourselves. We both like visual novels and want to tell LGBT stories. Still half-jokingly and half-seriously, we started fleshing out what the romance options would be and coming up with a setting-- and soon, we were fully committed to making this game real.

I was a fan of visual novels but had only ever written prose. I knew which visual novels I liked and which scenes stood out, but I didn’t know why they did or how to make my own. 

I read some great advice from visual novel developers, but a good amount of my knowledge came from just working on Breathless Winds. As our first project, this game has grown a lot with us and we’ve learned a lot while making it.

Learning How to Write Visual Novels

A bad habit I had to break out of was only using the ‘novel’ part of the game and not the ‘visual’ part. I would sometimes write “He smiled” or lines like that, and Doris informed me that we can convey this much more simply with a sprite change.

It sounds obvious in retrospect, but lines like that are often pretty invisible when you’re reading a non-visual novel. These lines change the sprite of the character inside your head (if that makes sense, haha). I realized that I’m so used to them being ‘invisible’ that I didn’t notice their absence in visual novels I liked, so I would accidentally include them while writing. 

I was also writing these routes in a word processor, so I didn’t have the visual portion to reference, myself. I wound up making a lot of ‘tone’ notes like, “Lantana should be smug here” so that the meaning would carry when revising and implementing these into Ren’py. 

So, while visual novels share a lot with prose, they’re an entirely different medium. On the subject of representing things visually, I’ve struggled trying to figure out how much can be visually represented and how much should be written. 

Every asset in the game has to be drawn by Doris, so if I want the characters to go to a new location for a scene, I have to keep in mind that’s another background that Doris has to draw. If I want a new character to show up, that’s another sprite she has to draw. I don’t want to overload her, but if I’m trying to avoid this entirely, characters sometimes wind up standing in one room talking for ages without anything significant changing on-screen.

I’ve learned that it’s recommended for something to almost always be changing on-screen, though, so sometimes I just have to ask Doris to make a new asset for a certain scene. I still try to stick to locations/characters that already exist more often than not.

Every single thing in a visual novel is deliberate. Another thing I’ve had to learn that I never even considered before is how to write each line so it fits in the text box. It sounds obvious, but when I’m playing a visual novel, I don’t usually think about how each line has to be carefully constructed so it doesn’t need to be split up into two or more text boxes. In my mind, if a visual novel is well-created, there’s not much that breaks a reader’s immersion.

Planning & Outlining

The previous section might sound really weird to some people, so let me elaborate.  I’m a lifelong ‘write by the seat of your pants’-er, so the biggest trial-and-error of creating Breathless Winds for me was planning out the game.

Initially, I created outlines for each of the four routes, and we agreed ahead of time on which CGs each route would have. That way, Doris could draw the necessary backgrounds and CGs while I was in the long process of drafting this game.  My original outlines weren’t great. I know a lot of people have different experiences with writing, but for me personally, a story is always shaping itself in my mind. When I started making the outlines for Breathless Winds, I knew the concepts we wanted to convey, but I didn’t know what each route (and the game as a whole) was really about yet. This might sound weird and unprofessional, but sometimes, I don’t know what a story is about until I finish the first draft.

So while I was writing, I would look at my outlines and I would think, “this doesn’t actually make sense, he wouldn’t say that” or “this plot point would work better if moved to this other section” or “there’s a plot hole here I didn’t notice”. The story wound up changing a lot in this way as I learned what it’s really ‘about’. 

And even after I finished the first draft, I’d get feedback from Doris and/or my editor and they would suggest fixes to problems that even I hadn’t noticed, and then I would revise the route some more, and later on I’d come back and need to redo part of the route to comply with something I wrote in a later route-- I haven’t really felt ‘finished’ with Breathless Winds at any point, and I think I’ll still feel this way after the game is released.

This means that sometimes, a background was created but would go unused because there was no space for the scene that would use it, or we’d need a new CG last-minute, or so on. 

When I’m figuring things out as I go while writing a non-VN, the only person that I can adversely affect is my own self… so I’m eternally grateful for all of Doris’s patience with me on this matter. I think Breathless Winds has come out a much better game for all the re-plotting and revision. 

I redid the outlines several times as I went. I think I’ve understood how to create outlines that personally work for me-- ‘living’ outlines that hit all the main points, but leave wiggle room for moments when a character does something unexpected, work the best for me.

Scope Creep

So, originally, each route was meant to be 40,000 words. “With four routes, that’s only 160,000 words!” I thought. “And some of my favorite visual novels are about that long, so I can write that much, too!” ← clueless

This is the most infamous mistake that new creators make, and I walked right into it. I should have known better since I’ve bitten off more than I can chew with past non-VN writing projects before, but I was starry-eyed and didn’t realize how much work it is to make a VN. Some of those favorite visual novels I referenced were made by much larger teams, writers whose full-time job was writing (I wrote all of these routes on the side while working at a day job). 

If I could have done it again, I would have asked Doris to start out with a really short VN. But, I don’t regret making Breathless Winds at all. It’s brought Doris and I a lot closer, for one. Every time I thought I wanted to give up on this, Doris would motivate me to continue. Without the two of us both and our strong friendship, Breathless Winds wouldn’t exist, and I think that’s beautiful. 

No matter what, we’re going to see it through to the end. (I hope people like it, though…)

Anyway, here I am talking about how much 40,000 words is. Each route now is about 60k to 70k words. The problem with having evolving outlines is that they can often evolve into double their original size.

We came up with the idea of the poachers really early in development, and then not addressing the poachers felt like a failing, but by that point it was too late to remove the poachers entirely… and so the game wound up a lot longer dealing with the poachers. 

I think that if we had an editor sooner on in the game’s development, then we might have had someone to tell us, “do you really need all of this in the game? Does this plot point really need to be there? Will you be able to write all of this in a reasonable amount of time?”, haha. But Doris and I were really excited about the possibilities of this game when we started creating it, and without anyone to reel us back in, we wound up coming up with more and more things we wanted to put in the game.

Did you know there was going to be an island full of talking rats who say things like “the big cheese” and stuff all the time in Breathless Winds? Yeah. 

The Core Design Philosophy of Breathless Winds

So, for anyone who’s read this far but doesn’t know yet-- the premise of Breathless Winds is that you play as a trans woman who doesn’t know she’s trans yet, and she finds love with one of four love interests as she discovers her gender identity. 

In real life, it can be a lot messier for a person to date when discovering their gender identity. To put it briefly and mildly, a trans person’s life and sense of personal identity can rapidly change during a gender crisis and the early stages of transition. 

However, we wanted to make this game a ‘wish-fulfillment’ type story-- a trans fantasy about acceptance, community, and love. During a gender crisis, it can be easy to feel as if one has lost touch with themselves and become isolated from others. A sincere wish shared by many trans people is to be accepted, loved, and even celebrated as their true gender, not just tolerated. 

Since many trans people don’t get love and acceptance in real life, especially with the ongoing transphobic moral panic, we wanted to create a game that would bring this feeling of trans joy and celebration to trans audiences. 

We also hope that cis players will still enjoy the story and characters, and maybe come away from the game with a new understanding about being transgender and other aspects of LGBT identity (although we never intended this game to be ‘educational’).

Making Characters that Celebrate Trans Identity

Although we went through several revisions, the core identities of each character stayed the same since the game was first ‘jokingly’ pitched. In another post, I discussed how each character is themed around a change in seasons. (I also wound up theming them around the four humors when I was initially concepting them-- I really wanted to avoid too much ‘overlap’ in the LI’s personalities, haha). 

Ultimately, characters are created to serve a role. The LIs in Breathless Winds were designed to be love interests, of course-- characters who would appeal to the hypothetical trans femme audience. As mentioned earlier, we modeled them after other trans fiction tropes because these types of characters have a certain tried-and-true appeal, but this left plenty of flexibility to put our own spin on it. 

A trans woman being loved as a woman by a cishet guy can feel like a high form of ‘passing’, ‘fitting in’ to the female gender role, and being validated by his orientation. He only likes women, and he likes you, so you’re undoubtedly a woman. As a cishet guy, he represents a sort of acceptance into a societal norm that trans women can desire to live to. (Lantana, as a cis lesbian, represents the sapphic counterpoint to this-- although there is of course a big gap between the ‘normalcy’ of a cishet man and a cis lesbian woman, and I don’t mean to say those two are equivalent.) 

But not all trans women want to live to that (cis) societal norm. Rue and Valerian, as a trans woman and a trans man respectively, are the t4t options. 

Rue’s route represents that trans/sapphic ‘envy’ (“do I want her or do I want to be her?”) as well as finding power in community aside from what society considers ‘normal’. We’ve always been pretty clear about what we wanted to do with Rue’s route.

We went back and forth a lot more on Valerian’s route. Initially, we were unsure if he should be trans. He and Rue are the two less-friendly love interests (at least initially), so I was afraid it would come across that t4t is a more hostile option, which is not true at all. But it also felt like a mistake to not have a trans man in the game-- but making Gallardia trans would have required a big overhaul of what we had in mind for him and his route. (Although, childhood friends t4t is a really good idea...)

Beyond that, Valerian takes a villainous role in any route that isn't his own. We were worried that it would be wrong to have a trans antagonist who represents unjust power. However, Breathless Winds is a queer game with other positive trans characters, and we've always approached Valerian as a hot anti-villain man that you can't help but like.

In the end, Valerian’s route is about breaking generational cycles and what it is that makes you a man, and I also managed to sneak in a scene where they dance at a ball in the royal palace, so in the end I think it all worked out great.

Wish Fulfillment and Catharsis

Doris and I both agreed that we wouldn’t depict on-screen transphobia in Breathless Winds. Poppy worries about not being accepted, but fear of acceptance can come with any change in identity. Rue was rejected by her family for being trans, but this doesn’t take place ‘on screen’ in the game. There exist certain metaphorical parallels for transness and transphobia, but every route has a happy ending. 

Following up on this-- it can be difficult to write about discovery of gender identity without writing about transphobia, considering how many trans people suffer from internalized transphobia during their period of repression.

Sometimes, repressed/closeted transgender people ‘hyper-perform’ their assigned gender as a form of denial. A trans woman might grow out a beard and join a gym, while a trans man might become very interested in makeup and feminine clothing. 

In Breathless Winds, Poppy often struggles with ‘strength’ and what it means to be a man. In several routes, she tries to prove her strength under the assumption that being stronger would make her happy. Afraid the world would reject her if she became who she really is, she preemptively rejects herself.

Not every trans person suffers from prolonged denial, internalized transphobia, or even gender dysphoria. I don’t think it’s impossible to tell a purely-positive story about trans joy. 

While Poppy never gets rejected for being trans, faces transphobia, gets called a slur, etc, she faces both internal and external (metaphorical) obstacles to realizing and accepting her identity. 

Gallardia represents a societal norm that Poppy can’t live up to herself as a man.

Lantana suffers from certain aspects of her identity as a woman, which makes Poppy feel guilt for wanting to be a girl.

Rue is isolated from town at the start of her route, a ‘punishment’ for breaking this societal norm.

Valerian has to hyper-conform to his masculine gender role at first in toxic ways before finding acceptance from within and from his loved ones.

These struggles are real to a lot of people, but instead of pretending they don’t exist, I hoped to tell a story about catharsis. Poppy is able to live up to her truth as a woman and finds love with Gallardia, Poppy and Lantana redefine what being a woman should and does mean to them, Rue and Poppy find community in others who don’t fit the norm, Poppy and Valerian stop seeking gender validation from a society that was never made to serve them. 

Although these powerful forces of oppression exist, loving yourself as a trans person- and loving those around you, protecting the natural world, and standing up for what you believe in- can save the day. That’s the kind of story we wanted to tell.

Wrap-up

There’s a lot more I could write, but this has already gotten really long (sorry!) so I’ll wrap it up here. 

Learning how to write a visual novel in terms of technical skill (how to depict events on-screen, how long each line should be) as well as in terms of writing skill (how to outline the game, how to plan visual assets) has been a massive undertaking for me. 

Writing Breathless Winds has been a big challenge but also deeply rewarding, and all of your support has made the experience even more wonderful. Thank you for reading and thank you for supporting the game!

#visual novel #otome #dating sim #amare #trans #lgbt #breathless winds

[le-trash-prince]

Kenta

Okay. It is once again time for me to talk about my number one little man. I was interested in Kenta from the very beginning, and at some point I realized that I was not going to be normal about him, but I really did not anticipate how much he would come to mean to me. I hope y'all have enjoyed witnessing my descent into feral blorbo state. It is not over for me in the slightest.

I want to say that Garfield really acted the shit out of this role, and the writers knew what they were doing when they cast him. His arc was so important to the overall plot, with his growth being pivotal to Tony's downfall, and yet he had a relatively small amount of dialogue to work with (although certainly not the smallest amount of the cast).

A lot of his scenes involve him standing in Tony's office, taking instructions, or even just simply observing. A lot of his lines are based around business deals and errands—rather than furthering his emotional development. He doesn't give big speeches, he doesn't talk about his feelings or his dreams, it's always just "I'm doing xyz for Tony, and I will never betray him."

Some of his most dialogue heavy scenes are in one stairwell with Pete and in another with Tony, which I think are extremely pivotal moments, both of which reveal a fear of abandonment.

But it's honestly when he's quiet that he says the most.

And I love that, I'm obsessed with it. I love that the whole fandom could insantly tell that he and Pete had something going on, just from the way they looked at each other. I love that the storytelling in his arc was so highly visual.

In the beginning, Kenta appears to be nothing more than Tony's lackey: quiet, intimidating, and actively complicit with what is going on.

But as we see him more and more, it becomes exceedingly apparent that he cares, so much. I know I am biased in saying this, but I do also pay close attention to what other people are saying about Kenta, and I know almost everyone has been waiting the entire series to see him stand up to Tony. The amount of acting that Garfield did with his eyes, while remaining such a stoic character, was insane.

Despite him repeatedly declaring his loyalty to Tony, despite the fact that he does not reveal any actions against Tony until episode 12, we feel so much of his inner conflict.

I think for me, personally, the aspect of Kenta's character that I relate to the most is his inability to speak up when he wants to. I've struggled with selective mutism my entire life, and there have been countless, countless scenarios where I've had so many things to say and no ability to say them. The more dire the situation, the more my words fail me. I have to spend so much of my energy constantly planning for potential conflict scenarios just so I can have the time I need to figure out which words to use. Because it can sometimes take months for me to figure out certain phrases. And because it is so painful to stay silent when you want to tell someone to stop. To stop fighting, to stop hurting each other, to stop hurting me.

So I was beyond moved and proud to watch Kenta finally be able to protect his brothers and quietly say the one thing he has wanted to say all along.

Don't hurt anyone anymore.

Don't hurt anyone anymore.

Don't hurt anyone anymore.

I will take some of the words that P'Chod gave to Garfield before they went into production. "It’s just you want to live in a peaceful house and be happy together.” All we want is peace.

I wish that Kenta had not been forced to kill Tony because I don't think he has ever wanted to hurt anyone. But I'm sure as hell not sorry that he did it. There will always be people who are unwilling to stop.

And I recognize that Kenta tried a peaceful method first. He gave X-Hunter what they needed to put Tony in jail, and Tony refused to give up. He was never going to be the kind of person who would simply surrender. To him, these people's lives are property that he is entitled to.

Here is an auto translation of something Garfield said about Kenta at the final episode screening.

"I already knew that Kenta would be similar to me, in that I'm someone who doesn't dare to express my feelings to the people around me, saying very little. So when I got the role, I felt… that it teaches us that as long as we dare to be ourselves and do things that make us happy, that's enough."

We may never know what happened to Kenta after Tony died, but I hope he is able to find his peace. I hope he is able to engage with restorative justice, and I hope he is able to learn what family really should be.

And I hope that someone, anyone, will give him a goddamned hug.

the first shot / the last shot

Thank you, Kenta, from the bottom of my heart, for showing us yours.

#god okay this one took a lot out of me IM STILL RUNNING ON LOW SLEEP #anyways I LOVE HIM I LOVE HIMMMMMMMM #pit babe the series #kenta pit babe #pit babe spoilers #pit babe meta #em post #em meta #pit babe

[septembercfawkes]

Circling vs. Zigzagging Conflicts

Nearly every writer understands that a story needs conflict. The protagonist sets off to fulfill a goal, runs into an antagonistic force, and their struggle creates conflict. This should happen in the story as a whole, this should happen in acts, and it should happen in almost every scene--the difference is that the smaller the structural unit, the smaller the antagonist and conflict (simplistically speaking).

Today I want to talk about a sneaky problem I sometimes see when editing manuscripts, one that relates to conflicts.

Sometimes the writer simply “circles” the conflict.

What I mean is that after a given conflict, nothing has actually changed in the story. We just completed a “circle.”

For example, say the protagonist is a favorite target of the schoolyard bully. They get into a verbal fight, but when it's over, nothing's different. The conflict didn't have any consequences.

It may not sound that bad.

And if it only happens once in a while, and there are enough other conflicts going on, it may not be.

But if this happens repeatedly or this is the main conflict, the plot isn't progressing. It just did a circle and the characters ended up in the same situation they were before the encounter. Essentially, no matter how exciting the scene may seem to be, you could still cut it and the story would be the same.

Let's look at an even less obvious example.

The protagonist needs to get Object X from Character B.

The protagonist finds a way to successfully steal it.

But then immediately afterward, Character B steals it back.

The scene ends, and the protagonist is back at square one.

It doesn't sound that bad, does it?

And if it only happens once in a while, and there are enough other conflicts going on, it may not be.

But if this sort of thing happens repeatedly--over and over and over--the plot isn't progressing. You're just going back and forth and back and forth and back and forth. And if we just arc that path a bit, guess what? It creates a circle.

Another example:

The protagonist has a problem.

But she's not taking action to solve the problem. 

Yes, she reacts emotionally to the problem.

She may even sometimes come up with a plan for how to try to solve the problem.

But she doesn't execute it. Or, some other problem comes up that keeps her from executing it.

And rather than come up with and execute a new plan to address that problem.

She just reacts emotionally to the problem.

Imagine this going on for multiple scenes.

The plot isn't progressing. She's just ruminating.

It still feels like the text is just circling the conflict.

Please know I'm not saying a story can never do these things. On rare occasions, circling conflicts can be useful, like when the point is to show the audience how some things don't change. My first example may arguably work near the beginning of the story, to show what the protagonist's day-to-day life is like. My second example can sometimes work as a frustrating irony. And my last example, well . . . don't do my last example. Okay, okay, maybe it could work to show off how the protagonist is incapable of or has the flaw of never moving forward (and chances are it'd probably be better to illustrate that through summary, rather than scene).

And some degree of circling can work, when the story needs to end with the characters and world in the same place they started, like in a serial, but note that usually through the installment, there isn't much circling.

And often, even if the external circumstances complete a circle, the journey changed the character internally in some significant way.

BUT if you are repeatedly writing examples like those above, where the situation at the end of a scene or act is essentially the same as it was at the beginning of the scene or act, then you aren't moving the story forward.

Sure, conflict may show up on the page, but the text is just circling it.

Instead, it's much more effective to create a zigzag. 

If we wanted to keep this super simple, we might say the scene (or act) needs to move from a positive situation to a negative situation, or a negative situation to a positive situation. Or, a positive situation to a better situation, or a negative situation to a worse situation. Essentially:

+ --> -

- --> +

+ --> ++

- --> --

This is a good starting point, but I admit, it sometimes feels oversimplified to me.

In any case, the situation the character is in, has changed.

The story didn't do a circle. It did a zigzag (or zigzigger or zagzagger). 

The protagonist had a goal, encountered an antagonist, had a conflict, and the conflict came to a definitive outcome (if only on the small scale for that scene). It hit a climax or turning point.

And that outcome carries consequences.

The protagonist gets in an argument with the bully and gets suspended for his language. If he's suspended, his parents will ground him, and he won't get to go on an upcoming date with his crush. It's a setback.

Character B steals Object X back and in the process, mortally wounds the protagonist. Now the protagonist needs to get help before they die.

The protagonist takes action to solve the new problem, and not only succeeds, but manages to solve her original problem at the same time.

But often just adding consequences isn't enough. We need to make sure the consequences aren't or can't be undone, at least not easily or coincidentally. We don't have the protagonist's dad have a serendipitous change of heart and simply allow the protagonist to go on the date.

Don't undo what you just did (generally speaking). 

If the protagonist ended with a bigger or new problem, make him put in the effort to try to solve it. (See the "No, and . . ." vs. "Yes, but . . . " rule under "Disaster.")

And don't forget my "acid test" for plot progression. At the end of the scene (or act), ask, did the protagonist's current goal and/or plan shift? If the answer is no, chances are you did a circle. (Or you at least left things stagnating). If the answer is yes, something changed.

As I mentioned above, sometimes the change is internal. 

Maybe Character B did simply steal Object X back, but maybe that leads to the protagonist realizing he doesn't want Object X as much as he wants revenge on Character B. He hatches a plan to exact that.

While that may not be as strong as the protagonist getting mortally wounded, it's better than nothing changing, and the experience does change the direction of the story.

Personally, I'd still be cautious of writing such a situation, though. In most types of stories, we want consequences to be both internal and external.

But that topic could be another post.

So in closing: zigzagging conflicts is better than circling them.

Adieu.

#Writeblr #let's write #writing tips and tricks #writing tips #writers on tumblr #writing #writing tip #writing advice #writing reference #writing help #writer

[steddieunderdogfics]

This week’s writer spotlight feature is:  Pricklywhicket/@messessentialist ! Prickleywhicket has four fics published to AO3 -- All in the Steddie tag!

Our anonymous nominator recommends the following works by pricklywhicket:

so let's sneak in from the cheap seats, honey

it's supposed to be fun (turning twenty-one)

start by pulling him out of the fire

"Sadie is so super talented in the way she describes literally everything. She is so good at writing and it's a shame that she's flown under the radar because she's not the quickest at putting things out there." -- Anonymous

Below the cut, Pricklywhicket answered some questions about their writing process and some of their recommended work!

Why do you write Steddie?

Why do any of us write anything? Because we want the story to exist in the world, and it doesn’t yet, so we gotta hike up our pants and do it ourselves!

What’s your favorite trope to READ?

Hurt/Comfort. I’m always a sucker for the blorbos taking care of one another, in whatever form that takes. This has always been true, across a truly astronomical number of fandoms I’ve found myself dabbling in over the years.

What’s your favorite trope to WRITE?

…actually, probably hurt/comfort! I just need to get those little dudes some validation and unconditional positive regard, okay?

What’s your favorite Steddie fic?

I’m sure I won’t be the first one to say this, but: I HAVE TO PICK ONE????? Okay, alright. I can do this. I’m gonna say…Sanctuary by SpicedSage.

Is there a trope you’re excited to explore in a future work but haven’t yet?

I’ve only written canon or canon-adjacent fic so far, so I’m eager to work on something that’s completely AU. I think there’s a unique challenge to keeping characters recognizable as themselves in a world that might not have all the same contexts that made them into that person.

What is your writing process like?

I would love to say it’s super organized and well-planned, but the truth is it’s mostly about routine and responsibility. I set aside time to do it every day, even if I can only tap out a few sentences. I’m not very strict about writing in a straight line - I can stop a scene if it’s giving me trouble, write a note about what I think happens in some [brackets], and move on to something that I have more fully fleshed-out ideas for. Sometimes writing the next scene helps you know more about what needs to happen in the current one. 

Do you have any writing quirks?

I'm sure my betas would say yes 🙃 I tend to write a lot of dialogue - a lot of my revision process is going back through and realizing I have two pages of a conversation with no indication of what’s physically happening in the world around the speakers.

Do you prefer posting when you’ve finished writing or on a schedule?

Definitely when I’m finished. Prior to my ‘23 bang fic, I had never written anything chaptered. I knew going in that I could NOT start posting if it wasn’t finished, because I’ve been burned too many times by abandoned works. I didn’t want to do that to people reading my fic, and the best way to avoid it is to finish before you post.

Which fic are you most proud of?

Easily start by pulling him out of the fire. The biggest, most ambitious thing I’ve ever attempted - I still kind of can’t believe I wrote 85k.

How did you get the idea for start by pulling him out of the fire?

Like most terrible ideas, it was spawned in a fandom discord chat. We were discussing the tendency of Steddie fics to centralize the party at Steve’s house, because his parents are never there anyway. And then someone mentioned what if the parents came home and found their house occupied, and someone else mentioned Wayne being there, and it just sort of…spiraled out from there.

When writing start by pulling him out of the fire, what was something you didn’t expect?

I had no idea, going in, that I was going to write a comprehensive history of the Wayne and Eddie Munson relationship. I started writing it where I did to give some background on Wayne’s existing distaste for the elder Harrington, and then I just…kept writing. Over the course of a month or two I wrote 20k of WayneAndEddie that I had no idea was in me - it just kept coming.

What inspired it's supposed to be fun (turning twenty-one)?

@wynnyfryd. It was a gift for her birthday. We were talking about our mutual love of Letterkenny, and she mentioned that the episode was her favorite and wouldn’t it be funny if someone wrote… and the rest is history.

What was your favorite part to write from it's supposed to be fun (turning twenty-one)?

I had an unreasonable amount of fun with that one in general. But I think my favorite part was Eddie polling the party about what Steve means to them all. It was fun to sort of put myself in each character’s shoes and think about how they would answer. Plus y’know, any excuse to unironically love on Steve Harrington.

How do/did you feel writing so let's sneak in from the cheap seats, honey?

I believe my exact words upon deciding to write it were “jingles miserably to a blank google doc.” This was a classic case of saying “god I wish there was a fic where—” and having friends tell me that it was now my responsibility to write it. I’m glad I did, though. I love that story, and it proved to me that I could write sex and publish it and not burst into flames. I also just really, really love summer storms. And Wayne’s use of the singular ‘herpe.’

What was the most difficult part of writing so let's sneak in from the cheap seats honey?

Getting over the fear of publishing something E-rated. It was just something I hadn’t done, and I had a lot of anxiety that people were not going to respond well to it. I made three people individually review the sex scenes before I even asked anyone to beta the full fic. Of course I was worried for nothing, the reception for that fic was super lovely and gave me the confidence boost I needed to attempt start by pulling him out of the fire!

Do you have a favorite scene and/or line from any of your fics?

This is like asking me to pick a favorite child. I’ll say this: most of my favorite lines in start by pulling him out of the fire were taken directly from conversations @wormdebut and I had about the fic. She’s my number one cheerleader and sounding board, and sometimes she’s so goddamn funny that I just have to include it. You have her to thank, for instance, for Steve quite literally dropping his croissant when he first sees Eddie in glasses.

Do you have any upcoming projects or fics you’d like to share/promote?

I have a couple of irons in the fire, but nothing I’m ready to share just yet! I’ve been taking a breather from writing (blame baldur’s gate 3, okay) but my WIPs are still very much IP. Stay tuned!

Outside of these questions, Is there anything YOU would like to add?

Not that I can think of!

Thank you to our author, Pricklywhicket, and our anonymous nominator! See more of pricklywhicket's works featured on our page throughout the day!

Writer’s Spotlight is every Wednesday! Want to nominate an author? You can nominate them here!

#writer's wednesday #writers on tumblr #steddie writers #steddie #steddie fic recs #steve harrington #eddie munson #steve x eddie #stranger things

[maweallgotohell]

Heyyy ik you’re working on something rn, but if you still want to do requests I’d request something fluffy with Jerome… like cuddling or being touchy or whatever. I’m a hoe for fluffy soft stuff, personally :)

Hey hun <3

Thank u sm for your request.

And sorry I’m so late with this 🥲

I literally have 27 story drafts for the Cam character stuff and 3 stories I started to write, and somehow I’m working on all of them from time to time but somehow I need so fuckin‘ long to finish 'em.

But requests are something to distract myself from those if I’m having kind of a writers block on them so here we fuckin‘ go, baby!

————————————

Fluffy Jerome would include:

• him being touchy. Literally all the time.

I’m sorry, but I can’t see this guy ever letting go of you, honey, nah ah.

He is always touching you, in whatever way. It doesn’t have to be holding hands all the time, even tho he loves that. How your small and soft hand fits in his large and rough ones so perfectly - It’s just chef’s kiss honestly.

When you two watch TV and sit on the couch together, cuddled up in a warm and cozy blanket, that’s big enough for the two of you, you mostly lean against him. First with just your shoulder and then with your head.

He doesn’t say anything, not wanting to interrupt the comfortable silence while watching some nostalgic disney movie,

but he nearly always puts an arm around your shoulder, laying his hand onto the top of your head, pulling you closer in the motion. Then he just softly caresses your hair with his thumb while smiling to himself when you cuddle yourself up into his side even more. It’s just so cute tbh.

He also can’t stop smiling when you two are literally anywhere and you intertwine your pinky fingers. It’s just so fuckin‘ cute to him. Like a lost puppy. And he does that sometimes too. Jerome holding physical contact>>>>

• yeah, as I already mentioned, I’m hardly convinced he loves watching Disney movies

And I believe that his inner child is obsessed with the Disney princesses. Those movies are his favorite.

When you watch those, he always criticizes if the prince, or whoever “saves“ the princess, does something stupid while trying to save her. He then explains to you, how he would save you in such a situation, which would obv be a way sm better than theirs, because u are his princess and his plan to save you would be bulletproof.

Even tho it’s a joke, he makes up those plans kinda seriously, because he wouldn’t ever risk losing you. Ever.

He‘d also appear randomly and sing Disney songs. I’m fuckin serious darling.

You’re in the kitchen, making pancakes?

Not without musical accompaniment, babe.

The kitchen door swings open and your bf storms in, blasting ‚Be our guest‘ from Beauty and the Beast on full volume while dancing gracefully around the kitchen, acting like Lumière and knowing literally every. single. word and phrase.

He should’ve gone to broadway instead of becoming a serial killer.

First, you always break out in laughter, obv. But then you join in. How couldn’t u, really?

Couple goals, if u ask me.

• okay here comes another thing I literally ALWAYS imagine happening when yourein a relationship with him.

Like, you obv think he’s pretty. Super incredibly pretty. And most of the time he isn’t really insecure about anything but he has his moments where he feels like not being enough for you. Which obv isn’t true.

You then always take a moment to really tell him how much he means to you.

You also have these random moments where you just realize over and over again how much you love him. Like, obv you know that, but I think we all know these moments where we look at a person we know and suddenly this wave of admiration washes over us? This can’t be only me guys.

Like imagine you two preparing dinner or something and you take a quick glance at him slicing tomatoes but you’re not able to take your eyes off of him.

Eventually he notices and looks back at you questioningly but amused.

„ Yn, you good? Do I have something on my face?“

You shake your head. Then you take a step forward and put a hand on his cheek, tracing his scars with your thumb.

„ What is it then?“

You follow your thumb with your eyes, admiring every single inch of his face.

„Nothing…“, you say, still not looking him in the eyes.

„You’re just so pretty.“

GIRL WHEN I TELL YOU HIS HEART MELTS?

IT‘S DRIPPING ON THE FLOOR.

He loves these moments just as much as you do. Sometimes he still can’t get his head around the fact that somebody, and then even such a cute, loving and beautiful person like you, really genuinely loves him so much.

Sometimes he even shed a tear but psst-

Don’t tell the rest of the league ;)

Jk he wouldn’t really give a fuck if anyone saw him crying. His masculinity isn’t that fragile and those are tears of joy at that so yeah

Our baby is a slaying queen-

Anyone making fun of him could end up with a bullet right between the eyes so there isn’t really a risk of that as well

But he mostly just doesn’t cry. After the abusive time with his mom, he somehow just stopped crying. He shed so many tears through that time, that there kinda weren’t any left.

And if he cries, he just does it in your presence, because you’re his comfort person and he knows he’s safe with you.

It’s so cute-

————————

Hope u like it. I‘ll edit this later if you don’t mind-

And I’ll probably post more of this kinda stuff bcs tf this is cute so yeah.

If anything you had in mind wasn’t in here, feel free to let me know <3

#spotify #wattpad #fanfiction #jerome valeska #fanfic #gotham #jerome valeska x reader #gotham jerome #jerome x fem reader #jerome oneshot #jerome valeska fanfiction #jerome valeska imagine #jerome gotham #jerome x reader #jerome imagine #cameron monaghan gotham #gotham x reader #gotham fanfiction

[mightymizora]

Okay, here we go then! Waterdeep magical zoning law anon again.

I had followed so many new blogs after bg3 came out and then unfollowed so many more over this hot take. I don't know if you read the article but Gale's writer said that Gale is annoying. And as some one who loves his character and deeply relates to his struggle with suicide, I 100% agree with his writer's take. Gale is annoying, he is more than a bit of a prick, especially at the beginning. He is pompous and elitist. But that is literally his character growth; to either becoming more humble and sensitive to others or lean hard into his worst nature.

When you first meet him, he asks if you are versed in magic. If you answer "I'm not, why do you ask?" He says "No matter to worry the unlettered over." A completely normal question to ask and he answers in the most condescending ways possible. He straight up calls you illiterate unprovoked.

When arriving in the Shadow Cursed Lands the first time. He begins tell you about shadow magic. A sorcerer can respond that they know shadow magic and they don't need him to explain it to them. He will laugh and express his relief and how he sometimes forgets that he is traveling amongst peers again. Very much an "I'm glad you aren't an uneducated peasant."

However, I feel like his super fans, (and fans of another paler white man in the party,) will do everything in their power to sand down any and all rough edges for a white male character. All I am hearing from them is Gale can go through character devolved but only if he was unproblematic to begin with. Which they try to make him into. Its him being a pretentious asshole at the beginning that makes his argument with Lorroakan, if you convince him not to pursue the crown, so much of a great character moment for him. Its his moment of self reflection to go "good gods, is that what I sounded like????" And that is super interesting to me about him.

Abused as he was, and yes I very much think he was, he is still someone who acts and sounds like he comes from privilege. The famed arch wizard Elminster Aumar became his mentor when he was eight. He went to one of the most prestigious schools in Faerun. He can be both in need of a sympathy and also of scorn.

I feel this leads into a wider problem with fandoms that you can only like a character that is pure and good in every way. If they are not, then you have to obfuscate or bend a character to make them too good for this world. Because heaven forbid if this character doesn't get the Good Boy Stamp™️ of approval then you too are also a horrible bad person for liking them. We can't just find interest and relatability in flawed characters. This is a courtesy only extended to white male characters by the way.

Gale has to be an annoying pretentious prick at the beginning to become the humble professor ready to teach young wizards about illusion at the end.

Also I think him using the orb to kill the Absolute at the end is beautiful and tragic. I plan to do that ending with a Durge who romances him and is unable to escape Bhaal. Making it a tragedy about how people Faerun; from Ketheric, to Dame Aylin, to the Dark Urge and Gale are unable to escape the god manipulation over mortals and the deep pain that causes.

Only slightly sorry for this book I just wrote.

Ooooh anon you’re bringing the spice into my inbox!

So as somebody who relates to Gale really really way too much… honestly I know I am annoying to people and I know I was also insufferable before I was humbled by life. And I think Gale had never felt humility before his downfall! I love his mix of wild pride and self deprecation a LOT, super relatable to me.

That Lorroakan point too! Really on it for me. I think it’s VERY easy for wizards with access to power and status to go off the deep end.

I do think that when you have a character like Gale who a lot of people are going to relate to there’s going to be a lot of big feelings about the sort of stuff inferred from that interview. But I also think you’re right that the journey he goes on is a transformative one and is thematically in line with others!

I also think the happy ending was a really late addition - I fully believe EA Gale only had the sacrifice and pursuing godhood (though I thought it might be through lichdom) endings. That like more of the others there was no easy ending, but then with the rewrite it made sense to have something a bit softer. I fully intended to do the sacrifice ending and then just. Got too emotional about the possibility of happiness for him and my tav!

Basically I like Gale’s flaws a LOT and I love the complexity in his story. And probably have even more controversial takes on his complexity as a person. I love that he’s elitist and a bit of a snob but is earnestly, desperately wanting to connect and be different. He’s very special to me. Oh Gale!

#long post #controversial hcs #but points were made! #your mileage may vary

[mamadarama]

I was going through some posts I missed and came across the “tatsumi is mature but still does 19 year old things” and I just wanna say I’ve never been able to put it into words when my friends ask but like. That’s exactly what I love about this game.

We’ve got scandals and drama and weird crypto currencies and convoluted backstories of implied murder or identity theft or military shit or relations to underground gang activity or so SO much more and yet the writers still succeed in reminding you that this is a game full of high schoolers.

Natume was one of the five oddballs and suffered through so much during the war where it affects him to this day, but he also refers to his tech savvy and love of the occult as magic and loves the junior he “adopted” to death. Despite Aira struggling against every odd to become a real idol he still buys merch and looks on the internet to look for content of the ones he likes. Rinne was destined to become the monarch of his homeland but ran away in an attempt to find happiness and acceptance and is an amazing strategist who uses it to take down corruption, but his sense of humor is entirely made up of sex jokes and romantic teasing like Aira being “hiiro’s little girlfriend”. The amount of characters that assign themselves the mom friend role just because. Trickstar. I don’t think I need to explain Trickstar-

Like this game has made me cry so many times and it has its ridiculous moments but it also has its genuine ones while also being the most teenage shit I’ve seen in my life and I feel like so few media can balance those and still have a decent story like that. Sorry for the long ass post I just have so many feelings about this kind of stuff 😭

YEAH this is exactly what i was talking about in a previous ask when i said i have nothing meaningful to add to the enstars cast that isnt a headcanon . its all very well thought out and the interpersonal relationships are nuanced enough to feel realistic but outlandish enough to be interesting .

worldbuilding and character design is one of my special interests and i say this any chance i can get: the most important part of building a character (and a story in general) is realizing the importance of comedic irony and comedy as a whole regardless of genre or tone. it makes characters feel more 3 dimensional and relatable because people arent stagnant and theres multiple facets to any individuals personality (this is also why some of the most popular animes of all time have filler episodes or funny bits that show the characters personalities, every event hits with 3x emotional impact the more you know about the characters as people but that's a different discussion) enstars does a really good job of this . like for example if wataru were to have had a realistic reaction to eichi starting the war it wouldnt be nearly as good of a story. the fact that eichis ridiculous ass backwards plan to get wataru to fall in love with him actually worked is a perfect example of comedy used to make a story more interesting. another thing similar to this is how sometimes its better to not detail something and let characters do things for a mundane reason or even no reason at all . for example subaru hating chiaki just because he annoys him, or shinobu being on the broadcasting team despite his character not being associated with technology otherwise and therefore having no real backstory on why he likes radio stuff. its all really well planned worldbuilding with an insane amount of subtle details , which is why enstars is one of my favorite stories to analyze . the only thing i could possibly want more out of it is hardcore tragedy but thats entirely a personal preference rather than a critique because im a slut for catharsis and i love sad endings , especially ones where characters die . (don't worry im in therapy)

#ask #anon

[northoftheroad]

I know I just gave you an ask and you must be super busy, but what do you think abt Dickory vs Dickbabs?? Personally, I think Dickory is way better but in Tom Taylor’s run and the current runs, Dickbabs is the main ship. Anyways, I just wanted your opinion on it :D

Also thoughts on Tom Taylor’s run? I thought about it and I kinda have mixed feelings. On one hand, it’s great for fanservice and has some super cute and funny moments. On the other hand, the characters and their relationships are kinda one dimensional. Thoughts?? Take your time and thanks if you answer! <3

Hi, As I've said before (and I'm going to quote myself from older posts here quite a lot, if you happen to come across them 😉 ), I'm fine with both pairings as long as it's well written. I guess a lot of fans lean towards preferring what they grew up with and such like. I'm old enough to have started reading Batman when the idea of another Robin than Dick Grayson was ludicrous, and read the NTT in my slightly older teens. So I definitely have a nostalgic feeling for Dick/Kory.

I think they worked well because they were so different; they each learned from the other and grew as people. Being with Kory helped Dick become more emotionally open after some ten years of growing up with Bruce and Alfred. In NTT # 26, he talks about how he is too introspective and that Batman taught him to be guided by his head, not his heart. And in turn, I'd say Kory learned not always to be ruled by her emotions, and Dick helped to ground her on Earth. They had their fair share of problems, one obstacle was their different approach to relationships and sex. While Starfire is fine with being married to another guy, for reasons of state, but live with Dick, it takes Dick quite some time to come to terms with that he loves Kory enough to get over that. Dick and Kory were one of the most stable and loving couples in DC for over ten years. Now, in superhero comics, writers and/or editoral make the rules. There were plans to let them get married, but as far as I remember a change of editorial led to that being scrapped. We got Dick being raped by Mirage instead, and eventually, the couple split up. Disregarding that, I think you could very well see them growing apart. They were young when they started dating. I guess they were a couple for two-three years? At that age, it's not unreasonable to think they developed in ways that made them decide to go their separate ways.

If Dick and Kory were good because they were poles apart, I'd say Dick and Barbara are more alike. They have both worked with Batman; they are originally street-level detectives and athletes; they are used to work in similar ways. I could see them as a slightly more mature couple than Dick and Kory, being more in sync and relaxed with each other because they have similar backgrounds and shared experiences. (Which, of course, could make them a more boring couple in fiction…) I'm not a fan of the retcon that they've been friends since school, but they did work occasionally together as youngsters, so it can still make sense to write them as really good friends, imo. I honestly think Dick and Kory have been written as a good couple more than Dick and Barbara. Maybe things had been different if Devin Grayson had got the chance to tie up her long arc with Dick in Nightwing vol 2. Not that I think her run was without its problems, but it would presumably have been better if she had got the opportunity to finish what she started. The ending (or rather the absence of a decent ending) of her run, and the fact that the first Nightwing stories after Infinite Crisis were downright cringeworthy, has soured my impression of her writing of Dick/Babs. So I guess editorial decisions have ruined both Dick's most important relationships…?

I don't know if you're new to the debate about Dick/Kory vs. Dick/Barbara? Because it's sometimes a heated discussion, with people claiming he doesn't deserve either of them, he mistreated one or the other etc.

(Here's what Barbara herself had to say about Dick, by the way. In Birds of Prey # 71. By Gail Simone, art Ron Adrian and Rob Lea.)

I can definitely work myself up too much about fictional characters myself, but there are a few things I try to keep in mind… Fictional characters have no agency. Creators and editoral use them to tell stories (and sell stuff…). Don't get angry at fictional characters or, even worse, real people who love them. Also, reading comics is a lot about filling in the blanks between panels, and different readers can put a book down with very different pictures of what has happened. You can absolutely find examples where Dick has been written as behaving badly against both of them. Sometimes, it's a reasonable part of the writer's long game, sometimes it actually is bad and out-of-character writing. (And if you look, you can find examples where the women have been written as behaving badly against Dick too.)

Honestly, the most important thing for me when it comes to Dick and relationships is that he takes them very seriously indeed. Dick has not had a lot of one-night stands and is on record as saying he's not comfortable with casual sex. When he had one with Helena/Huntress, he wanted to talk about starting a relationship just because of that. When he (fake) married a girl to try to expose her as a murderer, he still avoided to sleep with her, and then he offered to stay with her when the case was closed, because he felt bad for deceiving her. Outside the blasted annual, I don't know of any time he was written as (knowingly) having sex with someone while he's in a relationship with another. Girls tend to break up with him, not the other way around. I'm sure other people have different ideas, and it can vary between writers and eras, but I think you can read Dick as someone who likes to be in a relationship, to be intimate with someone – but who's not into casual sex.

When it comes to Tom Taylor's run, I pretty much agree with you. I don't hate it, as some people seem to do, but I think the art has been the best part. It's mostly been pretty meh, TT has at several times spoken about how Nightwing is an A-lister among DC superheroes, but I don't think he shows it. And here and there he produces some really nice panels/pages (sometimes it's up to debate whether the characters are out of character or not). We're heading towards the end of his and Bruno Redondon's run and they've hinted he's going to stop being Nightwing. As if we need a third period of Dick not being Nightwing in three years… 🙄 The best writer of Nightwing vol 4 was Sam Humphries, in my opinion. Unfortunately, it was very short.

Ok, this post has definitely gone on long enough... but if you want to go deeper into the rabbit hole, here are some earlier posts.

#dick grayson #nightwing #robin

[notafunkiller]

My honest opinion about Karen Page

I am genuinely curious how people can like Karen Page as a character and even ship her with Matt, because I don’t think I’ve disliked a character so much probably ever. Karen Page got on my nerves fast and, as I watched more episodes, it got even worse.

About her

For someone who is supposed to be smart (and the definition of good), she is very stupid. The way she thinks and chooses to act makes no sense 99% of the time. She is more of a bad character than a good one. Even her “sense of justice” is flawed, with many double standards (a subject I will touch on especially when I’ll describe her relations with Matt Murdock and Frank Castle). She is arrogant, troublesome, and headstrong, she calls herself and is considered a journalist despite her lack of real experience (law experience too!!! -> so why is she now included in the firm name? SINCE WHEN IS SHE A LAWYER? I could not believe it!)

She is written in a very annoying way and flat. She is a flat character in the first place (=two-dimensional in doesn’t change throughout the work), kept around for 3 seasons (+The Defenders) for no other reason than the fact she is problematic. But she isn’t necessarily needed for creating drama if we had more villain(s) scenes and plans. She is boring and whiny, and she has a pick-me attitude most of the time. She is not just impulsive, but also extremely FOOLISH (the way she decides to go to Fisk and spill out in his face she killed Wesley... I was like: seriously?) And the writers make other characters praise her... I still find is shocking Matt only said she was brave for what she did. She is VERY judgmental and noisy and thinks the world revolves around her (The fact that when she came to Matt in S2 and found Stick and a very visibly hurt Elektra in his bed, she did not ask a goddamn thing like what happened? instead everything was about her and how she is betrayed. But like another man was in the room, you think he cheated on you with him there? Absolutely ridiculous.) But she loves to play the victim a lot, so I am not surprised.

I don’t know how the writers thought a pretty, angelic face can make the audience (and the characters) ignore her lack of development (zero) and the horrible things she does/provokes. She caused deaths and yet the writers still make others find excuses for her and not blame her.

NewsFlash: SHE IS DARK AND SHE LOVES DARKNESS. I am not even talking about a side, she is completely into PURE DARKNESS with only 1% of light.

When out of the blue, she decided to murder James Wesley despite him only threatening her, it was like ???  And she did not shoot him one time, she did it 7 times. SEVEN. And she did not even try to be cautious (locking the firm door was a joke, right? Cause I refuse to believe writers consider the audience so stupid) and caused another death: Ben, a real journalist she dragged around with her despite him wanting a way out. Fisk killed him with his own hands and Ben didn’t tell him Karen (who is the one who came up with the idea) also visited his mother. We don’t see justice, we only see her being treated as a victim again. And she didn’t even actually help to get Fisk in prison in S1 and in S2 she is a babysitter (Foggy and Matt’s) and a murderer defender (*pretending to be shocked*). S3? I was surprised by how much screen time she had (+A WHOLE EPISODE ABOUT HER)... sometimes more than Matt and it made me so unhappy because this screen time could have been used to build more. For me, the second half of S3 is not even centered on Matt.

And she caused the death of another character, a pivotal person in Matt’s life: Father Lantom and we don’t talk enough about this. I am also not surprised Maggie and her get along, they are both two selfish, horrible people who think a few tears are enough to be excused.

The writers tried to make her relevant, but they failed. The way she was basically forced down my throat made me see her flaws even more. She is not even a character than has enough traits to be a part of the main team. In S1, the contrast between her and Claire was huge (and Claire was just a supportive character). And it’s funny how they changed the love interests - direction. At first, we saw Foggy and her bonding, Ms. Cardenas hinted about them being romantically involved, but then they literally ignored that and started to focus on Karen with Matt, then Karen and Frank (still unfinished business), and a little more on Karen and Matt again, but the show on Netflix got canceled. To be honest, the last thing I wanted and want is to see Matt and Karen together.

Not gonna lie, I expected and wanted her death at the church because she is literally pointless, but it didn’t come. It would have been a surprise if they actually did it as in the comics. It would have impacted Matt and Foggy, and Matt’s decision not to kill Fisk at the end of the season would have been even more powerful and meaningful.

One of her defining features is hypocrisy. Matt is the bad guy for keeping secrets from her, but her hiding and lying, for example not telling him and Foggy about Wesley is okay. Matt being Daredevil and not killing people is not fine, but Frank being The Punisher (a freaking cold blood murderer) is more than fine. She was so happy when Matt defended him in court... it’s insane! She can be a bad friend, a liar, etc because she is special. It was hilarious when she started to give advice to Matt about how you change after ending someone's life. Shocking! And poor her, how she isn’t the same after her brother died because of her. See how she positions herself as the victim again?

It’s also very interesting how at first she tells matt (S3) she came to warn him Fisk knows about him, leaving out the part she basically told Wilson that he is Daredevil, and only later she plays semi-victim again and says she is to blame, and, OF COURSE, Matt says Fisk already knew (which is actually pretty false: he assumed, but it was never 100% confirmed) and comforts her basically. It’s absolutely infuriating how Karen messes up every freaking time and everyone goes: oh, poor you, you’re an angel, it’s okay, it’s not your fault. I am even more disappointed how the writers didn’t make Matt even have a proper reaction to her admitting she killed someone. S2 and S3 feel like two completely different writing approaches, and even though the plot in S2 made me think: IS THIS A JOKE?, Matt and the characters building speaking, it was soooo much better (not the love triangle thing though, because both: Elektra and Karen don’t deserve Matt and are horrible in two different ways).

She is a manipulative, self-centered, and dramatic person. We saw her past (drug addiction too) and how easily she can make the decision to kill someone, but she never actually faces real consequences. Her father kept it underground and Matt still protected her from Fisk.

Karen around Matt Murdock/Daredevil and Frank Castle/The Punisher

Matt and Karen not only don’t have chemistry (Charlie and Deborah have plenty of chemistry with other people), but they also don’t match at all no matter how much the fans and the writers push(ed) the idea.

Karen does not want Matt Murdock (she liked the idea of him at some point, but not the real him), and she certainly doesn’t want Daredevil, which is quite funny (Remember when she was obsessed with the idea of him, but when she found out it’s Matt, she wasn’t interested any longer?). Should I even talk about the way she wanted Matt to stop being Daredevil and not even for a second tried to support or/and understand him? SHE didn’t want him to be Daredevil so he should stop. Even when Foggy brought him the suit in The Defenders, she was annoyed. She doesn’t understand that her boss/friend/almost-boyfriend has two sides, just like Elektra tried to have only one side of him. Matt isn’t just Matt. I really loved the She-Hulk posters for Matt: Charlie Cox is Matt Murdock & Matt Murdock is Daredevil. Do you see? It’s such an important thing. Daredevil/Matt isn’t dark enough for her. He isn’t what she wants. 

And Karen doesn’t have the same moral code as Matt does (even when he thought about killing Fisk to protect the people close to him). They don’t see the world in a similar way and they never will. I don’t think Matt and Karen would have ever lasted even if Elektra wasn’t around, they are too different. She is dark, like Elektra. She wanted to change him, like Elektra. She doesn’t accept him as a whole, like Elektra. But, at least, Elektra accepted how toxic and bad she is for him. Karen is portrayed as a victim and a great, great person, as I said.

S2 had this scene in episode 7 that made it clear to me that Karen and Matt could and MUST never be together. I don’t even know if I have to explain, the dialogue is quite clear:

Not only Karen stood up for Frank Castle (who almost got her killed, killed so many people, and should be in jail), but she also compared his actions to Daredevil’s actions. She justifies murder probably because she did it too. Matt and Karen are in opposite positions and the message is loud: they could never be together. Not killing people is the fundamental principle Daredevil/Matt has, the one that makes him who he is actually. Things would be completely different if he actually took someone’s life (bad or not) for lawyer Matt and Daredevil.

For Matt: Vengeance isn’t justice and no person is God so he can decide who lives and who dies. In She-Hulk: Attorney At Law (1x08), Matt tells Jennifer: I think you’re in a unique position to do some real good. Jen Walters can use the law to help people when society fails them. She-Hulk can help people when the law fails them; which reminds me of his talk with Foggy in S1 when he finds out Matt is Daredevil:

It shows his views didn’t change and it’s quite moving to see Matt giving someone else (someone in the same position as he is) this piece of advice. It shows he finally accepted he has two sides, despite everyone else’s attempts to control him.

Their date in S2 started as quite a disaster: in a place Matt despites, awkward, and tensed, and then Elektra called! It was clear what the writers wanted to show (despite them having a better date later) and it was also clear Matt wasn’t 100% healed and that Karen and Matt were never going to be serious. So no matter how much they tries in the seconds part of S3 to push Karen and Matt closer, it looked forced, out of the place. Especially since she felt something for Frank Castle and the things that happened in the first part of the season.

Also, I can’t believe the writers made Matt reveal his face to Agent Nadeem cause he saved Karen’s life. This is infuriating.

And as much as Matt probably likes the idea of peaceful life, he would never be happy with Karen, nor make her happy. Because there will always be that Murdock side of him she will never understand just like it will always be the killer side of her he would never understand.

Matt: You deserve better, Karen… Karen: So do you...  (The Defenders, 1x05)

Frank, on the other hand, and her match. Crazy, right? But they did from day 1, even in the worst situations. She always felt drawn to him and she did not use the innocent facade as she did with Matt (Can you believe she kind of blamed him for not telling him the truth about Wesley cause he saw her as an innocent person?). She was there for him, he was there for her. They were attracted to each other (despite him still being emotionally unavailable because he is scared he’d lose her). She would rather be with him than with Matt 100% because they are similar. She had the nerve to defend his actions and mindset in Matt’s house after all. But they really match and I really believe she should be with him and live somewhere far away from Hell’s Kitchen.

Frank: I need to find these b*stards that took 'em from me. I gotta kill 'em. Karen: So where does that end, Frank? Because I look at you and... my heart breaks because all I can see is just this endless, echoing loneliness. Frank: I'm not lonely, Karen. Karen: Bullsh*t. We are all lonely. I sometimes think that that is all that life is, we're just... We're just fighting not to be alone. Frank: So what do you want? What should I do? Should I let it go? Karen: No, but I want there to be an after. For you. (The Punisher, 1x05)

In conclusion, Karen Page is not a good character despite the writers’ efforts to show otherwise. She puts everyone in danger and never pays for her mistakes and actions.

P.S. I will say this again: no, she did not deserve to be next to Nelson and Murdock: Attorneys At Law.

#my opinion #daredevil #karen page #frank castle #matt murdock #foggy nelson

[starcrossed-sky]

hiii mr fantasy politics writer. may i ask for some tips on writing fantasy politics

Oh yeah any time! Though my biggest tips all boil down to "know what your characters want, and let them act to achieve it." This goes equally for your antagonists and your protagonists! Everyone in politics has a goal, the things they're willing to do and compromise on for that goal, and the things they'll do potentially anything to prevent.

This essay, although it's geared at people running tabletop games, is and remains the piece of writing advice that changed my life the most. When you apply it to solo writing, what it means is that rather than having a specific series of events you're married to, think about it as a series of characters reacting to each other. The tension of a good political narrative comes from that kind of interplay.

(I honestly rec going through a lot of the GMing 101 section on the Alexandrian with an eye towards using it in your narratives, the Three Clue Rule is also good.)

And by the same token - have multiple antagonists and let them interact with each other. Even if they're both antagonistic towards your protagonists, they probably don't agree with each other! Let the antagonists foil each other sometimes. (Bladework readers will recognize this as the Goddamnit Mohs principle, because I have him fuck up Van's plans as much as he does the party's.) Sometimes they'll work together with each other. Sometimes one antagonist will help your protagonists against another.

The other thing to remember with writing politics is that, more than other genres... There's an element where your characters have to be aware of the court of public opinion. Even bribing crooks behind back doors are aware of it. If someone is pulling nasty bullshit, you as the author not only have to know what the bullshit is, but how they're going to dress it up and make it look good or at least not-terrible to the majority of people. Politics is about a third keeping the good regard of people who don't care enough to deeply understand what you're doing, and a good politician has to juggle that along with all their other concerns.

If you've got more specific questions please feel free to lob them at me!

#writing #writing advice #might as well throw this out there for anyone else in the tags who wants it

[otomes-and-tears]

JUST SAW UR SOULMATE WRITINGS AND I-- XKDNXKNSKXNDJX AAAAAAA

Can I request the 'character A sees the world grey until they meet their soulmate,character B' with Qiu and Tamarack from OL2?? In step 1,since that's when we meet them and with GN Reader?? With extra fluff if you could??

You can even add other steps or headcanons and such if you want! THIS IDEA INSPIRED ME SM THANKS FOR WRITING IT /gen 💕

♦ You can only see grey until you meet your soulmate for the first time with Qiu and Tamarack♦

► tags and warnings: Soulmate! Au

► words: 1103

► A/N: I usually only write headcanons when people ask me for multiple characters in one request, but I love soulmate Aus so much I made an exception and wrote these as one-shots. I'm so, so happy that my original one-shoot inspired you, anon! It's the best possible compliment I could ever get as a writer. I hope you like these as much as the original!

► Masterlist

Tamarack

Well, Tamarack was never one to care about things she couldn’t see.

There were far more important to worry about, like waking up early enough to be able to explore the forest and finding the prettiest rocks and leaves to gift to her omi and opa. It just didn’t make sense to worry about not being able to see colour, because all she knew was life without it, and the world was plenty beautiful already!

She still had her favourite shades of grey— the one that her omi told corresponded to the colour pink, the lively yellow and deep red. All of them were special in their own way, even if people who were able to see colour would say they all looked too alike, and she’d fervently insist that they were quite different.

People who saw colour just lacked imagination. That’s what her grandmother had told her once, with a kind smile stretched on her lips. They had grown so used to seeing the world that way that they lost the ability to see the nuances in different hues of grey. Sometimes, you have to lose something to gain another.

Well, if that’s how things were, Tamarack didn’t know if she’d ever want to see colour. 

It seemed awful to lose the ability to see beauty in how she has always seen the world. To stop appreciating how pretty the autumn leaves were when they changed shades, to stop being able to tell the difference between the cool grey of a bright summer’s day to the cool greys of a stormy afternoon.

But things were always bound to change.

Tamarack had woken up that day, feeling like that day would be special in some way.

Maybe because all days so far had been special— Moving so far away had its drawbacks, but getting to spend so much time playing in the forest had proven to be as fun as she’d hoped for.

It was still relatively early in the day when she saw a piece of cottony cream paper lying on the floor. She picked it up, hoping to help mother earth by cleaning the litter away when she saw a kid standing in the distance.

Locating her target, Tamarack quickly folded the piece of paper into a paper aeroplane and threw it at the target, her perfect aim hitting her victim.

She was able to escape in time, trying not to giggle too loudly so as to not attract too much attention to herself yet. Something told her she would see that kid again, and when she did, she hoped she could at least be able to surprise them!

It ended up not taking as long as she had expected for them to find her— and before they could, Tamarack hid underneath a pile of grey leaves, jumping out as soon as she heard the sound of her footsteps approaching her.

She closes her eyes for a moment, smiling and giggling due to a plan well-crafted, opening her eyes to a whole different world.

The leaves that fluttered around her were different from before, reds and oranges almost causing sensory overload now that they weren’t hidden behind greyscale.

She missed the way the world had looked before, but by staring at the forest with wonder, she realised that this change, maybe, wouldn’t be too bad at all.

Just like moving away had given her the opportunity to have fun in the forest every day, seeing colour allowed her to experience the world in an entirely different way. 

And, looking at the kid who looked at her in amazement, cheeks flushed and eyes sparkling, she’d have someone new she could experience all of that with.

Qiu

Qiu really wanted to find his soulmate.

He liked getting to know other people. Meeting new kids, making friends and learning all he could about them. 

But there was always something special about the idea of getting to know your soulmate. The idea that you’re cosmically bound to one another, that there is someone out there meant to fit just perfectly with him. That his boring, monotonous world would fill with life and colour, and he’d gain a companion for life, someone he’d love and cherish just as much as his parents did with each other.

There is no telling when you get to meet your soulmate— some people were lucky enough to know them when they’re little, and people who don’t get to meet theirs until they’re old and wrinkly, So Qiu makes sure to get to know as many people as possible to cover all his bases.

It didn’t really work so far, but Qiu wasn’t really disappointed. 

His exploits led to him making lots of new friends. Kids now looked up to him, they liked him, and Qiu liked making them happy! And his mother made sure to reassure him that he would meet his soulmate when the time was right, and it would be just as wonderful as he’d imagined it.

For the time being, he was stuck in a greyscale world, left only to wonder how different things would be when he could see colour.

Sometimes his pursuits seemed a little hopeless, whoever. It didn’t really matter how patient he tried to be, Golden grove was a small and quiet town, and not a lot of new people ever showed up there.

Maybe that’s why the new neighbours intrigued him so much.

A kid his age. Someone he had never met in a town where everyone knew everyone.

Something stirred in his chest when Qiu heard their name. Something about it just seemed right, fitting.

He tried not to get too hopeful, but it was hard not to when all his instincts seemed to scream that yes, that was the person he was looking for.

Well… Even with all his excitement, Qiu still managed to forget about MC’s impending arrival.

It was something he pushed to the back of his mind after filling his day with his usual activities— talking to people in town and playing in his secret hideout.

It was when he heard a strange sound.

Someone was trying to climb his playhouse.

He stood up and looked down at the intruder, greys melting into colours he had never seen before as soon as they locked eyes.

For a moment, neither said anything. Too overwhelmed to manage to utter a word.

As much as Qiu had thought about that moment, it’s like, for the first time in his life, he was left speechless.

“You’re so pretty.”

Mc blurted out, and Qiu knew he had nothing to worry about.

#our life 2 #our life now and forever #olnf #olnf hcs #tamarack baumann #qiu lin #our life tamarack #our life qiu #bee’s writing

[the-final-sif]

1. How many works do you have on AO3?

I have 75 total works currently!

2. What’s your total AO3 word count?

904,821 total words written!

3. What fandoms do you write for?

Currently only really DSMP, but in the past I've written for bnha, marvel, rise of the guardians, homestuck, transformers and a bunch of other random ones in there.

4. What are your top five fics by kudos?

Before looking, my guess is it'll all be bnha, since some of those are my longer ones and and got pretty popular.

Katsuki Bakugou has No Goddamn Chill (But It's For The Best That He Doesn't) - 26,412 kudos

Lessons Learned - 15,859 kudos

You know that thing where an orchestra swaps instruments, and like, some of them get it right away, but others have no clue what they're doing? This is that but with quirks, two unwilling participants, and also Emotions - 11,774 kudos

The Green Eyed Monster - 7,066 kudos

A Yellow Box, Time, Trust, and A Few Adjustments - 6,579 kudos

5. Do you respond to comments? Why or why not?

Not usually, I respond sometimes if there's something that catches my attention. but. Uh.

This my inbox filtered by "comments without replies". I do read them all though! Even if I don't mark them as read.

6. What’s the fic you wrote with the angstiest ending?

Uhhhh, for dsmp they aren't too bad but probably A Palimpsest Mind.

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

For DSMP again, Mercenary to Mailman

8. Do you get hate on your fic?

Nope, never really had issues with that. I've had a couple of weirdos but not really hate.

9. Do you write smut?

I did it once to prove I could but I didn't find it too interesting. Sometimes ideas can be fun but ever since the one time I found myself just wanting to write something else when I tried.

10. Do you write crossovers?

Nah, it's not my thing.

11. Have you ever had a fic stolen?

Yes, very weirdly. Was able to get it taken down though!

12. Have you ever had a fic translated?

I have! Several of my fics have been translated and it was super cool!

13. Have you ever co-written a fic?

I don't think I have? But I've done RP and worked out ideas with people before!

14. What‘s your all-time favorite ship?

Uh, honestly I'm less interested in ships themselves and more the nonsense that you can create with that. Any ship can be my favorite if it serves my purposes.

15. What’s the WIP you want to finish but doubt you ever will?

Fissile Family tbh. I have so much written for that and it all planned out but my interested in the bnha fandom is currently dead.

16. What’s your writing strengths?

I'm a pretty fast writer overall, and I think I do well with characterization and dialogue. I know that when I get in a flow I can get character voices down pretty well and that's something that I'm proud of. I'm also pretty good with doing my own take on characters that's different from their canon versions but is still verisimilar.

17. What’s your writing weaknesses?

Sometimes I just forget words or switch what sentence I'm writing halfway through and then never catch it. Also I have to actively beat back my own comma abuse.

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

It's neat? Unclear what this question is asking me for.

19. First fandom you wrote for?

Warrior cats! It was hand written in a binder that I actually still have, about clans in an abandoned shopping mall. It was very silly and I'm still proud of baby me for writing it!

20. Favorite fic you’ve ever written?

Seven Year Old Katsuki Has The Ability To Kill A Grown Man And No Concept Of Legality

The formatting on this one was insane and took so long and I'm proud of how it came out!

#sif speaks #my writing #about me

[comicaurora]

Question, from one aspiring writer to another: how do you manage to maintain the drive to keep writing and how do you not lose interest in what you've created before it's done? Asking because I need advice.

Tricky question. I don't think it has a single answer.

For me personally, there are a few things that buoy up my enthusiasm:

Rabbit Holes - random deep-dives into topics I find incredibly interesting. Because I have so many outlets for my rants about highly specific cool things, I don't need to stifle any random hyperfixations because almost all of them can be turned into scripts or worldbuilding concepts. If I feel the enthusiasm strike, I chase it down as far as I can and take as many notes as possible along the way. However, these things work like lightning strikes and I can't just get randomly super interested in any one thing. Almost all of my longform videos start out as these.

Comedic Reframing - the bread and butter of the channel and the lifehack that let my poor brain actually focus on extremely long and boring books through college. It's easier for me to retain information and enthusiasm if I can find humor in what I'm dealing with on a smaller scale. When working on illustrating videos, for instance, the way I avoid burning out on individual frames is by making sure they have witty dialogue or fun character moments, because I genuinely enjoy drawing those a lot more than just "character moves into position" or "scene change" shots. Same goes for the comic - the more dynamic or interesting the pose, the more interesting the panel is to draw and the easier it is for me to stay jazzed.

Audience Feedback - I feel like this part is simultaneously understated and overstated in different ways. Creating art solely for the accolades it might garner is seen as generally both gauche and inefficient - it'll turn into an existentially draining losing battle like all pursuit of fame for fame's sake does - but any writer or artist will tell you that people losing their minds over their art is the number one way to guarantee they want to make more art. When drawing the comic, even when I'm lower energy, I'll often think to myself "oh man, they're gonna be yelling about this panel" and that'll help give me a boost. Early on in the comic I read through the discord discussions almost every day, but now I'm mostly sustained just from people yelling in my askbox.

Letting The Characters Run Wild - I've mentioned this elsewhere, but one of the most fun parts of writing for me is when the characters kinda tap me on the shoulder and say "hey boss, I really wanna do this". Their character-moment is almost always spicier, more complicated and more interesting than whatever plot-serving guideline it's replacing. Making the characters act as automatons that solely move the plot forward is less interesting for me as a writer than turning them loose and seeing the havoc they cause. Before I ever put pen to paper for this story, half my fun would just be playing out extremely fraught conversations and encounters between characters - no script, no plan, just "here's the premise and GO." Lots of stories start out as daydreams, and daydreams are like the purest form of energizing creation, existing only for the joy of the creator and thus flowing almost effortlessly; I think it's important to retain the heart of that when the daydreams start being set down on paper. If it's not a little self-indulgent it's not gonna be too much fun, and sometimes all it takes is letting the characters do the wild thing with consequences you haven't fully worked out yet.

In my experience, the thing I enjoy most as a creator is solving puzzles. I have more fun writing my story when I only mostly know where it's going, and I have to work out the most interesting consequences to my characters' unexpected actions. I have more fun drawing out a joke if the punchline didn't even occur to me before I started the frame, because the idea is fresh and fun and hasn't gone stale from sitting in my head too long. And my enthusiasm for my older work is reinvigorated when I see how other people respond to it, because it lets me almost see my own work through fresh eyes, which is a rare treat for any creator.

And when I get really worn down, I treat that like a sign that something needs readjusting. I don't force it when I'm worn out or can't bear to look at my tablet - I step back, take a break, take a walk, indulge in Floor Time, watch a movie, buy a coffee, do something that isn't trying to floor the accelerator when I'm stuck in a creative snowdrift. Sometimes that means putting a project down for months. Sometimes that means realizing I wouldn't actually be able to make a project happen because it'd be draining my will to live the whole time.

I sometimes use the metaphor that a creator's mind is like a garden. Its works need to be cultivated, but sometimes they also need to be left alone, or maybe the soil needs to be actively left fallow for a while. It may look like the project isn't doing anything, when in actuality it's spreading its roots and developing a much more solid foundation where you can't see it. Maybe two concepts cross-pollinate in an unexpected way and you get a new third thing to cultivate. But the most important part of this metaphor is that the well-being of every individual thing growing in the garden is heavily dependent on the heart of the garden overall. If you aren't doing okay, your art isn't going to be okay either. If it's feeling like a fruitless and nothing is growing, you might just need rain. Or nitrogen-fixers.

#asks #art stuff #writing stuff

[em-dash-press]

Ways Emotions Impact Your Stories

Let’s talk about the weight and purpose of emotions in fiction.

Stories can feel poorly written and even shallow if the reader can’t emotionally connect with what the characters are experiencing. It’s the emotional equivalent of hearing someone talk in a conversation and then hearing them read out loud from a sheet of paper. 

Those two types of vocal inflections and emotional engagement are very different. The same thing happens when a writer creates a story without effectively utilizing emotions to engage their reader and drive the plot.

While I was reflecting on the power of emotions in fiction, I thought about how they impact stories. You might find some writing/editing/plotting inspiration in these reminders:

Emotional payoff sometimes requires hints, foreshadowing and visible effects to build to the payoff.

Example: Your protagonist may need to experience breadcrumb doubts, tension-building fights, and conflicted feelings to lead to a breakup that’s a turning point in your plot.

Immediate repercussions happen due to emotions. Sometimes that’s physical (smiling when happy, crying when sad) and sometimes it’s between characters (falling in love after displays of kindness, a change in plans after something makes your protagonist panic about what they want for their future).

Like character foils, emotions can have contrasting feelings.

A YA protagonist may love their parental figure, but also hate them when the parental figure imposes restrictions on their independence. The contrasting emotional state drives their character growth, the relationship arc, and potentially how they understand relationships outside of their home.

Emotions have implications. People don’t feel things for no reason. The motives or reasons for emotions help your plot move forward.

Example: Your character is bored because they’re procrastinating a big decision or they’re cranky because they’re burnt out and don’t realize it yet.

Characters have certain emotional reactions based on their differing morals, which adds depth to your story (or potentially conflict).

One character might get mad that a student was suspended for showing up late due to oversleeping because they know it’s a side effect of the student’s new medication. Another character might be a strict rule-follower and say that the school had no choice. The conflict could drive them apart or make your reader feel a certain way about them that gets the reader closer to your story’s message.

Emotions are the hook of every story (and you may need to pick a specific one if you feel like your story doesn’t have a good hook).

Example: if the first chapter of The Hunger Games started with Katniss hanging out with a friend and going to sleep at the end of a standard day, it wouldn’t set an emotional stake. Instead, it grips the reader by demonstrating how family is all Katniss has (emotional on its own) and then rips the family apart at the reaping (the fear of losing a loved one is a universal emotion/experience). Readers instantly feel their hearts break for Katniss and want to find out what happens after her fear instigates a seeming act of self-sacrifice.

Revising or writing your work with one, two, or more of these ideas in mind could make your WIP the quality you’re trying to reach. A lack of emotional depth and purpose keeps your readers at arm’s length. Invite them in for an incredible read by writing emotions on purpose.

#writeblr #writing emotions #writing tips #writing advice #writers of tumblr #character development #plot development #writing a good hook

[lolotheparagon]

Top 10 Sofia the First Songs

Fuck it, I know most of you dont give a shit about Sofia the First but this show has been a sheer delight for me so y'all gonna sit down, shut up and appreciate some good music. The music in this show is much like the music in Friendship is Magic. They both went way too hard than they needed to.

Here's the top 10 best songs in Sofia the First

10. King Cedric the Great

Villain songs are always fun and its even better when the villain singing it is about as dangerous as a rubber duck. Cedric is the true example of how to write a sympathetic villain. He's a hapless sorceror who's actually really good at magic but his anxiety combined with everyone (except Sofia and his niece Calista) viewing him as some kind of loser are the reason why he wants to take over the kingdom cos he thinks that's the only way he can get respect. As this song illustrates how he wants Sofia's amulet so he can use its powers, but as the episode goes on, he finds out he doesnt really have it in him to be truly evil for reasons I won't go into, cos the episode this song's from is SO good. Its called Cedric's Apprentice if anyone wants to look it up.

As for the song itself, its a homage to classic Disney villain songs but Cedric's plan is so childishly over the top its hard to take him seriously, which is the song's intention. Its a great juxtaposition. Jess Harnell's singing is just the ham on top of these cheese sandwich.

He really has a knack for playing characters that are totally wacko

9. Wendell's Way

Speaking of sorcerors, here's another villain: a kid named Wendell. A spoilt brat who stole all the flying horses of Enchancia for his birthday. He's like if Horrid Henry went to that terf wizard school. The song itself has a very boisterious energy, amplified by the hard rock drums and the lute/guitar solo?? which makes it all the more satisfying when Sofia, Amber and James get the upper hand in the end and Wendell's mother comes out of nowhere to ground him, its fucking great. Its nice to see a bully character actually stay a bully and not get force-redeemed by the writers so they can pull the 'everyone deserves a second chance' message , when in actuality, no, some people really are that mean and you're not obligated to give a shit about a bully. Wendell is, in retrospect, a breath of fresh air as the song doesnt pull some sad backstory out of the aether to make you feel sorry for this kid. No, he's just that selfish.

Also the lyric: 'That is a promise, but also a threat' is fucking great.

Its a simple song but a bop nonetheless.

8. Make Some Noise

Sometimes a song is good when its just plain fun. And this song definitely applies. In the episode this is from, Sofia befriends a bunch of trolls living under the castle that everyone warns her are dangerous and violent and here... theyre actually super chill. The fact that Sofia instantly gets into the groove is delightful and again showcases how compassionate she is.

The song itself has a fun, jazzy melody with the trolls using thier equivalents of piano, trumpets and of course their clubs. It's such a feel good song, almost like the voice actors just got up from the chairs and just danced like they dont give a shit and the directors just hit record. It really feels like a song you would hear at a party. Even the repeated animation doesnt bother me.

7. A Princess True

One of this show's biggest weakness is portraying people from different cultures cos its clear the show is made by mostly white people who have a limited understanding of non-white cultures and can easily fall into racist stereotypes without realising it. Its not by any means racist as the show features plenty of non white side characters (Khaled, Kashmir, Jun, Jin and Kari) that the main cast are on friendly terms with. But here, this song is relatively tame as this song is all about Sofia, a white girl, believing in Lani, a Hawaiian girl, as her actions throughout the episode are proof she's the real deal.

In the episode, Princess Leilani lost her family heirloom the Emerald Key into the sea after fighting an evil witch, where it gets washed up in Enchancia so Leilani goes to the castle to get the key back, cos its a key to help her parents find their way home from the sea. However, the witch Mamanu disguises herself as Leilani as well so she can trick the Enchancian royal family into giving her the Key. So Roland puts both Lanis to the test but the test involves the Lanis to act like THEIR cultural view of royalty. Sofia notices one of the Lanis aces it and the other competely fails at it and does something different instead. So Sofia thinks the latter is the real princess and this song is her showing her full support and belief that Lani is the true princess.

Its a very sweet song to a very meaty episode which is why I had to explain in full detail. Its not perfect but the song really encapsulates Sofia's and the show's earnestness towards non-white characters and I appreciate that. It helps the creator is Jewish and went on to make a show all about Latina culture and did actual research on it. So this song, and the episode itself is a good, albeit rocky start.

Even if they fucked it up with giving Lani powers in the next episode she appeared in, goddammnit why the magical native stereotype we were so close!!!!!

6. Me and My Mom

Creator Craig Gerber has stated many times that one of Sofia the First's core themes is teaching kids about blended families and how to adapt after getting new parents and step siblings in your life (since he was a child of divorce himself and had to adapt to having a new father and siblings). This song is about Sofia's struggles to adapt now that she has to share her mother with Amber and James. You really feel sorry for Sofia cos she's so used to having her mother being the only family she has and of course, is easily attached to her.

Its a very soft, heartfelt song that resonates with a lot of kids that are in Sofia's position. I bet they felt very seen by this episode.

5. Improvise

In the episode, Amber wants to join in Sofia's girl scout group but in typical Amber fashion, she brought nothing but dresses and jewellry to an outdoor trip and forgot to pack a tent. So Sofia and her friends teach her how to improvise via musical number. A cute lesson about being resourceful and a great example of Amber becoming a more versatile character as she grows to love the outdoors.

There's a very jovial, motivational energy to the song that really makes it stand out from the usual pep-talk songs in this show. What else can I say? Its a highlight of Amber's character development and a fun little song to boot. Whats not to love?

4. Two By Two

Amber's relationship with her sister Sofia is always expanded upon in the show but her relationship with brother James is a lot less so since Amber and James sparsely interact beyond typical sibling teasing. So its nice this episode, and this song helps establish how much Amber actually cares about her twin brother.

In the episode, Amber accidentally turns James into a toddler thanks to a botched magic spell cos Amber didnt want to share her birthday but as her and Sofia run around trying to find baby James. Sofia suggests to Amber to sing the twin song that James and Amber used to sing all the time when they were little. (which is just adorable)

I love how Amber starts the song in a very deadpan, almost annoyed tone until the second verse hits and slowly her singing becomes more melancholy and emotional, like the fact that her twin being lost is just now hitting her. Especially since she spent the whole episode wishing to have a birthday to herself for once, not realising that she's taking away James' birthday and thus losing him too. That small bit of her looking at the pocket watch with her and James' portrait it, finally finding baby James behind the throne, picking him up and hugging him and them finishing the song together

STOP, MY FUCKING HEART CANT TAKE THE AMOUNT OF CUTE

Its so nice to see a sibling relationship that's actually wholesome.

3. Dare to Risk It All

One of Amber's biggest flaws is her envy and her getting over being an jealous bitch to her little sister is a lesson that Amber has always had to learn in the show's earlier seasons. And while she has made some development, this is the episode where Amber makes the most change. And this song is emblematic of that.

Dare To Risk It All has Rapunzel appear to teach Amber that you have to put other's needs before your own to earn forgiveness, to prove you can change, which is a lesson not a lot of kids shows teach nowadays cos most shows like Steven Universe and even MLP put the pressure on the victim to forgive their bullies or let them off easy (especially if they're family) but in this episode, Sofia is rightfully angry at Amber for stealing her amulet and isnt afraid to snap at her for it the whole episode so Amber throughout this song (and the episode) realising how much Sofia means to her and it puts the pressure on Amber to be a better person and a better sister.

Its one of the few good Disney Princess songs the show has. The Disney Princess aspect of the show is honestly its biggest crutch cos Sofia always has a good role model with her mother and her dad to some extent and the princesses havent exactly had the best trakc record for teaching good lessons to Sofia since they either state the obvious or gaslight her. So its nice to see the princesses teach someone else for a change. And its Rapunzel, the best Disney princess.

Also bonus points for having a good song about earning forgiveness whilst flying dragons.

2. Princess Things

Sofia wants to do flying horse-racing even though mostly boys at her school do that sport and both Amber and Sofia's rival Prince Hugo are discouraging her from trying out the sport. Its your typical girl empowerment message. While the pilot episode established the whole premise, this episode (Just One of the Princes) and this song establishes Sofia's character: a pro-active princess who doesnt fall for anyone's bullshit, which is perfect for a moral center protagonist.

I love how Sofia's expression throughout the song goes from confused to smiling like she's internally screaming. And her verses are basically 'screw you guys i do whatever the fuck i want.' So not only did everyone waste their time singing to convince Sofia but in fact made her even MORE CONVINCED to try out the flying horse derby. Good job, guys.

Aside from that, the song itself is a bop. The repeated chorus really emphasises the peer pressure Sofia is going through. Second episode of the series and they're already making a hit.

1. All You Need

In the episode, Sofia meets Vivian, a princess who's a great artist and musician but is painfully shy and thus everyone is spreading rumours around her. Even Sofia was a bit apprehensive but she pushes through it to meet Vivian at her house whilst they work on their school project and this delightful song just pops up.

I love how it starts with Vivian nervously playing her lute and Sofia starts singing, whilst helping her IN SONG start brainstorming their ideas for a dream castle. Then after Sofia's verse is done: ending with the lyric, Ill paint all the towers blue, now the rest is up to you, Vivian immediately jumps and enthusiastically suggest her own ideas. The music even matches the tone of the characters. When it starts, its only Vivian's lute and a backing track but as soon as the bridge comes, the music swells when Sofia's singing motivates Vivian and its just chef kiss.

This song, as well as the episode this was from, made me really like Vivian as a side character and I always loved her interactions with Sofia whenever she made an appearance. I like how she retained her newfound confidence into later seasons, where she becomes just as pro-active as Sofia.

This song, to me, is what Sofia the First is all about. A girl who's just the sunniest child, befriending the shy kid in her class and having the most adorable musical number. Are there songs with better lyrics and theming? Absolutely. But the sheer serotonin levels this song has, as well as encapsulating the main character's compassion for others, is why this is the best song of the show

Thank you for coming to my TED talk about a bluebell princess

#Youtube #sofia the first