#on how important it is to stage the set-up of your character dynamics

[secondhandsorrows]

Some Vital Scenes to Include in a Romantic Subplot, pt. 1

I’ve been in the plotting stages of a novel I’ve been working on for some time now. It’s not a romance novel, per se, but the romantic aspect is very prevalent… dare I say important. Anyway, so as I was working on my scenes and character arcs, I began to realize that I didn’t have enough fleshed-out about romantic arc, nor deepened the protagonist’s love interest or their connection, for that matter. This led me to devise up some scenes that I felt were crucial to the story if I wanted to keep this romantic angle to it, and now that I’ve most of them arranged, I find now that I’m way more excited about my characters’ love story. 

These tips will be unnumbered because, obviously, the sequence of these events and how they will fall into your storyline will probably be different. Also, you don’t have to use only one scene for every suggestion that will be mentioned, as you can have multiple scenes of flirtations or deep conversations, for example. They usually blend all together into the narrative at this point. Just remember that there should be some relevance to the plot at hand in some of these scenes as to not derail completely from the main narrative or other conflicts.

I was going to post this all at once, but decided it was too long and wanted to split it into two parts to go more in-depth and for easy reading. /-\ Enjoy ~

- The meet-cute, or the meet-ugly:

Ah, yes, the first encounter. Or, as we sometimes like to call it: the meet-cute, or the meet-ugly if you’re feeling a little unconventional or perhaps mischievous. Though we may enjoy setting up our star-crossed characters in a whole range of moments from awkward to swoon-worthy, the initial meeting is what’s important (if your characters haven't already met before the beginning of the story, ofc, but this is useful to have in mind). Let us quickly define the two:

Meet-Cute: A charming and serendipitous first encounter between the characters in question that sets a positive, memorable, and oftentimes romantic tone.

Meet-Ugly: An unconventional, awkward, or disastrous initial meeting that adds a unique twist to the start of the romantic connection, often leading to unexpected chemistry and an added intrigue on whether or not they’ll get together.

You don’t have to nail your characters’ first encounter into a label or bubble such as these two examples, but I like bringing these up for a general idea. 

- Bouts of flirting and/or banter:

Just as the title suggests, these are scenes containing the flirtaious communication between the two characters. These kinds of interactions will, of course, develop over time and deepen the bond or relationship. Playful interactions, gazes, and witty exchanges between the characters can create a lighthearted and flirtatious atmosphere that hints at their growing attraction.

The way they might flirt or tease can reveal their personalities. For example, one character might be more sarcastic, while the other responds with quick wit, or quiet bashfulness. There’s an element of subtlety, as flirting lets the characters express their romantic interest without explicitly stating it (unless one of your characters lacks subtlety in general and prefers to shout their undying love from the rooftops, which would make for an interesting dynamic, but I’m only spit-balling). 

Banter, teasing, and romantic tension underscoring heated debates or loathsome gazes suit just as nicely, especially if you’re writing with enemies-to-lovers or rivalry tropes in mind. But be careful! A little goes a long way: too much all at once can repel any growth for the characters or narrative.

- Initial conflict or struggle:

Depending on your story’s big-picture conflict, the introduction of challenges or obstacles can create tension between the characters, adding depth to their relationship and making their eventual connection all the more satisfying. This might include cultural or class differences, opposing goals or values, history of past heartbreak, personality weaknesses such as stubbornness, or external pressures that threaten to keep the characters apart. Even a nosy family or a disapproving mother can be considered. How the characters navigate and resolve these conflicts contributes significantly to the overall emotional impact of the romance subplot, as well as allowing for some exploration of each character's strengths, weaknesses, and resilience. 

- Shared vulnerability:

This kind of scene involves the characters opening up to each other about their innermost fears, insecurities, past trauma, or personal struggles. Shared vulnerability goes beyond surface-level interactions. It involves characters revealing their authentic selves, exposing their emotional vulnerabilities, and allowing the other person to see them in an honest — and sometimes new — light.

This is a symbolic gesture of commitment we’re talking about, here… something that requires trust. As characters share their fears or past traumas, they are entrusting the other person with sensitive information, fostering a sense of trust and emotional intimacy. It might be scary, it could be out from left field, but they will end up learning something new about themselves, their situation, or about the other person, and thus deepen their connection, little by little.

[raven-at-the-writing-desk]

Just curious on your opinion on this: Do you think twst's writing in terms of storyline/plot and overall characterisation of the characters has gotten better or changed in any way over the years? Or would you say it's stayed relatively the same? Or maybe varied?

***Disclaimer: Everything I say in this post is just my opinion and is NOT me imposing my views onto you or insisting that my views are superior. Nor in no way, shape, or form am I demeaning those who enjoy the things I did not or did not enjoy the things that I did. Me not personally liking certain books or events is also NOT me dismissing any characters’ experiences or trauma.

Let’s remember to remain respectful.***

<_<

>_>

*leans into the mic*

Look, I love Twst and all, but I also think that Twst's writing quality has proven to be pretty inconsistent and is actually painfully mediocre most of the time.

When I sit down and really think about it, the main story has 3 books I actively dislike. That's basically half of the main story, seeing as book 7 is so darn long just by itself. Even if I minimize my own bias, there are just objectively bad narrative decisions made in many places, such as setting things up and not letting them get proper payoff later, obvious plot holes, or going for 100+ parts without allowing two major characters in the book to appear.

(I go into more detail about how I personally rank the books here. Here is also a graphical depiction of that ranking yes, I am breaking out the charts:)

Book 7 was especially egregious… It has its monstrous length as well as the tonal whiplash, inconsistent pacing, lack of urgency, and overexplanation of the dreams that take up a good 2/3 of the book. So much was happening and yet so little also happened.

(Here’s how I feel about the major story points in 7:)

In terms of events, I'd say they improved how they're organized over time. In the very early events, Twst failed to separate stories into Episodes like they do now, meaning you'd just get one long stream of story (ex: Beans Day II is 39 parts) instead of it being broken up into more easy-to-digest chunks (ex: GloMasq has 5 Episodes, each ranging from 15-19 parts). Hometown events also took on a predictable formula, with Episode 1 being the set-up to venture elsewhere, Episodes in the middle dedicated to exploring the area, and then Episode 5 having the crew resolve some minor issue. However, this doesn't always mean the pacing of events is good. For example, Stage in Playful Land Episode 3 has a paltry 11 parts whereas Episode 2 has 21, which is almost DOUBLE the length of Episode 3.

Many events have nothing of real importance or excitement happening (Tsumsted Wonderland, Lost in the Books, Master Chefs/Culinary Crucibles, Sam's New Year Sales, etc.) or mainly involve eating food and souvenir shopping (looking at you, hometowns). The events that are good do something unique and does it well (or at least is funny) OR actually advances a character's development/growth. Because so many Twst events are middle-of-the-road, it makes the few solidly written events (like Glorious Masquerade) stand out. We remember these solid instances more strongly as a result, which then projects over the other events (which were mid) and boosts them in our minds.

(Here’s where the events stand relative to one another:)

Vignettes have more liberty with character writing because most of them are not canon to the main story. Sometimes characters regress into their old ways (Epel going back to his pre-book 5 personality is pretty guilty of this), but that's usually fine since I treat vignettes as essentially "what ifs" or transitive periods of growth between major story beats. I like that vignettes are oftentimes very mundane and can take their time to explore the unique relationships and dynamics between the boys. It often feels like so much other stuff is happening that we don't get to slow down and just... enjoy the boys as they are.

Looking at the overall trend lines, it unfortunately looks like Twst is, as I suspected, hovering around the “could be better” to “okay” range in most cases. When Twst does well, it’s great. (To this day, I still believe GloMasq was peak for Twst and no event since had topped it.) When Twst fumbles, it fumbles HARD. (Playful Land and book 2 infamously have many plot holes.) But when Twst is mid, it’s… well, absolutely unremarkable 😭

I think the issue for me is that Twst tries to be ambitious with its stories but has limited success in executing those stories. Maybe it’s the fault of limited budget or assets (as a mobile title and not a console title), maybe the writers just aren’t that skilled, maybe it’s a time constraint or not a lot of research done, whatever.

[hayatheauthor]

Caught in the Throat: A Writer’s Handbook on Choking (Non-Violent)

The act of choking is so over-sexualised I genuinely could not find any more 'normal' pictures to use so ignore the banner lol

Choking is one of those scenarios that can instantly elevate tension and drama in your writing. It’s a visceral experience, both for the character facing the threat and for the reader witnessing the struggle. In this guide, we'll explore the mechanics of choking, the physiological responses involved, how to write believable choking scenes, and common misconceptions to avoid. 

1. Understanding Choking: The Basics

Choking occurs when an object obstructs the airway, preventing air from reaching the lungs. This can happen with food, small objects, or even vomit. Here are the two main types of choking:

Partial Obstruction: The airway is not completely blocked, and the person can still breathe, albeit with difficulty. They might cough, wheeze, or make high-pitched sounds.

Complete Obstruction: The airway is entirely blocked, leading to the inability to breathe, speak, or cough. This situation is life-threatening and requires immediate intervention.

2. The Physiology of Choking

To write a compelling choking scene, understanding the physiological response is crucial. Here’s what happens in the body during choking:

Immediate Reactions

Panic Response: When choking occurs, the body's immediate response is panic. The character may instinctively grasp at their throat, eyes wide with fear, or try to cough to clear the obstruction.

Increased Heart Rate: The heart races as adrenaline floods the system. This physiological reaction prepares the body for a fight-or-flight response.

Physical Symptoms

Coughing: A natural reaction to a partial obstruction, this can be loud and desperate. The character may attempt to clear their throat while making frantic gestures.

Color Changes: A person choking may turn red in the face as they struggle for air and may eventually turn blue (cyanosis) due to lack of oxygen.

Loss of Consciousness: In cases of complete obstruction, unconsciousness can occur within minutes due to lack of oxygen to the brain.

3. Writing Choking Scenes: Key Elements

When writing about choking, consider these elements to create a vivid and believable scene:

Setting the Scene

Build Up Tension: Introduce elements that lead to choking, such as a hurried meal or a character talking while eating. This sets the stage for the choking incident.

Sensory Details: Engage your reader’s senses. Describe the sound of a sudden gasp, the character's frantic movements, and the panic in their eyes.

Character Reactions

Realistic Responses: Show the character's physical and emotional turmoil. Are they flailing for help? Are they frozen in fear? Their reaction will depend on their personality and previous experiences.

Dialogue: If the choking occurs in a dialogue-heavy scene, consider how communication breaks down. Words become garbled, and panic sets in, leading to frantic pleas for help or confused shouts from bystanders.

4. The Rescue: Interventions and Techniques

In many stories, the choking scene will lead to a rescue. It's important to depict this accurately.

Heimlich Maneuver

Description: The Heimlich maneuver involves standing behind the choking person, placing your arms around their waist, and performing thrusts inward and upward to expel the obstruction.

Effectiveness: Explain that this is often a last-ditch effort. The character must be calm and composed to perform this correctly. A panicked rescuer can make the situation worse.

Call for Help

Emergency Response: If the choking person loses consciousness, it becomes crucial to call for emergency services. Highlight the urgency of the situation, as every second counts.

Character Dynamics: Explore the relationships between characters during this crisis. A close friend or family member may react differently than a stranger would.

5. Aftermath: Consequences of Choking

After a choking incident, there will likely be physical and emotional consequences:

Physical Recovery

Injury to the Airway: Choking can cause bruising or damage to the throat and airways, which may result in difficulty swallowing or talking in the days following the incident.

Potential for PTSD: Depending on the severity of the experience, a character may develop anxiety around eating or a fear of choking again.

Character Development

Bonding Experience: Surviving a choking incident can bring characters closer together, creating a moment of shared trauma that deepens their relationships.

Change in Perspective: A near-death experience may lead a character to reevaluate their priorities or behavior, adding depth to their arc.

6. Common Misconceptions About Choking

When writing about choking, it's essential to avoid common misconceptions that can undermine realism:

Myth 1: Choking Always Looks Dramatic

In fiction, choking scenes can often be exaggerated for effect. In reality, choking can be subtle, especially if the obstruction is partial. Characters may appear slightly distressed before panic fully sets in.

Myth 2: People Can Talk or Scream While Choking

While they might make gasping sounds or attempt to communicate, a person experiencing a complete airway obstruction cannot speak or yell.

Myth 3: The Heimlich is Always Effective

While the Heimlich maneuver can be life-saving, it's not always effective, especially in certain medical conditions. It’s crucial to depict choking with a realistic understanding of its complexities.

Looking For More Writing Tips And Tricks? 

Looking for writing tips and tricks to better your manuscript? Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors! Instagram Tiktok

[herstoryheaven]

Descendants Harry Hook x Reader: Love Takes Center Stage

Request: I would love a behind the scenes kinda imagine for Harry x reader but really thomas x reader

Reader: Female

Word count: 1759

Average reading time: 6 min 25 sec

Category: Fluff

Warnings: None

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Disclaimer: All events portrayed in my stories are fictitious. Any resemblance to actual events is purely coincidental. Any actions or behaviours portrayed by the characters may differ from reality and cannot be connected to any actual person. This work is purely fictional and intended for entertainment purposes only.

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The lights on set shined brightly, casting a golden hue over the entire area as the crew prepared for another day of filming Descendants 3. The atmosphere was electric, buzzing with the excitement and chaos typical of a major film production. Cameras were being adjusted, lights were repositioned, and makeup artists were applying final touches to the actors. Amid this organized frenzy, Y/N stood in front of a large vanity mirror, adjusting her costume, a shimmering pink dress that perfectly fit her character, C/n, the younger sister of Audrey. The dress glittered under the lights, each sequin catching the golden rays and reflecting them in a dazzling display. It was a breathtaking piece, designed to captivate, just like her character.

Y/N’s heart raced with a mixture of nerves and excitement. This was her first major role, and the importance of the moment was not lost on her. She couldn’t wait to dive into her character and the storyline, bringing C/n to life on the screen. Her hands were slightly shaky as she smoothed down the fabric of her dress, taking deep breaths to steady herself.

“Y/N, ready for your scene?” the director called out, his voice cutting through the noise of the set.

Taking a final deep breath, Y/N nodded, her reflection in the mirror showing a determined and focused young woman. She walked over to her mark, feeling the eyes of the crew on her. Her character, C/n, was supposed to fall in love with Harry Hook, played by the ever so charming Thomas Doherty. As she took her place, she glanced over at Thomas, who was already in character, twirling his hook with a mischievous grin.

“Ah, there she is.” he drawled in his thick Scottish accent, eyes glinting with amusement. “Ready to be charmed, lass?”

Y/N couldn’t help but smile. “Ready as I’ll ever be, Harry.” she replied, trying to channel C/n’s mix of confidence and vulnerability.

The scene began, and Y/N’s character, C/n, and Harry exchanged playful banter. Harry was relentless in his teasing, calling her “lass” with that signature smirk of his, making her character blush and stammer. Y/N threw herself into the role, her heart pounding as she matched Thomas’s energy. Their chemistry was undeniable, and the scene sparks with tension and flirtation.

Off-screen, it was a different story. During breaks, the dynamic between Y/N and Thomas shifted from their characters' playful antagonism to a genuine connection. Thomas, ever the gentleman, never missed a chance to make Y/N feel special. He would saunter over, his smile warm and inviting, his eyes filled with a kindness that contrasted with Harry Hook’s roguish charm.

“How’s my favorite princess doing?” he’d ask, his voice low and velvety, sending shivers down her spine.

“Just trying to keep up with you, Thomas.” Y/N replied, feeling her cheeks heat up under his intense gaze.

“You’re doing more than just keeping up, love.” he murmured, his blue eyes locking onto hers. “You’re stealing the show.”

Y/N laughed, trying to play it cool, but Thomas’s intense gaze made her heart race. He had a way of making her feel like she was the only girl in the room, and it was both exhilarating and terrifying. His presence was magnetic, and she found herself drawn to him both on and off set.

Between takes, they would sit together, sharing stories and jokes, their laughter mingling with the sounds of the bustling set. Thomas was a natural storyteller, his animated expressions and playful gestures keeping her entertained and captivated. He spoke about his home in Scotland, his love for acting, and his dreams for the future. In return, Y/N opened up about her own journey, her aspirations, and the challenges she had faced to get to this point.

Their conversations flowed effortlessly, the connection between them growing stronger with each passing moment. Y/N found herself looking forward to their scenes together, not just for the thrill of performing but for the chance to spend more time with Thomas. He had a way of making her feel at ease, his confidence and charm boosting her own.

During lunch breaks, Thomas would sit beside Y/N, making her laugh with his witty jokes and stories. He had a way of making even the most dull stories sound hilarious and captivating. Today was no different.

"You won't believe what happened this morning." Thomas said, a mischievous glint in his eye as he sat down next to her.

Y/N looked up from her sandwich, intrigued. "Oh, do tell. You always have the best stories."

Thomas grinned. "So, I was in the makeup trailer, right? And the makeup artist had this giant jar of glitter. I mean, we're talking enough to cover an entire parade float."

Y/N laughed. "Oh no, what did you do?"

"I may or may not have accidentally-on-purpose knocked it over." Thomas said, winking. "Let's just say, the whole place looked like a unicorn exploded. And poor Jeff, he was not amused."

She giggled, her eyes twinkling with amusement. "You're terrible, Thomas. Poor Jeff indeed."

Thomas leaned in closer, his shoulder brushing against hers. "What can I say? I like to keep things interesting." He reached out, tucking a stray strand of hair behind her ear. The small gesture made her heart race.

-----

One evening, after a long day of shooting, Thomas found Y/N sitting alone, reading her script. The set was quiet, the crew having wrapped up for the day. He approached her quietly, placing a gentle hand on her shoulder.

"Mind some company, princess?" he asked softly.

Y/N looked up, her heart skipping a beat at the endearing nickname. "Not at all," she replied, smiling.

Thomas sat beside her, his presence warm and comforting. "You know, Y/N, you’ve got this incredible spark." he said, his voice sincere. "Both on and off screen. It’s impossible not to be captivated by you."

She blushed, feeling a warmth spread through her. "Thank you, Thomas. That means a lot coming from you."

He reached out, taking her hand in his. "I mean it, love. You’re not just charming Harry Hook. You’ve completely enchanted me as well."

Y/N’s breath caught in her throat. "Thomas, I..."

He leaned in, his lips brushing gently against hers in a tender, sweet kiss. It was soft, yet filled with a promise of more, leaving Y/N’s mind spinning and her heart pounding.

When he pulled back, he smiled, his eyes twinkling with affection. "I’ve wanted to do that since the moment I saw you, princess."

She smiled back, feeling a warmth spread through her chest. "I'm glad you did."

From that moment on, Thomas made it his mission to win her heart completely. He’d surprise her with little notes and flowers, each one more thoughtful than the last. One morning, she found a single rose on her chair with a note that read, "Thinking of my beauty, always. - T."

Later that day, during a break, Thomas approached her with a playful grin. "Did you like your surprise?"

Y/N held up the note, her smile wide. "It was perfect. Thank you."

Thomas chuckled, leaning against the wall. "Just wait. I've got plenty more up my sleeve."

His flirty comments were always accompanied by that charming smile, the one that made her heart flutter. He was relentless in his pursuit, but in the most delightful way. Each day, Y/N found herself looking forward to their moments together more and more, feeling the walls around her heart crumble piece by piece.

And as they continued filming, their on-screen chemistry only grew stronger, reflecting the blossoming romance off-screen. Each scene they shared filled with an energy that had everyone on set buzzing. The crew often voiced their opinions on how their performances felt so real, not realizing just how true that was.

During a particularly intense scene, Thomas couldn't help but sneak in a real kiss, catching Y/N off guard but making the moment even more genuine. When the director yells cut, he pulls her close, his forehead resting against hers. "Couldn't resist." he whispered, his breath warm against her lips.

Y/N blushed, unable to hide her smile. "I noticed." she teased.

By the time the movie wrapped up, Y/N knew she had found something truly special with Thomas. Their days were filled with laughter, stolen glances, and sweet moments that made her heart race. 

After their final shoot, Thomas found Y/N in her trailer, packing up her things. Without a word, he walked up behind her and wrapped his arms around her waist, pulling her close. "You know, I'm going to miss this." he murmured, his lips brushing the nape of her neck.

She leaned back into him, closing her eyes. "Miss what?"

"Being on set with you, watching you work your magic." he said softly, kissing just behind her ear, making her shiver. "But mostly, I'll miss having an excuse to see you every day."

Y/N turned in his arms, looking up at him with a smile. "Who says we need an excuse?"

Thomas grinned, lifting her effortlessly into his arms, carrying her bridal style. "Exactly what I was thinking." he said, his eyes sparkling with mischief.

"Thomas! Put me down," she laughed, playfully hitting his shoulder.

"Not a chance," he replied, spinning her around. "This is way too much fun."

They both laughed, the sound echoing through the trailer. When he finally set her down, he kept his arms around her, his expression turning serious. "Y/N, I've been thinking... Now that the movie is over, maybe we could go on another adventure. Just you and me."

Y/N’s heart skipped a beat. "You mean it?"

"Absolutely." Thomas said, taking her hand in his. "Ready for our next adventure, love?"

"Always." Y/N replied, smiling up at him, her eyes shining with happiness.

As they walked away hand-in-hand, Y/N couldn’t help but feel like she was living a fairy tale. Thomas stopped abruptly, turning to face her. "One more thing." he said, his tone teasing.

"What?" she asked, curiosity piqued.

He leaned in close, his lips hovering just above hers. "I love you." he whispered before capturing her lips in a kiss that was both tender and passionate, sealing his words with a promise.

When they finally broke apart, Y/N looked up at him, breathless and beaming. "I love you too, Thomas."

With Thomas by her side, she knew it was only the beginning of their happily ever after. As they walked away, hand in hand, Y/N felt a sense of contentment wash over her. She had found her prince, and their story was just beginning.

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Requested by: Anonymous

[catelyngrant]

In your own pov, how do you imagine Ava and Deborah's dynamic going to be like in S5?

Generally, what I think is likely overlaps a lot with what I want to see, but could play out in a lot of different ways! Looking at this as a likely last season, there are a few things that I want/expect to see explored in some capacity:

Deborah reckoning with Ava's place in her life, and accepting that Ava values/cares for her not just as Deborah Vance, her creative partner that she benefits from working with, but simply as Deborah—a person she herself doesn't know very well.

Deborah reckoning with her own legacy, and Ava considering her own future and career beyond Deborah (which will, of course, be Deborah's legacy in so many ways).

I think/hope we'll see a full circle return to season one in many ways! It feels like they're setting the stage to return to Vegas, and possibly partner Deborah and Marcus again to "dirty Vegas up" again as touched on in 4x10, and seeing Deborah return to the place where she reigned for so long and do so again on her own terms and on her own power would be very gratifying. From a show perspective overall, it would be great to return to the roots and zero back in on the season one cast.

Others have said this far more eloquently than I, but my primary takeaway from 4x10 was that the Ava/Deborah dynamic is as solid as it's ever been and that the boat scene where Deborah reverts actually solidifies that rather than serving primarily as a "two steps back" moment; Deborah pulls her punches, lashing out to protect herself but not going for the jugular the way she easily could (and has in the past), while Ava simply accepts it and de-escalates as she realizes that she can't help Deborah at this stage. That's growth! And, crucially, Deborah has never expressed regret at the decisions she's made, even as she's suffered and lost herself as a result. In her lowest moments, one of the darkest times of her life, she kept Ava near her and even when she was lashing out, it was with more genuine bafflement than anger. She doesn't know why Ava is there. She doesn't know why Ava has chosen her over everything and everyone else, every time, and Deborah hasn't truly done the work of understanding why she chose Ava, and keeps choosing her. I think that will be a good chunk of Deborah's s5 character arc. But fundamentally, I think they'll be on really solid ground through most of the season, and I don't expect a major break in their dynamic.

Where this leads, though...I think that all of this feels important because it will be building to the end of the show, and where that leaves their relationship. Honestly, I can see two very possible scenarios for how they may end the series, and one of them would make me very very happy and the other one would make me sad but still feel very narratively appropriate, and both feel like natural conclusions to the themes and arcs outlined above!

Given that I do think a lot of Ava's s5 arc will be about who she is apart from Deborah, what her career goals and dreams are, and how that may play into Deborah's legacy, I can see an ending that leaves Deborah thriving in Vegas(?) while Ava's career expands and offers her opportunities elsewhere; an ending that isn't a break-up, but the end of an era, so to speak. This show has been about them helping each other grow into the best versions of themselves, and I can see an ending that recognizes that those versions of themselves have come to a fork in the road. I think that would be incredibly melancholy but, done right, quite appropriate.

I can also, of course, see the ending we all want: Ava and Deborah as something very close to the best versions of themselves, but a little too obsessed with each other and codependent and absolutely nauseating to everyone around them to meaningfully part ways. What that looks like for them in terms of what they're working on, what sort of projects they may collaborate on, etc., could go in a lot of different directions. Again, if done right, super satisfying. (In this scenario, I'd probably want to see something Grace & Frankie-style where there is some sort of actual acknowledgement of their commitment to each other in whatever strange capacity they exist in.)

In either of the scenarios outlined above, the key for me is that the decision of what happens next is made together and they're on the same page about it. It's not something that happens to them, that Deborah forces on Ava, that is driven by something Ava's done—it would be them choosing each other, and what's best for each other, and what's best for themselves, whether they remain together or go in different directions for the time being.

(And like...obviously the story could go somewhere totally different and there's a good chance it will, so to address two of the most extreme ends of the shock value spectrum: if Deborah dies at any point, even in a time jump, I'll be very sad and probably very mad but objectively can acknowledge that it could be executed in a way that works really well narratively; and if Ava Daniels actually fucks that old lady on my TV screen, it's been an honor and a privilege to share tumblr dot com with you all for the last [redacted] years, you will not be seeing or hearing from me again.)

[loganrestarts]

My DIY Art Degree

Some people think there’s an arbitrary marker where you’re finally a self-taught artist, that you eventually reach a point where you’re done with your art education. But I think we spend our whole lives learning, so my goal for my 37th year on earth is to start being a committed self-teaching artist. 

I have so many interests I want to improve and learn that I can’t predict what my progress or end result will look like, but some of the things I want to explore are:

Sketching and drawing

Coloring techniques and color theory

Painting with watercolor and gouache

Painting on the Procreate app

Creative Journaling

Handwriting, hand lettering, and calligraphy

So I dug up a bunch of books and videos to make up a curriculum and planned out my own DIY art degree to start learning them all! 

Each month has its own focus:

Learning About Learning Art 

Mark-making, Sketching, & Basic Shapes 

Perspective

Figure Drawing & Anatomy 

Gesture Drawing 

Character Design

Color & Light 

Composition 

Landscapes & Environmental Design

Using Markers & Colored Pencils 

Painting with Gouache & Watercolor 

Digital Art

I don’t have a syllabus for the full year planned out yet, but here’s a rough draft of the materials and activities I want to try out for Quarter 1:

❄️ January ❄️

✨January Focus: Learning About Learning Art✨

📚 January Materials 📚

Drawabox.com: Lesson 0

[Book] Art & Fear by David Bayles

[Book] Debt Free Art Degree. Foundations in Drawing by Marco Bucci: Chapters: 1

[Book] Drawing on the Right Side of the Brain by Betty Edwards

[Book] How to Keep a Sketch Journal by Marisa Lewis

[Book] Sketching from the Imagination: An Insight into Creative Drawing by 3DTotal Publishing

[Book] Art Fundamentals: Theory in Practice by 3DTotal Publishing. Chapters: Fundamentals & Critical Thinking

[YouTube] Veritasium: The 4 Things it Takes to Be an Expert

[YouTube] Ian Roberts: 5 Principles to Master Anything

[YouTube] Proko: Getting Better Faster - Painting with 80/20 Rule

[YouTube] Proko: How to Hold and Control Your Pencil

[YouTube] Sycra: Iterative Drawing

[YouTube] Love Life Drawing: 10 Stages of Learning Any Art Skill

[YouTube] Love Life Drawing: Practice Like a Pro - How Steve Rude Improves

[YouTube] Sinix: Art Theory Tutorials Playlist

[YouTube] Sinix: Art Warm Up & Exercises

[YouTube] belartsy: the “right” way to start learning how to draw

[YouTube] Paintable: Sketching For Beginners

[YouTube] Marc Brunet: How to Draw Anything - The 7 Fundamentals

[YouTube] Marc Brunet: How to Draw Good Lineart

[YouTube] Marc Brunet: Stop Learning to Draw the Wrong Way

[YouTube] Marc Brunet: The Most Important Art Skill

[LinkedIn Learning] Drawing Foundations: Fundamentals

[Gumroad] moderndayjames: Intro to Dynamic Sketching ($8)

[Reddit] r/ArtistLounge: How to get better at observing the world around me?

✍️ January Activities ✍️

Set a baseline by making whatever I want

(I know January has already passed; I'll post an update with what I actually managed to get through.)

💝 February 💝

✨ February Focus: Mark-making, Sketching, & Basic Shapes ✨

📚 February Materials 📚

[Book] How to Draw and Think Like a True Artist by Warren Martin. Days 1-5

[Book] Drawing for the Absolute Beginner by Mark and Mary Willenbrink. Chapters 1-2

[Book] You Can Draw in 30 Days by Mark Kistler. Lessons 1-7; 10-13; 15; 19

[Book] Perspective Made Easy by Ernest Norling. Chapters 1-8

[Book] Art Fundamentals 2nd Edition by 3DTotal Publishing. Chapter: Perspective & Depth

[Book] Drawing on the Right Side of the Brain by Betty Edwards

[Book] Debt Free Art Degree: Foundations in Drawing by Marco Bucci. Chapters: 1, 3

[Book] How to Draw by Scott Robertson. Chapters 1-2

[Reference Pictures] Fundamentals: Shiny Forms

[Reference Pictures] Fundamentals: Basic Forms

[YouTube] Uncomfortable: Drawabox Videos Playlist (Lesson 1)

[YouTube] moderndayjames: Perspective 1

[YouTube] moderndayjames: Perspective 2

[YouTube] moderndayjames: Perspective 6

[YouTube] The Art of Nemo: The ONLY Box Rotation Exercise That’s ACTUALLY Useful

[LinkedIn Learning] Drawing 2-Point Perspective

✍️ February Activities ✍️

drawabox.com 

Lesson 1 & Homework

250 Box Challenge

🍀 March 🍀

✨March Focus: Perspective ✨

📚 March Materials 📚

[Book] Perspective Made Easy by Ernest Norling. Chapters 9-18

[Book] Drawing for the Absolute Beginner by Mark and Mary Willenbrink. Chapters 2; 5

[Book] You Can Draw in 30 Days by Mark Kistler. Lessons 22-27

[Book] How to Draw and Think like a True Artist by Warren Martin. Days 6-14

[Book] How to Draw by Scott Robertson. Chapters 2-7

[Book] Art Fundamentals 2nd Edition by 3DTotal Publishing. Chapters: Perspective & Depth

[Book] Framed Perspective I - Marco Mateu-Mestre. Chapter: 1

[Book] Debt Free Art Degree: Foundations in Drawing by Marco Bucci. Chapters: 3

[YouTube] moderndayjames: Perspective 3

[YouTube] moderndayjames: Perspective 4

[YouTube] moderndayjames: Perspective 5

[YouTube] moderndayjames: Visual Library I 

[YouTube] moderndayjames: Visual Library II 

[YouTube] moderndayjames: Visual Library III

[YouTube] moderndayjames: Vehicle Sketching I 

[YouTube] moderndayjames: Vehicle Sketching II

[YouTube] moderndayjames: Vehicle Sketching III

[YouTube] moderndayjames: Vehicle Sketching IV

[YouTube] moderndayjames: Sketching Figures in Extreme Perspective

[YouTube] moderndayjames: Emulating Even Amundsen Series

[YouTube] moderndayjames: Becoming a Gi Series

✍️ March Activities ✍️

drawabox.com: Lesson 2 & Homework, 250 Cylinder Challenge, Begin 25 Texture Challenge

100 Rotated Objects - based on moderndayjames Visual Library videos

100 Unique Studies (machinery, vehicles, plants, animals)

🖌️ Some Ongoing Activities 🖌️

50/50 Rule: 50% studying, 50% funsies

[Book] 30 Days of Creativity by Johanna Basford

[Book] 2025 Johanna Basford Wall Calendar

[Book] The Lost Art of Handwriting by Brenna Jordan

[Book] Spencerian Handwriting: The Complete Collection of Theory and Practical Workbooks for Perfect Cursive and Hand Lettering by Platts Roger Spencer

[Workbook] New Spencerian Compendium Plate 2 Practice Sheets (Found on PDF Drive)

Hand lettering worksheets I made in Canva

This is by no means a comprehensive education, but I feel like I came up with a good introduction to the things I’m interested in. I’m not going to learn everything about all of these topics in just a year, and I know I'm not going to get through all the resources I found.

I also want to make this process as cheap as possible, so I’m using a lot of free stuff from YouTube and my local libraries. Many of the resources came from radiorunner’s Curriculum for the Solo Artist and suggestions I found through the almighty social media algorithms. 

If your libraries can’t get the books on order or Inter-Library Loan, or if you’d rather just buy them to keep, I’m including Amazon affiliate links. (Many can be found as PDFs through other free methods but I definitely don’t recommend looking for the books on Demonoid, Mobilism, or PDF Drive.)

What do you think I'm missing? What do you think is too extra?

Learning is a life-long process, so even though I gave myself a year to restart, it’s just that: my restart. 

[cerastes]

With the exception of Arknights what are your thoughts on gacha games?

I don't feel like I need to exclude Arknights from the statement, I can criticize things even if I like them.

In general, I don't like that their widely accepted and even defended business model is "Capitalize on FOMO, exploit gambling addictions, create dependent users". I also think that the use of the "game as a service" model, and one that needs to keep pumping content forever and can't risk to alienate the player, severely limits what can be done with the medium in terms of creativity, because you can't kill off playable characters nilly willy (I actually think Epic Seven was cooking with this, Epic Seven will kill off playable characters and remove them from the plot if it feels like it, or at least used to back when I played, don't know nowadays), relationships and dynamics with characters tend to be limited because otherwise your audience can feel like you are cucking them, and I wish I was kidding but just look at the absolute dumpster fire of a drama going on as we speak (22nd of January, 2024) in Girls' Frontline 2 over in China over one of the characters having interactions with a male NPC, and you can't ever bring a true sense of finality to any given arc because everything ends up having to be foreshadowing, set-up, build-up and so on and on and on. In many cases, you also have a mold cast of Must Have tropes in your playable cast: The Maid, The Idol, The One That Worships The Ground You Walk On, The Underage And Underclothed One, The Underage (But We Treat This One As A Precious Child!) One, Foxgirl, The Cold And Highly Analytical One (But Actually, Loves You), Chuuni, etc, so it feels like in every game I kinda already know at least a third of the cast minimum already and I'm kind of primed to not really want to know them, even though there's subversions I end up liking sometimes (Fenny from Snowbreak is an example of an Idol-type I ended up loving despite not liking Idol-types).

On the other hand, even with these negatives in mind, having a game that periodically updates and adds content, and that you can discreetly play pretty much everywhere on the go due to smartphones being their main 'console', games that foster community and something to talk about with your friends that also play and that will always have something new every couple of weeks, as well as inspire fanart, fanworks, analysis, and commentary, and that tend to be more risque and interesting with their designs is honestly good to have. I personally enjoy the community aspect of gacha games, I consider it one of the two most important aspects for me, because I know I can come here, for example, and see people talking about the story, the characters, the music, the gameplay, and more, every day, and the other important thing to me is how discreet they are, since I can just play a few maps or stages in my phone real fast midst a social situation at work, and then hop back in with a renewed social battery or when a topic I like comes up.

I fully get when people showcase their disdain for gacha, yeah, but if we really want to be nitpicky, the majority of the game industry is kind of a cesspool of toxicity, which is not to say "stop bashing gacha" and instead say "bash the whole thing if you're going to be bashing it anyway" (and we should! Game devs and other personnel in the industry have been crying for better conditions for years now!). Either way, if someone decides to sit at the gambling den, it becomes their responsibility. I want there to be more safeguards for people with actual addictions and to protect them, but with this in mind, if anyone still decides to sit at the den, it's assumed they are going to take responsibility for their actions and financial decisions.

So all in all, yeah, predatory games that suffer in quality due to their own trappings, but also good sources of community, inspiration, and effective at being discreet games you can play anywhere and that get periodic updates (this isn't necessarily exclusive to gacha but it is an aspect of them that bears mentioning, which I point out since no doubt people will want to point out there's good non-gacha smartphone game options out there)

[judilyart]

Can you make a post about how you choose colors plz ? I'm really curious about your process

this is such a difficult question to answer bc really the way i approach colors is mostly reliant on what I find interesting and I do struggle with them, but i'll try my best to answer!

before I even start working on my piece, I like to gather a bunch of refs and think about the vibe I want to achieve since colors and values change the piece drastically. personally, I like to play around with purple a lot so usually I start with a light purple for the undertone/sky background color and I find that it helps a lot to work above that rather than the white of the canvas, it also helps me bring purple back into the shadows! I think my "secret" to why my paintings are so colorful is that I start by blocking in as many colors/shapes as I can using a brush with the color dynamics setting on, I find that it creates a good base fast without having to manually pick every single hue by hand. It's also important to try many different palettes and not be scared of scrapping something and repainting from scratch bc that's how you're able to tell what works and what doesn't! it also creates many ugly stages lol but here's a few screenshots from my process video of Under The Peach Tree as an example of how many times I repainted it

I like to keep in mind what the highlight color will be, for example in this painting I went for a skintone that's closer to the colors of the peaches and the little blanket bc that will tie everything together and make the character feel like they belong in the environment. it's similar in other cases too, for example if the grass is more cool toned then I'd go for some red pink flowers. there's a tool in photoshop that's called selective color which I use a lot as well as curves or color balance, they're all used to adjust the colors that you already have like if I feel that the yellow is not quite right then I try to change it up through those tools and see what's better. it's really a lot of trial and error and just trying things out and seeing what you end up liking, it also ofc comes with practice and learning compositional values.

I hope this helps 💗 I do upload my process on my patreon, and I've been planning a video specifically on how I paint skin since it's an interesting topic!

[mooifyourecows]

Feel free to completely ignore this if you've already answered it or something but!! I was wondering what your process is for developing AUs? Specifically for something like Bad Masters where you have this compelling world building and then fold into it complex relationships and dynamics and tropes etc etc I just loveeeee it and wanna pick your brain. thank you have a good day

i'm so glad you enjoy my AUs so much! honestly, I have a lot of experience writing original stories, so writing AUs feels very natural to me. when it comes to fanfic, i treat the characters like lab rats that i'm plopping into a new environment just to observe how they respond to said new environment.

i really like the planning stage of writing. i love going on my little dog walks, listening to the story playlists I've made, and thinking my little thoughts. it's so satisfying when an idea comes together in my head and inspires me to the point that i want to start writing RIGHT AWAY (which is probably why i have so many ongoing fics... new ideas steal my attention, rip)

i'm also not above admitting that i get tons of inspiration from other forms of media. i watch a LOT of movies and tv shows, play videogames, and read things that get my creative juices bubbling. hell, i watched a movie TRAILER that got me thinking new AU thoughts. I read the first chapter of a book, liked the setting, and immediately wrote 40k words of a fic set in a similar setting with a plot that's completely unrelated to the book that inspired me. (i think? i never continued reading after that first chapter so who knows what it's actually about lol i read 5 pages about a snowy mountain lodge and ran away with it)

For Bad Masters specifically, I think i was in the middle of a Futurama rewatch while writing, so i decided to make it futuristic. Bender and his robo puppy in Fry's dead dog episode probably inspired Amaya, though I def took her a complete different direction than my initial plans.

since my stories are more character focused, i try not to get too bogged down with the setting. i don't want to get stuck over explaining everything that makes the setting different from regular reality. and i know readers don't want to waste time READING a long explanation about the world. i also hate writing description, which limits me when it comes to establishing a unique setting. so i try to instead naturally include enough small details to give the reader an impression of what the world is like in a very normal, natural way, as if there's nothing strange and different about it.

instead of flat out explaining the state of things, i just plop some stuff in there every once in a while for readers to either care about or not. the People's Revolution of 2036 is mentioned but not gone into detail about because it's not important to the story. it's a thing that happened a few hundred years ago, no biggie. sure, it catapulted the world into what it is now, with the death of billionaires (at least domestically) and definitive action FINALLY taken to reverse climate change, but it's not important to Daichi and Suga falling in love, so we're not dwelling on that.

i didn't want the future setting to be TOO much, requiring way more effort to describe and explain things. so yeah, a lot is the same. they've got AI service animals, a light pollution curfew, safety fields around balconies, machines that give users the ability to feel things remotely, and street cleaning robots to sweep up all the extra pollen from new green corridors created to protect against climate change. but they also still use personal cell phones, the fashion cycle has come full circle and brought things we wear today back into fashion (though i do believe hoodies and sweatpants will never truly go out of fashion), and people have to deal with targeted advertisements, just now using more advanced emotion detection AI to better sell you shit you don't need.

It's not a utopia, but it's not dystopian either. there's good and bad, just like in our time right now. it makes it easier for me to write, but also easier to read and absorb.

and i feel like simplicity is really important when establishing an AU. you can't overwhelm the reader. i remember once trying to read a book back when i was a teenager and the first few pages were nothing but description of the setting. to the tiniest details like the types of plants that grow in the area and how they're used to make salves/etc. Despite being a voracious reader, finishing a book every few days, those few pages felt like hundreds. it was too much. i was so bored. i never finished the book.

there's this urge to explain EVERYTHING when you start an AU with what you feel is a super interesting setting/scenario. and as someone who has a problem over explaining already, it's like pulling off my fingernails trying to keep it casual and subtle. but it's super vital to learn patience and the art of revealing things gradually, as the story progresses. and the strength to eliminate excess information that just doesn't fit. like, i have a whole backstory thought up about Daichi's ancestor, Sawamura Kanae, who took control of Japan during the People's Revolution of 2036, but it probably won't make it into the story itself because it's not important, and would feel totally unnecessary and random to just stuff in there.

When it comes to writing AUs, know and understand your AU more than you actually intend to share. that way you can write little throwaway lines or references in ways that make the setting feel fleshed out without wasting time explaining every little unimportant detail. it's okay for your reader to wonder about stuff. it's okay if they don't know everything. if they come to your inbox and ask, hey, you got some fun little bonus information for them, but didn't have to sacrifice the flow of the story to give it.

remind the reader about the universe through small details. for Bad Masters, when things start to feel too mundane, I toss in mention of a robot or some other futuristic technology. it's simple. low effort. readers are smart, and they have their own imaginations that will fill in the blanks far better than your excessive description ever could.

i may not be very good at cutting out unnecessary dialogue, but i AM a master at leaving out unnecessary description. sometimes to my detriment, lmao

in the end though, have fun with it! i have so much fun coming up with AUs. I love fleshing out a world and coming up with rules. if you ain't havin fun, you aint doin it right!

ok idk if this is actually helpful, but there you go! don't worry about doing it well, just do it and have a blast while you do. writing is fun, from the planning to the sharing stage and don't ever forget it! if it stops being fun, you need to take a break. don't suffer for your art. make art to ease your suffering 😉🖤🌈

[vivillainous]

Omg just binge read the five existing chapters of more the fool me and brooooo

Like I just sat my self down and didn’t get up until I finished and I’m so desperate for more!!!

The way you write the characters feels so authentic, even though their relationships develop fairly quick - it doesn’t feel rushed and makes complete sense!

You write Miranda so well, I’ve always in my head saw her as almost adjacent to characters like Narcissa Malfoy, Regina from Ouat etc

They have a cold, detached air around them but they’re fuelled by this addictive passion and commitment to their loved ones that they’re practically clinical about, like they’re not here to play and you get that across so well with Miranda.

I don’t usually read x readers and if I do, I don’t read OC ones but I enjoyed this thoroughly. I might be a little bias because I look a bit like Fraser - brown skin, long, black curls barring the fact that she’s 5’9 and I’m 5’4 at the best of times - but it comes down to how universal you write her.

The name Fraser doesn’t feel like it carries too much connotations like a name like mf Amy or Charlotte which are wayyy to western for a non-white person to easily relate to and her personality is so relatable. And big plus she’s not super annoying so

But your writing is amazing - the way you write intimacy without it being sexual is divine, how the characters look at each other fondly or appreciate the others mind or oh! oh! How you slip in Fraser’s knowledge about them to emphasise how well she knows them! Like how she knew it was Alcina because of her height when she was passed out or how she’s aware that Miranda was coming to yell at her on the balcony! The way she holds Miranda’s face and how Alcina plays piano to her, how Fraser easily makes Mira, Alcina, and soon Donna I’m guessing feel less lonely.

I don’t know, I just live for good sapphic yearning and pining and it’s so nice to see that there’s still a plot - which omg I can’t wait to see where that goes - and it isn’t all easy. Fraser may feel some attachment to Alcina and Miranda but she’s still willing to go behind their backs to search for her father - like trying to sneak into that storage room. She gets close with them but not without her own agenda. The tender, heady back and forth with Fraser and the Lords/Mira is so perfectly countered by the far more gritty landscape and setting, the depictions of the violent, grotesque nature of the corpses and flesh, of the worms and the far less idealistic village and it’s history. You stay true to the grit of RE8 and I’m here for it, I hate when a wlw story or any queer story is all fluffy or all angsty like there needs to be balance and you got it.

Alcina has to hold herself back, she feels uncomfortable knowing about Miranda’s closeness with Fraser or vice versa, Miranda letting Fraser into her vulnerable parts despite how perturbed she is and Fraser not being a dick head that has no common sense but still makes mistakes.

The pacing is great, you have pretty neat prose and I am so interested! Keep up the really awesome work!

- from a dedicate fan now <3

holy shit, i’m???

thank you so much for taking time out of your day to read about the little evil gay women in my phone. thank you even more for making such a detailed comment, really it means the world to me—and also shocks me???

the representation of fraser being a black/mixed black woman was incredibly important to me. the RE community in general has a lack of rep for women of color, likely due to the games themselves not having too many woc in general.

i’m so glad you like my miranda characterization! in this fic, i wanted to lean heavily into what it’s like to be a grieving mother. outside of the vengeful, scornful side of miranda we see inside of RE8. of course, her rage and schemes are still very present in more the fool, but i wanted the aspect of dealing with the grief of losing someone to take center stage.

i think the beauty of miranda/fraser’s dynamic is that fraser exists within miranda’s grief, rather than trying to do away with it or fill the hole that’s left in her heart. she knows she can’t assuage her loneliness and she doesn’t want to. she simply wants to be with her through it all, and i think that’s the beautiful thing about them.

outside of the who-done-it nature of more the fool’s overarching story, i think it’s a story of what it’s like to go to the ends of the earth for a person, solely because you love them and would do anything to see you two reunited.

fun fact: fraser’s name means “of the forest men” and strawberry! the truth is, i got so attached to it when i was trying to come up with a name for her, but then realized it was a boy’s name. i thought it’d be funny for her lore to add in the fact that her father knew it was a boy’s name, but kept it anyway because he liked it so much. besides, i think we can all say it fits her better!

there’s so much more i want to say, but tumblr has deleted this on me like 4 other times already, so i’ll end it there. thank you again, and i look forward to giving you more to read soon!!

[tamaharu]

https://www.tumblr.com/tamaharu/789423962267484160

hi!! this isn't meant to be engaging in bad faith, i'm just curious as to what you meant by this with your tags! a lot of alnst is abt love i thought, but if there is an alternative route or something that you would've preferred other than the one vivimeng took i'd love to hear about it too ^_^

(context^)

so to preface i was being hyperbolic by virtue of simply adding tags to a preexisting hyperbolic post. and i like alnst - its got nice art and complex characters w interesting dynamics - but i had some issues with the last two episodes (and w the fanbase franklyyy which is connected in a way that irritates me).

a lot of this discussion has been had before + much more thoroughly with some of my mutuals on discord but a lot of where alnst fell apart for me was with weige, specifically with how hyuna and her relationship to luka was written. to set a baseline, i think its obvious that luka at the very least Attempted to sexually assault hyuna. so when hyuna died to promote lukas character arc - obvious but stated explicitly in the latest qna from the creator on twitter - and it was doing that like 'in another world they couldve been happy with each other...' its like. well. i found their dynamic interesting. i think luka being awful but also lashing out and being awful due to his upbringing within the stage interesting, i thought hyunas positivity contrasted by the terrible things she has been subject to and her horror about them made for welcome strength and complexity from a survivor, stuff like that. it wasnt cute or healthy or good, but it created interesting characters with something that pushed and pulled them toward each other.

then hyunas death. sigh.

comments i made on discord about the post-weige hyuna comic: i know alnst likes to pontificate about relationships and the way they can can be used to benefit or against another person, oftentimes deliberately from one half of the relationship, but i really dont think it works here. its both more negative/bitter and less negative than i think her story and their relationship really deserves. like, shes seemingly upset with him, but more upset with herself for being upset with him in the first place which is ??? he killed her brother and implicitly tried to assault her? i think shes justified in being wary. and because of this, even though it tries to refer to [her dying] as a sort of revenge, it kinda leaves hyuna in the lurch, rendering her more of a sacrificial lamb for absolutely no reason instead. its just ever so slightly Off for what their characters and stories deserve, hyuna especially, where rather than being a satisfactory culmination/extension of her story, it really feels like something that would happen to someone else, contradictory to what her previous emotions and desires have been implied to be. i dont like it!

the way her death was handled in combination with the scene in weige where alt!hyuna and luka are smiley and more romantic just make me feel gross. the fanbase tended to take the characters and sand out their complicated and hurtful dynamics towards each other to create something more simplistic and lovey dovey and it ruins the characters frankly (saw a post post-karma where someone was confused abt ivan pushing his heart into tills mouth even though the pressure and unrequitedness in their relationship is Very Important/Obvious and to not pick that up is crazy), and alnst leans into this w actor au or modern au or whatever. so while i agree alnst is about love and connection and complexity within that, by focusing too much on love and connection rather than complexity, it ruins the story for me. i wish there had been hatred and malice (i.e. nuance) i instead!!!!!!!!!

[yandere-toons]

I want to write some fanfic, and i have the series open to watch, plenty of ideas, and I'm just staring at my document

I want to write, but whenever I feel like "Oh I want to write some of (whatever fanfic it is)" and I open up the document I just sit there and stare at it.

I feel like my issue is that there's sections I'm excited for, but I learned that writing those sections first can lead to a mess, so I'm trying to write stories in order, but I don't know what to put in that space.

It just happened to me a lot years ago where I would write what I was excited for, as

1: I did what I wanted to, so I stopped writing.

2: I would write the beginning, but because I wrote out of order, things got inconsistant

Here's a secret:

I write all my stories out of order.

Naturally, this leads to a host of extra scenes that can alter dynamics and end stories quite differently than intended.

I rarely enter into a draft with the full history of events laid out in my head, just banging it out from Point A to Point B with nothing in between. Yeah, that doesn't happen, and if it does, it's either that one-in-a-thousand draft you feel lucky to have, or it's on a much smaller scale, say, for a single scene or two.

Nine times out of ten, it's an ongoing experiment that will take you backwards and forwards, all at once, even after you thought you had everything figured out. Even when the initial idea seems solid, the average thought process remains: “Well, I want it to end this way. This character needs to hate that character, and there needs to be a fight scene. I don't want these two to make up, but wait, why do they hate each other again? Why can't they make up?”

And that's when you start to develop your idea and, in this way, fill in all those spaces that stand between you and a complete story. One at a time, you look back at the source material and find another detail that you can then expand into a plot point inside your own story.

“Well, let's introduce this third character to act as a sort of fissure between the first two. Maybe it's a difference in opinion on how to handle a mutual foe. Maybe the first character has grown too dependent on the third, and it's consuming their life — changed them as a person, something that second character tries and fails to demonstrate.”

Then, it becomes a matter of filling in day-to-day questions because, while a concept can be stimulating, what does that actually translate to on the page?

“Well, do the first and second characters often argue?”

Make that a scene.

Perhaps the first character storms off to the third for comfort or, depending on their personality, comes to blows with the second.

“Does the first character feel alienated from society?”

Make that a scene.

Perhaps someone disrespects them on the street, they get passed over for a contest or promotion, anything that gives some credence as to why they feel the third character is their only hope for happiness.

“Does anyone else notice the first character's distress?”

Make that a scene.

Perhaps other characters try to stage an intervention or, alternatively, take advantage of the situation to get the first character fired or killed.

Take any emotional trait or part of the relationship that seems important to you — work that into a scene, and remember: a story doesn't have to be linear. You can open with the characters at their absolute lowest if that's what keeps you writing. You can open with the end and close with the beginning if that's what makes sense to you.

Though, if at any point, you feel like the story's gotten away from you, like you have no idea where you're taking it, and you're just hitting keys, hoping it all works out, that's not necessarily a bad thing. I've had plenty of those days, and just because a story winds up somewhere way off from your original vision doesn't mean it's not worth something.

See, the first chapter of A Fool's Mistake was originally set to include the poisoning of a Lannister as cause for the sorcerer's arrival, but as I wrote into the second half this idea of a wedding and the sorcerer's killing of their cousin, the whole process came screeching to a halt because I realised the audience would see no motive for this murder.

It painted the sorcerer in an exceedingly cruel light — and that's just fine for someone like Ramsay, who might see that or hear about that and think, “That's titillating, Father!” But it's not too believable for someone like Cersei or Tyrion, who have enough assassins and naysayers to worry about without inviting one in who can phase through walls and leave no trace.

Plus, it just made the entire plot seem random and disoriented. Having the sorcerer be poisoned instead, and by their cousin no less, provided much more meaning to his death, more believability to the sorcerer's vendetta against him, and an overall more convincing, focused story.

Sure, it's disappointing to have to go back and remove a line you were proud of just because it no longer fits with the story, but the test I run through to see if it's really worth keeping is this:

Remove it.

Look at your draft again the next day. If you don't remember the line, then the story works just fine without it.

If you do remember the line, keep a record of it elsewhere in case it becomes relevant again or finds use in a different story.

Another detriment to the process in situations like these is the belief that any breakthrough in plotting must occur now or, at the very least, soon, that if you can't figure out this idea before a new one comes trotting along, then it must be a lost cause.

Sometimes, it does turn out I had no concept for a larger story than a few discordant thoughts, and the draft could not be salvaged. More often, however, the breakthrough is simply delayed and arrives years after conception.

Why?

Maybe it's some new experience that fills in that missing piece of inspiration, or maybe I'd subconsciously soured on the character, their universe, or writing as a whole and needed to approach it with a fresh mind.

[turigirl]

Could you tell us either abt ur ocs or your f/os? :-)

hi anon i love you

my ocs that ive been thinking about most lately have been those under the tag "fine & mellow" :o) theyre a 60s girl band! ive read a lot about the dynamics of popular bands, specifically in this time period, and i think the love-hate relationship that usually results is really interesting.

i think if i ever illustrated it in some way (art or writing or etc) id want it to be a comic. maybe a webcomic, maybe a physical comic. im not super sure on that.

id want to include things like interviews, magazine covers, album covers, photos of them, etc, played as from a real band (as real as a picture of furries can be). i have a list of album names and song ideas for each one (some being existing songs to pretend are theirs, some being "original" songs. meaning i made it up)

the band is founded in 1959 by dominique dalmatian, who is the main character. she's reserved- not shy necessarily but cautious of every new person she meets. she has bpd (projectionn of my symptomsss) and depression that creeps in slowly and immobilizes her. and she plays bass! she has a strong work ethic and will push her feelings (and others') aside to finish her work, in this case being f&m's albums.

fine & mellow is the name of the band, by the way, to be clear. it's named after a jazz standard and slowly becomes more and more ironic.

there are other guitarists before, of course, but the most important one is laura labradoodle. she's peppy and brings a lighter tone to their music as well as a more romantic light. shes a brilliant songwriter, despite it being really just a hobby. shes a full time photographer when they recruit her. when she joins in 1962, the band as a whole changes. she and dom write songs together, becoming closer and closer. that relationship and how it bends and breaks is especially what i would focus on. there's something so heartbreaking about getting so close, hearing a part of the others soul, only for something to backfire and send the band into a downward spiral.

clears my throat. so anyway, the drummer is named lolly lamb, and she stays from the beginning (until she's pushed out by jackie, who you'll hear about in a sec). she adores 40s and 50s fashion and has a seemingly instinctual sense of beat. drumming for f&m started out as a favor for her friend and ended up becoming so much more for her, and the rest of them.

in early 1964, after a couple months of no creative breaks, laura brings in... a hairdresser. her name is jackie jackrabbit, and she stares at the other two like they've grown new heads. but she's laura's friend, and they know the moment she sings with them that they've got something special. jackie is a little snobby and a little blunt, but manages to fit in fairly well. she can't play an instrument, but her singing ability more than makes up for it, and laura hands her a tambourine a few months later.

they release an album in july, and it seems to be the domino piece slowly falling into place. after months of arguing with jackie, lolly leaves the band.

they hire a session drummer, LAYLA, but she quickly becomes their permanent drummer for their next albums. layla (stylized in all caps) is the stage name of susie sloth-bear, a drummer who first got famous as a model. but she was good, playing as a session drummer across the states.

but the making of their next album with layla is FULL of arguments, and they go on a 5 month hiatus. the hiatus gave them the new material they were looking for, but they struggled to work together in making them. most of the songs on the next album would be mainly played by one individual member. only layla collaborated with the other three. the damage was done, and their 1967 album, fittingly titled "kill the lights," would be their last.

so that was kinda long, huh? i still don't have everything set in stone, but here's a summary probably way longer than you expected. they also all have refs! which are on my toyhouse (link). i would upload them here, and someday i might get around to it, but i dont have the energy to write ids for all of em. so. ill leave it at all this. if anyone has any questions, though, id be happy to answer :o) im still workin out the kinks!

[practically-an-x-man]

(Ok so I actually daydreamed a dance heavy fic last night.)

How do you write fight scenes, keep track of movement, keep it coherent and something reader can imagine?

Thank you!

Talk Shop Tuesday

Fight scenes actually come fairly easily to me, even the flashy ones - I have a lot of martial arts experience, plus some experience with stunting and tricks, and then stage combat and stage falls and choreography and things of that nature for theatre. I actually thought for a while that I wanted to go into stunting professionally, but that plan was shot when my joint problems started getting worse. Either way, I know how to move.

So when it comes to writing fight scenes, I can visualize how it should look, what the characters would reasonably be able to do, what the technical skills and techniques are, how it might feel, and other details fairly easily. I can't say I have a particular strategy for this, it's just how my brain works. I just really love dynamic movement!

But when it comes to actually writing the scenes... keep it simple. Fight scenes usually aren't the time to be vivid about the setting, costumes, appearances, etc. - not unless it'll actively end up playing into the fight. Every detail you add slows down the scene that much more, so you want to focus on the details that actively play into the fight scene and not much else outside that.

However, you as the author want to know those details. Let's say you're writing a fight scene in an abandoned classroom - for the reader, "abandoned classroom" already gives a pretty clear image, and you don't need to waste time outlining all the details of the decor during the fight scene itself. It's a classroom. Desks, chairs, maybe a chalkboard, that's all the reader needs to know at first. Their mind will fill in the rest as it comes. But as an author, you need to think about the details because the characters might utilize them.

Environment is just as important as the combat itself. Fight scenes where characters just trade blows in the same technical way get dull very quickly, and that's just not how fights work. But fight scenes where the environment plays a role... maybe Character A slips on an old notebook on the floor and goes down. Maybe Character B climbs onto the students' desks to give themself the high ground. Maybe one of them grabs a blackboard eraser and blinds their opponent with chalk dust. The reader doesn't need to know these things are there until they happen (as long as it fits with the mental image of "abandoned classroom"), but you need to know they're there from the beginning because of how the characters might utilize them.

Second, while you don't want to go too introspective with a fight scene (bc again, it'll slow things down), you do want to share a bit of the characters' thoughts and feelings rather than just pure action. Again, reading about characters just trading blows back and forth gets boring. Tell us about how the character is angry or scared or even having fun, give us a reason why they're fighting.

Plus, including those emotions and thoughts gives you a bit of leeway in the action too. If the reader is only given action and movement to follow, that's a lot of pressure to put on their imagination - and your ability to describe the movements that are happening. But once you mingle in those deeper emotions, it becomes less about the fight itself and more about the characters, and the action will coast along.

This is getting long enough already, but here's an example of a recent fight scene I wrote in Let Us Prey. I've dissected it a bit: actions are in red, scene details in blue, introspection and thoughts in green:

Rick dug his fingers into the metal grate below him and pulled it from its hollow set into the floor. He pushed himself up to his feet and swung for the fences, driving the flat of the grate straight into Peacemaker’s gut. The room spun and his ears rang, either from the explosion or the fight that had followed, but he forced himself to keep moving. If he slowed down, even for a moment, he’d be dead. Because his opponent wouldn’t slow down. An elbow across the face. Another strike with the corner of the grate. A millisecond surrendered to look for the gun- where the hell was the gun? He could hardly keep his head on straight. Maybe if he’d been clearheaded, maybe if he hadn’t let his horror and disgust get in the way of his logic, maybe if he’d taken Eris’ warnings from the beginning, the fight would already be over. You give too much of your heart away, he heard Eris’ voice echo in his head as he fought to land another blow, They can’t all be your friends, you know. They’re only doing this to get their sentences reduced. Any out Waller gives them- they’ll take it.  Christopher’s foot shot out, one heavy boot colliding with the open wound in his stomach. The world went white with pain for a moment, and Rick staggered back until he hit a low shelf behind him. The new bruises only mingled with a thousand other aches. He was falling behind. He had to turn the tides somehow.   Hey, I’ve got the embodiment of conflict sleeping in my bed every night, he’d responded then, only half-joking, I think I can handle a couple inmates. It was still true, he thought, but now the sound of his own pride made him wince. He shouldn’t have gotten so comfortable. The fight dragged on in more of the same stasis. He wasn’t winning and he wasn’t losing- at least not yet. Rick was moving on autopilot alone, years of training pushing his body forward even when his mind kept aimlessly spinning. Adrenaline coursed in and overwhelmed the pain. He caught sight of the gun a few times, always just out of reach.  Peacemaker found a grip around his body and tossed him against the wall. The world flipped, and something shattered under his back. Water and porcelain rained down on him. His fingers fumbled for something, anything- there, a pipe, long and old and sturdy. 

As you can see, the actual action doesn't account for much of the scene at all. Most of it is Rick's thoughts and perspective on the fight, and even some memories: those space out the scene so it doesn't feel too abrupt, and it adds to the idea that he's concussed and is finding it hard to focus.

Now try only reading the red words. It still works as a fight scene, and there's still a good amount of detail just because of how my writing style is, but you miss a lot of the energy and intent behind the fight. Once you add those details, the scene just feels a lot deeper and more meaningful (at least in my eyes).

Thank you for the ask!! This was fun!!

[justworthlessreblogs]

KiraPika gravity falls au sounds fun and I like most of your ideas, but I have a couple of notes here and there:

- Ichika taking Soos' role doesn't sound right to me, I think Akira would be a more appropriate choice, yes they're quite different, but I think it would be great if Akira got to be a big bro-like figure to the twins, especially Rio

- i think Ichika should take Wendy's role because even though they're not similar, it'd be nice if there's someone Rio has a crush on, especially since Dipper's crush on Wendy was an important part of his growth as a character, but instead of being turned down like what Wendy did, have Ichika being unsure about her feelings for Rio, just like how it was depicted in this comic:

https://www.pixiv.net/user/4038628/series/214816

- Yukari taking Robbie's place would be super hilarious, and of course you can keep AkiYuka dynamic. I don't know what to do with Wendy's other friends though.

- I think Rio should be involved in the AkiYuka subplot and Bibury's redemption in some way or another, idk how but I just want Rio to have more things going for him

- Rio accidentally causing Weirdmageddon just because Ciel's ditching him sounds.... a bit shallow? granted I think you can expand on that more and it's not a bad excuse per se, but I think there must be more personal reasons that lead to that event than simply his sister and recognition, like Rio thinking that Ichika rejected him and none of his friends cared about him and seeing himself as interchangeable compared to his sister, etc...

- and lastly, I think Elysio as Lil Gideon would be fitting, but I don't how to make it work since their motivations are super different

when i said ichika could take the soos role i was thinking more along the lines of temperament. i can see ichika spouting some of soos’s non-sequiturs but i can’t see akira doing that. akira having a sibling-like relationship with the twins is a neat idea though and i’m sure something like that could still be incorporated

tbh i’m not really fond of ichika being given the wendy role just to be a love interest for rio. she’s far more than that. that doesn’t mean ichirio’s off the table, but i don’t think putting ichika in the wendy role is the right way to go about it. she also doesn’t have the wendy vibes, at least imo. part of why i was thinking yukari might be a good fit for wendy is that they both have Cool Older Teen aspects, which ichika definitely doesn’t have

honestly i don’t really think i’m gonna have a specific robbie role? the closest thing to the robbie-dipper rivalry would be a frenemies dynamic between rio and yukari, since i adore their rivalry in canon and i’ll take any chance i can get to include it

oh don’t worry rio definitely gets roped into the akiyuka subplot and bibury’s redemption. i just didn’t bother to mention it (and that post wasn’t a complete rundown anyways. it was mostly just ramblings. this au is far from finished, i just came up with it recently after all)

considering rio went villain in canon largely because ciel ditched him i don’t think it’s a stretch for that to be the reason he gets tricked into starting weirdmageddon in the au. however, like i said, ciel ditching him to hang out with lumiere over a long period of time on multiple occasions is what sets the stage. i think that the au’s version of dipper and mabel vs the future (ciel and rio vs the future?) is pretty similar to the actual episode, where rio has the Worst Day Ever and finally hits his breaking point after he overhears lumiere offer an apprenticeship to ciel (which she accepts). (however since i don’t want to shift kirapika’s birthday the party is probably just a going away party and rio didn’t even want to be the one planning it but ciel shoved planning duty onto him to go check out a spaceship with lumiere and then it’s basically all for nothing because everyone keeps rejecting the invites anyways. and the rejections only increase his feelings of isolation and abandonment)

i was actually considering elisio as lil gideon! my one thing was figuring out the gideon-mabel romance plotline. since elisio’s an adult it would be way way creepier and even if i aged him down i still don’t feel very comfortable with it knowing one of the characters is an adult in canon. so perhaps the romance part would be cut and he develops an obsession with the twins for a different reason (maybe they’re the only ones not taken in by his fake psychic stuff and he wants to figure out why and after the twins destroy his amulet then it becomes a revenge mission for daring to defeat him?)

overall, though, i’m glad that you think it sounds fun! i always love hearing peoples’ ideas for my aus

[ctl-yuejie]

assorted thought on ep 1 of love in the big city

since I haven't read the novel, I can only comment on how the characters come across according to the progression of the show/ i am watching this very leasurely so no spoilers please

go yeong really takes me back to my early twenties. the oscillation between playing it coy and acting on a whim really encapsulates the fun mix between hormones and being promiscous but also acting like your promiscous self is a role your are playing.

and even when go yeong is in his element we get glimpes in between of who is is underneath which both makes this a great performance as well as a fun character.

he seems to be drawn to older men but i am not sure yet whether that is a real preferance or whether he is projecting something on older men he thinks he needs in his life.

the tension between him and kim namgyu is really fascinating. it is already there during the first meeting, but it feels like kim namgyu is immediately enamored by go yeong whereas go yeong eases himself into it. he seems to look for something in kim namgyu, that something older men signify for him, but from the start he seems to know that he will not get it from kim namgyu. he looks in disbelief at times, or looks at kim namgyu as if he's a fun oddity he's come across. at times revved-up to a point where it is hard to tell whether he even sees kim namgyu for who he is. i don't think he's callous, he just feels like he hasn't found his own balance quite yet, so he knows what he wants or doesn't want in the moment but not much beyond that.

and kim namgyu feels so insecure. flattered by go yeong showing interest, trying to make him work in the structured life he's created. the hill top scene really is wonderful. for once, a favourite spot of a character that doesn't feel like the most common viewing spot but a bit out of the way and in this moment go yeong feels a bit more calm and honest with himself (despite still visibly making the conscious choice to use certain "tricks" to make kim namgyu fall for him - which wasn't even necessary imo and i am not sure whether kim namgyu is seeing through it or not).

mi ae is...really well written. how from the beginning she brings up keeping his promise and it immediately sets the tone for the dynamics at work: she is so far ahead of the average societal norms that she doesn't even consider that mentioning it twice could be anything but reassurance. she doesn't care that he's gay, even more so: having gay friends is not special to her. she doesn't have gay friends to flaunt any progressive politics or create a character for herself, she very much knows who she is and is just living her life. she lives a party lifestyle but she feels mature in a way where go yeong is still searching for who he is. he is meandering around, wheras she might be on a trajectory of change but always at peace with who she is.

and once go yeong understands her, they click. i love their friendship, it is such a precious thing to find someone like that at such an important stage in life. and is a brilliant observation of the show how both get austrasized for not fitting in, despite go yeong not being out. even the blow-up of the sort-of friendship he had on campus doesn't feel like it'd be the reason. him not standing for their sexist bs feels like it was the outward signifier that he doesn't conform and now no one tries to include him even if they have no idea what initially made his friendgroup shun him. this unspoken understanding of go yeong not fitting in with everyone else that everyone just accepts and doesn't even try to challenge or find the reason for it.