str4wb3rrys1mp - Tumblr blog

[str4wb3rrys1mp]

I'm so sad there's so many male rover x scar fics on ao3 and not enough for fem rover.. like I support the inclusivity wholeheartedly, but I don't have a pp and I need him carnally

[str4wb3rrys1mp]

I NEED HIM CARNALLY!!❣❤❣❤❣❤❣ HE'S SO YANDERE CODED!!

[str4wb3rrys1mp]

No, your oc isn't too cringe or a Mary sue. Yes, it's completely fine that it looks similar to your other ocs. Yes it's completely fine that it looks similar to a Canon character design. No it's not uncreative. No the design isn't shitty. No the backstory doesn't have to make perfect sense or be all figured out. Yes it can be self indulgent or unrealistic or overly sappy. No you don't draw your favorite character too much. Yes you can flip flop between developing whatever characters you want. No you don't have to keep the parts of your character that you don't like or that make you uncomfortable just for the sake of consistency, realism or whatever else

[str4wb3rrys1mp]

when the smut is actually smutting and you have to avert your eyes towards the imaginary camera in the corner of your room like its the office

[str4wb3rrys1mp]

At this point ima stop saying illl come back bcs I never do LMAO I stalk reqs alot and ig I might do some but I don't have the attention span to maintain an actual blog.. BUT imma write smthn for hsr and post it in the next week so look out for that ig

[str4wb3rrys1mp]

Guys. Stop tagging your OC stories as X reader. It’s hard to sift through and I don’t go to the x reader tag for OC’s I don’t care about .

[str4wb3rrys1mp]

Updated Genshin Characters I Write For <3

---

°Monstadt°

╰➤ Venti

╰➤ Kaeya (only Khaenri'ah price)

╰➤ Jean

╰➤ Albedo as well his "twin" from the event a while back

╰➤ Eula

╰➤ Ficshl

╰➤ Mika

╰➤ Razor

╰➤ Sucrose

╰➤ Klee (Platonic Only)

╰➤ Diona (Also Platonic)

°Liyue°

╰➤ Chongyun

╰➤ Hu Tao (Hu Tao Haters DNI)

╰➤ Xinyan

╰➤ Xiao

╰➤ Yanfei

╰➤ Yaoyao (Platonic)

╰➤ Yelan

╰➤ Yun-Jin

╰➤ Zhongli

°Inazuma°

╰➤ Itto

╰➤ Kirara

╰➤ Raiden Shogun

╰➤ Kokomi

╰➤ Thoma

╰➤ Yae Miko

╰➤ Yoimiya

°Sumeru°

╰➤ Alhaitham

╰➤ Cyno

╰➤ Dehya

╰➤ Nahida (Platonic)

╰➤ Layla

╰➤ Wanderer

°Fontaine°

╰➤ Furina

╰➤ Lyeny

╰➤ Navia

╰➤ Wriothesley

╰➤ Neuvilette

°Fatui°

╰➤ Tartaglia

╰➤ Dottore

╰➤ Pantalone

[str4wb3rrys1mp]

Hewo, you still alive there bud? I kinda want to make a request but I don't know if you living

Omg yes I'm alive!! I got busy again QwQ luckily I should have some time to focus on stuff I want to do, so ask away!!

[str4wb3rrys1mp]

I PROMISE IM ALIVE BAHAHAHAHAHHS

I'll look at my requests tmrw sorry for going poof and pulling a classic dad move

[str4wb3rrys1mp]

Dottore angst bc I hate my feelings

Read this Dottore fic with a part android reader, thought of this because ig I'm not allowed to be happy

---------------- Everything felt cold before him... But somehow it was worse with the mad doctor. "What's gotten into you android?! You've been acting out and I really don't like it." Today I decided to confront Dottore about what I felt for him, but I didn't think it could possibly backfire this hard. Silly me. I tilt my head back letting out a soft breathy laugh, a single hiccup breaking it and tears falling down my cheeks. "Don't you see it idiot?!" He scowled at that. "God I didn't exactly take you for oblivious doctor." This time he stayed quiet taking a protective stance Infront of his nearly nude secretary. "What's she talking about baby? Sh-She's crazy right?" Dottore turns to the woman at his side, and shushes her. "I have no clue what she's talking about darling, she is clearly malfunctioning. Don't worry" I focus on her, but my gaze is soft, and non-malicious. "Y'know, he calls me that too." The blonde woman looks up at the doctor, clearly hurt. I clear my throat. bringing their attention to me once again. "I don't want to take your time, so I'll just say it." I Inhale and look straight at the blue haired male. "Zandik, I loved you. Fuck I probably still do somewhere in me. But I'm done, I cant look at you with other women. It stings, y'know." Dottore loosens his grip on the blond beside him, but I notice. "I hope you two are happy together, I really do." "Does it sting? No question, but, I'll get over it." He opens his mouth, but closes it when words don't come out. "I'll be gone by morning." --------- ACTUALLY SOBBING RN PLEASE PLEASE SOMEONE SEND IN A REQUEST WITH AN IDEA OF HOW TO TURN THIS AROUND I LOVE HIM SM AND IDK WHY THIS CUTS SO DEEP BUT IT DOES

[str4wb3rrys1mp]

HELLO IM NOT DEAD !! I do apologize for going without saying anything I got writers block :( I'll be doing my best but I can't gaurentee it'll be the best I can do bc I'm stilling the slump ykyk

[str4wb3rrys1mp]

Typing before I look oh buddy boy,,

....CAN I TAKE BO

KSKSJSLSKSKLASIIS OKAY GENOS-

I'D NEVER SAY NO TO U 🤚

Tagging: @kingkyoujurou @presidentmonica @laudthingcat @kampfkuchen85 @cherrykamado @bxbycake @happygoluckyalexis @tonaken + anyone who wants to <3

[str4wb3rrys1mp]

I'm happy to announce I now write for dinoverse !

Havnt finished vtsom so only the RMU trio rn.

Pls send albert and or vincent asks mostly I love these men sm

[str4wb3rrys1mp]

HII! How are are :D I see your a new writer, and I wanted to send a request to you and it hopefully won’t be to hard to do, so since you write for creepypasta….

May I request Homicidal Liu, Jeff The Killer, Brain/Hoodie and Jane The Killer with a Male!S/O who has a Cutthroat Personality from Akudama Drive?

I hope that’s fine with you ^^ thank you so much! Have a wonderful day :D

Omg yes ofc I havnt seen this one but I'll have to watch it!! But I cant write hoodie for shii srry :(( Also I'm good hry?

JANE THE KILLER

Jane admired your childlike wonder, but was a bit jealous of it at the same time.

One night she had broken into your house, initially thinking she'd be in and out like usual.

So imagine her surprise when cute little you not only held your ground but managed to flip her onto her back, making a loud thud on the ground.

Tbh baffled for like five seconds.

After a bit more back and fourth you both hear a knock at your room door, making you and Jane freeze.

Your roommate called your name and asked what the hell you were doing at 2:37 in the morning.

Jane, luckily gave you some time to answer him, before shooting you a grin and dashing to and out of your second story window.

A bit concerned for her, you hurried to your window, but Jane was nowhere to be seen. JEFF THE KILLER

Somehow your friends had convinced you to go into the creepy haunted woods behind your backyard.

When Jeff first say you mf prolly went feral.

Like,, drooling, the whole nine yards feral. 💀

But when your group actually saw him, he was stoic, the most you'd get was him staring at you from the back of the room.

And than you managed to throw hands with THE PROXIES?? managing to break one of BEN's console cords and strangled Masky for nearly five seconds??

Now he's just plane impressed, you don't look the type, in your pastel outfit with a white and pink sailor hat atop your head, but Jeff knows that looks can deceive.

Somehow mans managed to pull you into another room away from the chaos, and proceeds to ask you to "Show him your strength"

so naturally you think,, oKAY maybe he wants me to punch the wall?? idk man

BUT THEN this GROWN ASS man holds out his hand, beckoning for you to grab it, so you do and mf sticks his thumb up and challenges you to a thumb war

so after you kick Jeff's shit in and beat him, he agrees to show you out of the mansion.

He helps you load your bloody and bruised friends into the car that you took to get here, assuring you they weren't dead, they just needed immediate medical attention.

right before you got into your car, Jeff turns you around and asks a question.

"Can I get ya number prettyboy?" HOMICIDAL LIU

Liu had known you since 4th grade, so you didn't necessarily scare him.

most of the time

You've always been like this, but you were really cool! He swears! Just give it some time.

However what does freak Liu out, is when someone makes a comment or a joke that you don't like, because you go deadly silent.

If looks could kill man, these mfs would be long gone.

AND THEN you can just go back to laughing and looking so happy like you didn't just try to murder someone with a glare???

Also freaky, in his humble opinion.

[str4wb3rrys1mp]

Do you have any headcanons for Homicidal Liu? He needs more content xD

Omg yes I love Liu sm here u go bestay!!

Liu is the sweetest boy there is, he's so shy but he loves you, and tried his best for you!

He can honestly get a bit territorial around some of the other pastas though.

I imagine that you'd just be playing games with BEN and Jeff, than Liu would come and hug you from behind while glaring daggers at Jeff.

Yes, he's forgiven Jeff but he don't know what he'd do if you drifted from him and gravitated to his brother.

Liu loves to snuggle with you!

Usually the little spoon, but he can be a big spoon if you ask!

I hc Liu has a plethora of stuffed animals under his bed, why? Because he needs to hold something when he can't hold you!

He'll occasionally let you borrow some too!

All in all, Liu loves you and does his best for you. He dosent want to loose you, but I'm sure you won't go anywhere.

Your first date with him was a starlit dinner, he took you to the tallest mountin in the forest and you two set up a picnic together.

Liu fell asleep on your shoulder.

When he woke up he noticed you were too busy to notice him up.

Liu took your face in his hands and leaned in to press a soft kiss to your lips.

After he pulled back you could just see the adoration in his eyes, and he knew you were the one that he wanted to spend eternity with.

[str4wb3rrys1mp]

Tim: I have removed all distractions. You have to be able to focus now.

Y/N: Silly neurotypical. So naive.

Y/N: Don’t you see? I AM the distraction!

[str4wb3rrys1mp]

Hi, I love your post about the bw arc. Do you have any more writing tips?

Hey, thanks! Glad I don’t spend all my time thinking about this stuff for nothing. If you want me to dissect an arc or character from a story perspective just send an ask. And I’m full to the brim with writing tips lol. Here are some:

- The #1 thing you can do to increase tension and reader immersion is to establish that actions have consequences. If the story goes out of its way to show the impact of events, it builds tension because people know that what happens will matter. Compare RS to XY. XY continually pulls fake outs, where a character is put in danger to shock the audience but after a cutaway is revealed to be just fine. There’s nothing wrong with this, since it’s a way to give the arc a dark tone while staying within the ‘all ages’ rating, but after a certain amount of fake outs it’s harder to believe it. When Malva disappears with Diantha I’m less likely to buy into the idea that she’s in danger after I’ve seen Viola survive being hit with a sword and Y being cut down by a helicopter blade without lasting consequences.

RS, on the other hand, starts the disaster off by showing consequences (which also lines up with Ruby’s first realizing that he’s been hurting people). Seeing Slateport underwater and people in a makeshift hospital drives home a sense of “this is happening” early on. Little things too, like showing Dock and Captain Stern having permanent lung problems from their Team Magma encounter, make a big difference. When XY threatens a character, you don’t think much of it, but when RS threatens a character, you actually feel afraid for them. Even little things, like showing that a character is injured after going through a fight, count. Showing consequences, and especially building up a streak of them, is one of the most important things to keep in mind while writing.

(Another thing RS does to build immersion that goes hand-in-hand with this is evacuating the citizens at the beginning of the disaster. Once we’ve established that civilian casualties aren’t possible, all of Hoenn is basically fair game to destroy within the ‘all ages’ rating, which it doesn’t hesitate to immediately do. This allows it to have a sense of genuine danger and build up the streak of consequences that form the perfect storm that is RS. This also gets into a discussion of why raising stakes is a precarious gamble and how RS manages it masterfully, but I’ll get into that topic some other time.)

- I went over the basics of story structure and fractal theory in a previous post, but there’s a simple trick for structuring plot that I like to call the “then-rule”. Basically, you should pay attention to the connecting words you use when describing a story, because you want to use the word then as little as possible. A good example would be the first half of DPPt, whose events are only tangentially connected, vs the second half, whose events lead into one another better. If you’re using the words “then they go...” or “then this happens...” a lot, it’s probably time to rework some stuff. Connecting events with the words which, but, so, etc leads to stronger stories.

Another good example of this would be BW, which has excellent structure, and XY, which has poor structure, at similar points in their story: “As the gym leaders are dragged away they send Black to train with Brycen, where he learns that the league is being moved up and he needs to summon Reshiram, but he can’t handle it so he runs away to find a way to enter the league without badges, which leads him to Cobalion. Then N beats Alder and Munna leaves Black, which causes him to give up, but he remembers himself at the last minute and enters the league...“ vs “X and co fight Lysandre in Geosenge but he gets away. Then they meet Blue and he instructs them on mega evolution. Then they go to Anistar City and find all the mega stones. Then they get attacked by Emma and learn that Lysandre is in the pokemon village, so they go there for the final battle...”

You can see why BW has good forward motion propelling itself from point to point, while XY’s second half feels more like it’s checking off a set of boxes rather than a series of actions and reactions, so it loses that sense of momentum. The stronger the events of the story are connected, the more solid the structure will be.

- One way to make a story feel like it has depth is to pay attention to the conflict. Conflict is created when two things are put in opposition to each other. The amount of conflict should scale to the size of the story, but there should be a variety of it. It’s good if you can draw out a conflict map with the characters/institutions and have multiple for most characters. For example, compare GSC and RS. GSC’s main conflict is ‘good guys vs Pryce.’ There’s some Silver vs Pryce and Gold vs Silver, but it isn’t explored much. For how many characters GSC has, there isn’t a lot going on between them. (There’s also no conflict between Gold and Pryce, which is why it doesn’t make much sense for him to be our protagonist or to be the one who finishes Pryce off, but then again “guy who thinks he’s the main character” is Gold’s entire personality, so it weirdly works.)

RS, which is the same size story as GSC, does a great job with its conflict. The reason why a lot of the fights are cool is because we’re seeing conflict beyond ‘dexholders vs villains’ like a lot of spe arcs, such as the gym leaders vs admins fight and Archie and Maxie’s battle. When we see Archie betray Amber, Roxanne butt heads with Winona, and Archie and Maxie team up and then scheme against each other it feels fresh. There’s also a broad variety of types, romantic like Wallace vs Winona and institutional like Norman vs the Pokemon Association. All this adds up to give RS’s world a feeling of realness.

For another example of why conflict types are important to pay attention to, I’ll turn to my favorite punching bag case study, the chimera ant arc of HunterxHunter. Whereas previously the show had been about Gon and Killua navigating hunter society to achieve their goals and finding both enemies and allies who are doing the same thing, the chimera ant arc switches from conflict within the structure of a society to the hunters as a group vs this big existential threat. This major shift causes the arc to lose a lot of depth and intrigue that the previous arcs had. (This isn’t its only problem though; this arc is one of my favorites because the drop in quality between it and previous arcs of the show make it a great comparison study for what not to do in a shonen story.)

- There’s a specific type of conflict I want to talk about called opponents. (I’m redefining a term originally coined by John Truby a little. He meant mostly for the opponent to be the antagonist, but like a lot of Truby’s ideas it’s restrictive and only applies to an idealized version of story. I think the definition should be expanded to include supporting characters, otherwise it only fits like half of all stories.)

The opponent, one of the most important characters in the story, is essentially the protagonist’s foil. They are “the person best able to attack the weaknesses of the hero [...] and drive each other to greatness.” The hero is reflected in their opponent(s) and forced to grow from the pressure of their interactions. (And a character’s opponent can’t be themselves.) It isn’t enough to just design a good opponent; the opponent needs to be well executed too, since they are how you explore the protagonist. RS, like everything it does, goes above and beyond with its opponents by giving Ruby not one, not two, not three, but four opponents, all of which have relatively equal impact on his character arc (Sapphire, Norman, Wallace, and Courtney):

When Sapphire challenges Ruby to their race, neither of them know that the other is the person they’re secretly looking for. After scaring his childhood friend away because he tried to save her, Ruby avoided battles and ran from things (his flaw). The Sapphire he meets at the start of the story is perfect for pushing him into situations where he has to deal with it, but the genius lies in how Sapphire is also secretly the childhood friend who caused him to be that way, but I’ll get more into why that’s cool when I talk about circular structure.

Ruby spends the first three volumes running away from his dad, before he finally stops running and fights him. He’s the archetypical father, something that Ruby has to learn to face as well as a connection to his past. Ruby is driven by his feelings about his father, and at the end when Norman dies and gives the revelation that Ruby caused Rayquaza to escape and his family to be split apart, he pushes Ruby in a different way to the final leg of his character arc.

When Ruby meets Wallace he’s mesmerized by him and begs him to take him as an apprentice because he wants to be like him, though the irony is that Wallace is a beauty contest master who does both battles and contests, and battling is the side of himself that Ruby is currently running from. Wallace represents the completed version of Ruby that he needs to become, a beauty master who’s talented in battle, a combination of the parts of Ruby that are currently at war. Wallace even owns pokemon that Ruby previously labeled as ugly, like Whiscash, except they become beautiful under Wallace’s care. Wallace is the one who slaps sense into him in Slateport about Feebas leaving, and he’s the one who gives Ruby the final beauty ribbon at the very end, acknowledging how far he’s come and kicking off the final step of his character arc.

The friendship between Courtney and Ruby is very deliberate, since she represents the “dark side” (quote unquote) of Ruby. Courtney is shown to be morally gray, since she mostly just does what she wants. Giving her a complicated past involving contests is a very deliberate choice. She starts following Ruby because she sees herself in him, and she even asks him to join Team Magma at one point (and I don’t think he’d be that bad of a fit there.) By drawing parallels between Courtney and Ruby, it helps establish that he is a lot like her: not good, not bad, but complicated, and it’s only after she dies that Ruby completes his character arc. The way that they come to understand each other and how Ruby promises that they’ll compete together in a pokemon contest before she dies helps drive the emotional impact of those parallels home, too.

You can see how important a good opponent is. Just like with real people, where the self is only understood with the existence of others, opponents are how protagonists are explored. Don’t hesitate to go absolutely ham with opponents. A character is only as good as their foil(s).

- There’s a simple trick to characterization: if you want to write three-dimensional characters, all you have to do is show them having an inner self that’s different from their outer self. Ideally the inner self and the outer self should contradict each other, not just because this is the basis behind how a change arc works (with the character’s outer self typically corresponding to their Want and the inner self corresponding to their Need), but because it get to the heart of something that is important to all stories: the way to add depth to anything is to assign it contradictory elements.

The XY arc does a great job with this, probably better than any other arc: You have Kalos, the shining region filled with beauty, which also has a massive homelessness problem and the people are ignorant. X is a prodigy with a bright future who has depression and hides away in his room. Lysandre is a philanthropist dedicated to bettering society who decides to kill poor people. If you take two things that shouldn’t exist together and put them into one thing, it automatically adds depth to the story, the kind of dig-down-and-explore-it depth that people like me go nuts over. Human beings are made up of contradictions, so naturally they’re the things we find most compelling. And, because conflict is created when two things are put in opposition to each other, it gives the story built-in conflict.

This concept applies to characters too. Part of the reason why Ruby is such a compelling character is because he’s composed of conflicting elements, a walking paradox. Silver is another good example: he’s a good guy who comes from villains, both by birth and through raising. He’s a justice-driven hero who happens to be the son of a mafia boss. Ruby, X, and Silver are great characters because they have conflict built into the very fabric of who they are. I can’t emphasize enough how important creating things out of contradictions is to writing interesting stories.

- There’s also an “and-rule” for characterization that follows this principle, where you should pay attention to the connecting words you use when describing a character. Instead of adding on additional statements (“this character is this and wants this and comes from this and this happens to them”) you should combine them by using fewer total statements and more connecting words that aren’t and (“Silver wants to go home but learns that he comes from Team Rocket which forces him to choose what’s more important to him” or “Red lives to help people but he’s the reason the islands are under attack so the people chase him off which precipitates a mental breakdown”). The most interesting part of a character always comes from the but in the statement and the consequences that follow it.

- When writing dialogue, it’s important to keep in mind that people never say exactly what they’re thinking, and good dialogue conveys information from what the characters aren’t saying as much as from what they are. If a character says what they’re feeling, it feels jarring because people irl don’t do that. However, you can create memorable dialogue by subverting this rule and use that jarring effect to your advantage by having a character say exactly what they’re thinking at a pivotal moment, like “true beauty comes from the heart,” or famously Darth Vader’s “I am your father” line. Whenever you come across a rule, try to figure out when you can break it for maximum effect.

- Probably my biggest pet peeve is when stories don’t follow through with what they’ve set up. I can’t think of any pokespe examples, but one example would be the ending of ATLA, and I don’t mean the whole “Aang taking away Ozai’s bending” controversy—that’s whatever I don’t really care—but the decision to have Ozai destroy the earth kingdom. If the fire nation has been colonizing the earth kingdom and profiting from their resources, why would it make sense for Ozai to go cujo and burn it all to the ground? The show had previously shown nothing but nuance when parts of the world interact with each other, so I would expect it to end on that same chord, but to reduce the ending to a fight fest makes the ending feel hollow, like all show and no substance. (The stakes are also too high to be believable, and it also might be an issue of the show giving an answer without first setting up a question, which is a problem I’ve been thinking about lately when it comes to hollow endings, but I don’t have all my thoughts together on that yet.) I know the writers were cut short a season, but come on.

Though the worst example of this I’ve ever seen is Castlevania s4. The whole season has this beautiful sense of momentum that’s so well done you can taste it. They make a point that the vampire ladies have survived this long because they only took what they needed, and now Carmilla is going crazy and has a big plan to take over the world for what people have done to her, ignoring Lenore’s doubts that they’ll end up destroying themselves. You can tell where it’s heading: The generals are going to revolt against her and either one of them will kill her (probably Lenore for maximum narrative impact) or she’ll destroy herself. But then with three episodes left they have Isaac open up a portal and teleport his army to Carmilla’s castle and he’s the one to kill her, even though those two have the least amount of conflict between them. Like... what? The way the season had such a beautiful momentum that was so strong it was almost palpable, only to cut it off with the most abrupt and unnatural ending possible for that story thread feels almost like a betrayal, and I remember checking out mentally after that happened. So, like, don’t do that lol. If you’re building something up, go ham with it or risk losing the catharsis that comes with endings. Then again I’m extremely picky when it comes to endings.

(And as long as I’m talking about Castlevania and pet peeves, the way the series doesn’t intertwine its subplots is its biggest [and possibly only] writing problem. All the conflict takes place inside Dracula’s castle while Trevor and co hang out in a bunker for two seasons only to just show up for the final battle, which looks and feels great but doesn’t have a whole lot of build up if you think about it. The whole “failure to interweave the A and B plots” is a problem throughout all of Castlevania, and it makes me itch when I watch it because it’s a simple step that could take the writing from good to great, or from fine to good in later seasons, but anyway back to pokespe.)

- For the final thing, I was going to talk about circular structure, since RS’s masterful use of circles is what takes its writing from good to phenomenal, but this post is long and analyzing RS’s structure is an essay of itself, so I’ll do that some other time. Learning about ring composition is a good idea. You don’t have to write a circular story, but the principle behind circular structure (ending things how they began) is handy to have in your toolbox if you want to write a phenomenal story. Circular structure is probably the most difficult structure to get right, but I can’t recommend it enough.

That’s all I have right now. Hope that helped!