#I struggle so much with exposition. and outlining

[owlheartt]

Are we aloud to know how Mira knows Nightmare and Dream?

This is a simplified version of their first meeting lol :))) I’m working on the comic outline atm but I’ve never gotten far enough to have her meet them, so it’ll probably look different in the comic

Nightmare and Dream by Joku

Ink by Comyet

Cross by Jakei

Mira by me :)

[lime-bloods]

Reading Roxy and Meenah as doppelgangers: a digression on manifestation theory

A brief introduction to manifestation

Manifestation theory sounds scary - the idea that the appearance of trolls and other fantastical creatures might double as insight into the psychological goings-on of our human protagonists is not one that necessarily comes intuitively to all readers. But as blogger azdoine succinctly put it: it's basically "just symbolism". Characters in a story symbolise something, and, understanding that Homestuck is chiefly about its human protagonists, it's logical to presume that the non-human elements symbolise things that are relevant to the protagonists' human experience.

mmmmalo has written at length about what he identifies as the signs linking Meenah to Roxy's inner psychodrama - the things that make Meenah an "esoteric mirror" or "doppelganger" of Roxy. For comprehensiveness' sake, I'm going to outline from scratch what I have identified to be the key signs, and to that end this post is going to discuss the topics of reproduction, reproductive coersion and miscarried pregnancy (with text-pertinent allusions to grooming and incestuous abuse).

One big happy family

Looks like a little girl's room. This all strikes you as a bit odd.

Hussie suggests only briefly in commentary that the young Roxy's (β) upbringing was at the hands of "a younger grandpa Harley" (Book 2, p. 106), but we needn't take their word for it; the scenery here speaks for itself. Roxy grew up in a dark green basement, trained from childhood to become an agent of Harley's goals, just as Damara (β) - and then by succession Meenah (β) - would be trained as English's agents. So, by analogy, Grandpa Harley is Lord English.

This is another point mmmmalo has (in)famously already made, but regardless of your thoughts on the particulars of that specific reading, the key clues pointing to English as a manifestation of the "Grandpa" character are still plain to see. When John says "the worst case scenario" would be "[facing] our grandfatherly paradox-dad as a last boss", he's explicitly referring to he and Jade's family patriarch, but he's also implicitly foreshadowing Lord English - a character who, in the maturity of 2024, we should now all be able to recognise is in one way everyone's grandfatherly paradox-dad. He represents the same upper echelon of paternalistic power on a cosmic scale that Jake (β) represents on a familial level.

Moving this along towards my point: essentially all of Acts 1-4's adult characters form part of this elaborate Nuclear Family Roleplay - a pantomime of the 'Suburban' setting Homestuck is founded upon. In the same way Jake being known as simply "Grandpa" symbolises his arch-patriarchal position, the reason Roxy is known only as MOM for the first five acts of the comic is because this is the archetypal, impersonal role she has been reduced down into. Her relationship with the character named DAD is a direct invocation of this - the two are essentially playing house, living out the gendered roles that have societally/cosmically been laid out for them. The comic's exposition coyly brushes over this, but a deeper look at Alternian culture gives us a much clearer vision of why 'MOM and DAD' make such an iconic matespritship: on Alternia there ARE no real family units, only procreation, and therefore matespritship is understood by the planet's inhabitants as a mere expression of "mating fondness". MOM and DAD make such a cute couple because they are exactly what their assigned titles depict them as - a breeding pair.

This is basically the crux of Roxy's arc right up to the very end of the comic; though Roxy's (Α) post-apocalyptic anxieties about the extinction of the human race bring these thoughts to the forefront, her struggle within the patriarchal structures of the household / society / reality itself has always been that she is only valued as a MOM - as a breeding machine.

The problem therein is that Roxy is seemingly incapable of having children.

The grieving mother

Within Sburb's scheme of universal childbirth, a "void session" is one that simply doesn't have the eggs required to bear fruit. So it's immediately easy to see why the Hero of Void would have similar trouble bringing a pregnancy to term. But certainly not for lack of trying!

Sorry, Jaspers [...] your final resting place is already a mockery. You should have decomposed years ago under a bed of petunias like a normal cat. Not given to a taxidermist and fitted with a tiny, custom-tailored suit, and then stuffed in a coffin built for infants.

When Rose was still very young, Jaspers was found dead. Roxy took the death of her CAT so hard that Rose found it difficult to take her grief seriously, interpreting the cat's elaborate mausoleum as a "structure erected with a spirit of scornful IRONY in response to [a] youthfully innocent request to hold a funeral for the animal." But more than any other, Rose and Roxy's relationship is one defined by miscommunication, and this assessment of Roxy's grief doesn't even seem to hold up to Rose's own recollection of events: later, we hear that the funeral service was something Roxy "insisted upon".

And thus begins probably Homestuck's most clear-cut example of a character's arc stretching across multiple iterations, because from this point - parallel to her neverending quest to settle down with a nice hubby and start a family - Roxy (both β and Α) becomes fixated on bringing back her baby - I mean CAT - only to produce failed mutant after failed mutant. These freaks of nature are not Jaspers, and by the laws of time travel dictating the lives of Paradox Clones they can never be Jaspers. The younger Roxy's first few attempts are literally stillborn; while she's eventually able to create what she calls "healthy felines", she still keeps those monsters locked in the basement they came from, for fear of upsetting her real CAT.

Even as over the course of her Sburb quest and her interactions with the new arrivals from the other session Roxy is seemingly able to address and even overcome some of this obsessive gnostalgia for the things she's lost, her apparent inability to bring to term resurfaces when she's made the reproductive object of another grieving mother.

The lamenting queen (or: the other mother)

Her Imperious Condescension is not so immediately recognisable as part of the family pantomime because the troll social structure doesn't use the same terminology we're familiar with, but she's always been there; just as Lord English is grandfather of grandfathers, Meenah is the family tree's literal grandmatriarch of grandmatriarchs, placed upon the Earth in the guise of Betty Crocker - archetypal nurturing housewife - so that her children's children might seed the events architected by her master. This kind of familial roleplay is exactly how English and Meenah's story is passed down to her descendants; Jake recalls that "the witch used to be married to a terrible man named english." Dirk is insistent, though, that this is a masking of the truth, and that English was only ever "her superior". And while it's true that we can't say for sure a young Meenah (β) slept in the same bed Damara grew up in, the fact that Meenah was only formally recruited after Damara's death should not be mistaken for suggesting that Meenah was not one of English's many daughters. She was "the Lo+rd's slave all alo+ng", even if implicitly.

ARANEA: Once she claimed the throne, she would have to serve for many thousands of years, until the next successor was ready.

For all the differences between Meenah and Roxy's cultures, slavery in the form of motherhood has always been the expectation of the female fuchsia caste, right from the very beginning of Meenah's arc - not as the empress of Alternia, but on Beforus, where the hemospectrum is reframed in far more familial terms:

ARANEA: The jo8 of each 8lood caste was to serve the needs of all those 8elow it. ARANEA: We were to use our progressively greater longevity and wisdom to help the lower castes learn and grow. To listen to them and try to provide whatever they were missing. Like a hierarchy of caretakers with increasing social responsi8ility.

Crucially, this is where Meenah and Roxy appear most to act as reflections but not carbon copies of each other; because where Roxy constantly strives to contort herself into this motherly, wifely role, Meenah perpetually runs from it. Saddled with the "incredi8le responsi8ility" of sitting atop Beforus' structure of care, Meenah "viewed the empress as a glorified slave" and fled to the moon, and even forced into ascendancy on Alternia she finds implicit ways to be absent from her children, spending her life flying further and further away from the planet where they're born and taking every opportunity to hand off any real political authority to clown rappers (a tendency reflected in her human heirs - the company is always passed on to the son and never the daughter).

But when Meenah finally returns home to find her children suddenly massacred by a galactic apocalypse, her arc begins to pull into line with Roxy's in earnest.

A fluffy twitching prison

TT: The rumors say it was her own "pet" who killed them.

From the moment of her dramatic introduction, Meenah's tragedy is that though she can extend life indefinitely, she cannot have back what she's lost, and this continues to be true as she attempts to resurrect her children on a new planet; attempt after attempt, her babies all die. Despite Gl'bgolyb's explicit death in the meteoric holocaust which claimed the rest of her family, the creature has inexplicably returned on the trolls' prospective new homeworld with the apparent sole purpose of making sure Meenah can't carry to term. We're left to our own devices to figure out just what's going on here.

Act 6 of Homestuck introduces Watchmen to its repertoire of intertexts through Jane's poster of cobalt beefcake MANHATTAN. Watchmen's Dr. Manhattan is an omnipotent world-shaping being who flees the responsibilities of Earth to settle on the planet Mars, iconically rendered in beautiful rosy hues by colourist John Higgins - when we hear the story of Meenah's refusal to the call of being Beforus' own god-empress, it's against the backdrop of a photograph of Mars literally hue-shifted pink (see fourth image), and images of Meenah's ship flying over a settlement on the red planet are included among the products advertised by Crockercorp. Far more explicitly, though: Watchmen originated the idea of using the screams of a psychic alien squid as political leverage, and that's why Gl'bgolyb has to be here for this part.

Alongside commenting on the political landscape of the 80s and the fascist undertones of the superhuman archetypes found in comic books, Watchmen pays particular attention to these characters' sexual eccentricities, and particularly their hangups with women. It stands to reason that of the latter closet homosexual Ozymandias' are the most severe, but they also become the most explicit: the artificial 'horrorterror' he uses to usher in his new world order is his fear of the female body made manifest. With its single clitoral eye and sphinctered mouth, the creature is unmistakeably yonic, and included in the horrific psychic imagery it broadcasts to instill fear into the Earth's population are nightmarish images of juvenile aliens chewing their way out of their mother's womb - the very same image trolls use to describe their disgust at human reproduction in The Homestuck Epilogues. Meenah's relationship to Gl'gboylb should be thought of the exact same way; one of the rare insights we receive into the adult Meenah's psyche is that she finds the process of giving birth "revolting", and it's for this reason she insists that humans procreate only through impersonal cloning. Gl'bgolyb reappears as Meenah's own manifestation: alienated from her own lusus after spending centuries literally running away from it, and traumatised by repeated miscarried attempts at reviving her race, she sees her own reproductive organs as nothing more than a hideous, baby-killing monster. It's no coincidence that when we see our single glimpse of the enigmatic emissary to the horrorterrors on Earth, it's with its tendrils wrapped around the throat of a symbolic depiction of the Genesis Frog (see above image) - the baby that grows in the womb of Skaia.

Breaking the cycle

By Act 6, the matriorb has already long been associated with failed and aborted pregnancies, having been rescued from the first mother it killed and taken into the care of Kanaya, who is then blasted through the abdomen just as it's destroyed, symbolically miscarrying through physical trauma. So when Roxy is tasked with finally bringing a dead baby back to life, it's a coalescence of multiple disparate threads.

(p. 6463)

Meenah unwittingly - or perhaps uncaringly - perpetuates a patriarchal cycle which has been repeating for eternity by selecting a younger, more fertile doppelganger to take over the role of mother, and locks Roxy in a dungeon with the intention of making her have the baby in her place. But, cycles being cycles and doppelgangers being doppelgangers, the same problem arises. Roxy can only create mutants.

When Roxy does ultimately overcome this, ending the comic with the culmination of this long, meandering motherhood arc, superficially it's because of time spent blitzing her Void chakras in the space outside of reality, and with the help of Calliope as a Muse. But in the time Roxy spends in the white nothingness, she's crucially able to take steps to end her own obsession with reviving the past - not just by burying a version of her own mother, who she spent so much time hoping to resurrect in sprite form, but also in sharing a tearful reunion with the literal ghost of her dead CAT. As with so much of Homestuck, the key to ending the suffering is breaking the self-perpetuating cycle that causes it; made literal, in this case, by Roxy's slaying of her dark mirror image using a sword known for splitting vinyl records - symbolically, for breaking the ever-turning circle of time. And in passing the matriorb off to Kanaya rather than letting Meenah have control of it, Roxy never actually brings this baby to term herself, either - at the end of the day, the minutiae of biology aren't really what motherhood is about:

ROXY: the way i see it is you shouldnt have needed to worry about makin the thing ROXY: i think it will be challenging enough like... ROXY: hatching it?? ROXY: and tending to all the stuff that comes next ROXY: isnt that basically being responsible for the preservation of an entire race of people?

Physically overcoming her demonic doppelganger isn't the end-all of Roxy's struggle with gendered expectation, either. Roxy's complicated relationship with their sex and their motherhood, introduced to us only indirectly through the relationship between Meenah and Gl'bgolyb, becomes central to their understanding and exploration of their own gender identity as they grow into adulthood. Anxieties about the inherent femininity of a childbearing body - the glorified slavery that is seemingly inherent to the cosmically-assigned role of the mother - give way to an understanding of the human body as "something altogether different [...] A flesh machine" with "a specific, practical purpose."

But I digress

The threads running between Roxy and Meenah exist along the types of lines most Homestuck readers will already be familiar with in some form. When two characters share a class, or an aspect, we expect that traits from one character can be used to analyse and further our understanding of the other. Manifestation theory simply asks that we look for even more subtle and non-literal connections between characters than these - a process which Andrew Hussie themself has identified in authorial commentary as part of what they call "persona alchemy". (Book 4, p. 151)

Roxy and Meenah's particular relationship, though, should also be thought of in terms of another phenomenon which is central to Homestuck's structure - escalation. Homestuck constantly reorders and transmutes the alchemical elements that compose one character into 'new' characters, but it also consistently stretches these fundamental concepts to their logical extremes. Just as a game that destroys planets works its way up to the destruction of universes, John striving to leave his house in Act 1 should be taken as the logical precursor to our heroes leaving reality itself in Act 7. The forces keeping these children in their houses - essentially the story's first ever antagonists - are their parents, and as we scale this story up to a cosmic level, we find that the cosmos is dictated by the same suburban family structures; by celestial GRANDPAs and MOMs, raising/grooming/training/neglecting entire worlds or even galactic empires at once.

By allowing us to meet not only the teen MOMs and BROs and NANNAs, but also the teen Lord Englishes and the teen Condesces, the scratch takes us in the opposite direction, reducing these faceless, larger-than-life figures into their smallest, weakest, most fundamentally human forms. And in some cases, as in Roxy's, this creates the opportunity for the child-form to confront and overcome the very darkest of their potential; by being the one to put Meenah down, Roxy not only liberates herself from her own expectations for what a mother has to be and do, but shatters the very cosmic image of MOM itself, breaking the mold that reality had set in stone for her entire sex - her entire caste.

[oncewhenalongtimeago]

Hiii saw your requests open and i thought why not give it a shot. I love your stories, I'm more attached to your style of writing melancholy like on floret, counting coins, better left unsaid and always the angel never the god. So, just a random idea to throw out there you can do whatever with it:

Hiccup and yn were engaged early on. Yn is a bit older and fitter to follow around Stoick to learn how to defend and manage Berk. Yn feels sorry for Hiccup and tries to make him enjoy his youth and time with his friends more while she made him handle the rest. Leading to a misunderstanding that he didn't feel needed when in fact he did have a crush on her with how she doted on him and how cool she looked fighting dragons and ordering people around. While she liked him for his thoughtful caring side but still envied his freedom and creativity.

That's pretty much it idk lmao it was just a word puke. That's just the gist no need to be word for word, if it's too much i completely understand but truly want to praise your eloquence and how you caught me right in the feels augh. Thank you for your time! 🦀

Wildflower

Pairing: Unrequited!Hiccup Horrendous Haddock III x Fem!Fiance!Reader

Words: 2113

You never asked to be here.

Tags: Mild age difference, fem!reader, heavy exposition, non-canon politics, original characters

Next>

His arms ached, heavy and stiff as if the body of a sapling had been shot right through the bone. They loosened slightly and dipped under some hefty weight- he paid them no mind, eyes drawn to the wild world on the outside even as he grunted and struggled. 

With a jerk, dropping the sword, he with a strength he’d never really been able to spend on the all things that really mattered. There was a hefty clatter and a clang, the sound no less thick than the bang of a heavy bell or a gong, long metal body slamming and dancing against stone.

 His feet and legs stuttered as he stepped both forwards and back, palms roughly meeting the wood of the counter, bouncing eagerly as if he might begin to run or be startled into action.

There had been a shout- something indignant, deeper than normal, not so much a battle cry yet no less defiant and sure. He thought he might have known it- he had to look. 

The feel of smoothed, aged wood beneath his palms, both flatter and rounder than liquid, solid and uninterrupted- the sound of warring battle-cries from the world outside and the sweltering feel of heat from both the forge and the terrible reign of dragonfire and sharp teeth and clawed mouth- all of it came secondary to his searching, the bulk of him overshadowed by the hefty forge window

It was too early in the battle and the warriors of Berk had been too prepared for there to have been a line outside the door, and well- most of everyone had already left for the other side of the island, where the assault had been most violent.

He felt the burn on the side of his hand as he brought his hand back, grazing it against the side of the table- he’d accidentally pressed it against the face of the sander’s belt. It’d stung and buzzed with a thickness not unlike the feeling of folded cloth crusted in dragon spit or the hard skin on the bottom of an old foot, though the skin on his own palm, he knew, wasn’t so thick or stubborn.

Past raging orange flames and scorching yellows he saw you, lonesome, outlined like a shadow in the light across the clearing. 

Your shoulders were stiff and your stance full as you swung the hard, metal-rimmed bottom of a bucket against the head of a beast- a Gronkle, its thick, green-brown head giving way to a wide maw as it bellowed.

 It bled, its blood splattering across your face as if it were naught but a shock of light or darkness made liquid; as if, instead, it was you who had been violently cut and not it.

There was no vicious, beautiful Astrid here to ogle at- not now, as there had been in the before times and as there would be later- no, just you. 

You, who had been meant for him… At least, he thought so. 

He wasn’t completely confident in the fact- the whole thing went rather unspoken of. It wasn’t a taboo per se, more something that lay heavy, made clear through few words a long time ago then made obscure by the lengths of time and age.

Still, there came a suresty with it even if there wasn’t much of a bond between the two of you, something that, for him, acted as a heavy comfort. In times like these, he leaned into it, felt the lump in his chest beat against it like his bones were nothing but taut leather and wood.

-

Blazing red hair, nearly imperceptible against the raging fires as she swung an axe- it took you a while to find any of the others.

Before you was fiery Tove, a tallish Viking girl-woman from a house named ‘Alfson,’ not so influential as it was just there and nearly forgotten. In it, she was like a polished gem among a lot of plain, unassuming stones. She was also a member of your peer group, aged older by about nearly a winter. She’d been born in the warmer month, when the sun was at its hottest and the earth was at its greenest.

You settled by her with crossed arms, close enough to be recognized as part of the group and yet not close enough to hint towards any one specific alliance. 

It was the darkest of nights above yet the fires rendered it light as day. You tried your hardest not to inhale any of the soot as you watched the rest -the two of four, really- fooling, knocking into each other with rough shoulders as you worked where it really mattered.

Your peer group was a large one. The number of you here was only a smallish fraction of a whole, the rest drawn away in the moment by other troubles and politics.

They’d grown complacent in the chaos, used to the raging fires and battle as you all were, carelessly leaving the fires around to burn and eat away at everything. You kept yourself still and casual in spite of it, knowing that, here, words and tussles were just as dangerous as the rock-shattering jaws of any beast.

Brigading was a task born more to temper the fires of the eager younger men more than it was to assure the sanctity of the village, though no task was without its uses- more often than not, however, you all ended up taking up a weapon and battling to your own ends.

Still, you took it seriously. 

You’d not so much been invited into the brigade as you’d one day picked up a bucket and started helping along in silence, though you probably would have been asked along eventually. 

Approval from the others had been slow to garner and yet it was strong, anchoring- you’d no intention of trying to shake it, though you believed it would be hard to.

With the thick wooden handle lying clenched within one hand, you stopped above the smooth, round top of a viking helmet, resting your foot against it as if you were at the edge of a cliff with a sword.

You’d rather be, at least in the day, when the smoke would be blown out and the air fresh and clear.

“-Codswallop!” The one with the protestant words was Duckmaw, who belonged to a set of intimidating burly arms and short-cropped, burned blonde-ish hair typically hidden under a helmet that had made him look bald, soot darkened face scratched and laying posed under your fuzzy brown boot. 

He was unusually brawny and bold for his breed but was also just as soft- he was an Ingerman. Ingermans, though bustingly fierce as any other Viking, also tended to be the most tempered.

“You lot are all the same- tubby poets, you are!” Bjorner spoke back with sharper words. He was the second, and a Thorston, though his second name, Evenson, did not quite match his ties. He also didn’t quite stand on par with his blood, a bit thicker and more prone to jumping into battle than the rest of his clan, who preferred a good bit of taunting first. 

His family was a branch-off- one of many, as there tended to be with the Thorstons. “Gooey hearts and even weaker swords.”

“Your words are of poor taste, though I’d expect no less from a bastard!” Duckmaw shrugged aggressively forwards, jerking away, half turning before he thought to face Bjorner again, stepping closer this time. He looked quite silly with his rounder, younger face and slightly more plump body, standing nearly chest-to-chest with a man who was about two winners his senior.

Absent from your lot were a Hilde and an Arne, who was a plump and tall, honorable nearly-man with blonde hair who was suspiciously absent. Away in a fashion that remained unexplained or pondered was a Jorunn, Frode and Hjerson and a Njal.

“Agh, the lot of them,” Trove spoke appealingly, panting slightly, having brought herself to your side, nudging you in the shoulder. She was thicker than you by about a half and a great deal taller, so her elbow landed more against the top of it than along the side, “We womenfolk know better, yes?”

You gave her a skeptical, apathetic eye before turning your attention back to the conflict, standing still and firm- she hadn’t knocked you hard enough to unbalance you though she had given you quite the hard jab, albeit half of it must have been without intention, the other half with surety and mild competition.

Trove didn’t take so much offense, probably more used to your silence and your stoic behavior now than before, when she also used to grace you with a gruff, judging eye.

“I’m no bastard!” Bjorner barked deeply, squaring his shoulders and stepping forwards again. You couldn’t make out all of it, the sound of splintering wood and the white noise of cooking everything raging for but a moment. “But at least my mother’s no manky whore!”

Gritting his teeth, Duckmaw didn’t back down, even as the thin brown furs still attached to Bjorner’s leather overcoat brushed up against his jaw. His arm- the one facing you- twitched up and down as if he’d wanted to lift it, meaty fists clenching uproariously. “Don’t speak of her that way, you-! You-!”

Your even face did nothing to hide your apathy, even as your eyes stayed trained on them.

Their argument went beyond petty bonds and snippish words- it was, in truth, not their argument at all- more an argument of their house, monoliths of Vikings to which they were of little consequence. It was some tiff over land and the excuse was woodstock. The conflict had grown itself into a mighty feud. 

“Tis the hobby of fools, to spend all their time arguing about their mamies,” Tove said, her freed red hair still doing wonders to blend her in with the fires, some sticking to skin and face, red, pale and slick with sweat like fish’s skin.

You nearly rolled your eyes. As you did, you caught something from the corner of your eye.

“How’ve you lot been doing?” You heard, nearly lost under the crackling of fires and crumbling of houses, the sound of battle-cry off in the distance. He had a plaintive, respectable voice, still somehow smoothe even under the assault of smoke and ash, all male and deep. 

…Ah. Here came the cavalry with a bucket of his own.

You graced swept blonde hair with a nod, what should have been wheat made russet by soot and fire, bursting from the back of Arne’s head where the front was covered by a metal mask- a hazard, as it was, metal being prone to heat and melt under the vicious might of dragon fire. 

You suspected, in a few years, he might have one mighty burn scar running down the side of his face- if he made it out of the whole ordeal alive, as it was. 

His clothes were torn and he sported a bloody gash on one arm- he’d gotten caught up in some battle, then. He was the only one of them who’d already been accepted by the warriors as one of their own, who’d taken up a sword with quiet determination as the rest of them stayed managing buckets.

You occasionally joined him- you hadn’t received any fuss either, and yet… Well, the others needed managing… Watching, more than anything.

He nodded back at you as you levied up your bucket, grasping it by the bottom.

You huffed a breath of hair, blowing away a heavy tuft of soot as it threatened to hit you in the face, unusually large yet very thin, almost enough to be called a burnt wood scrap.

“-That’s what I thought,” Bjorner said maliciously, distantly- he’d jerked forward, and during the time you’d been distracted, Duckmaw, younger and more naive, had faltered. 

You stilled. It didn’t matter so much who was what in this minor, petty battle of wills. It wouldn’t change the outcome. 

It was only by an odd fluke of politics that you’d ended up here, a fisher’s girl from nowhere island, and so while not at all illicit in origin, you were no better than a bastard. 

Here, in this world of blood and fire there was no room for the girl in the woods. You knew that with a quiet, simmering surety, painfully aware of the small square booklet in your back pocket, padding against your thigh as you moved, fresh leather delicately held shut with a clasp, pressing deeply the dulling, colored faces of soft, pressed flowers.

[imbecominggayer]

Writing Exposition And Info Into The Story

This specific post is for @loverboyxbutch who has asked for multiple things with multiple caveats so we have to absolutely get this perfectly answered!

Question One: Exposition And Letters

The quote: I was wondering if you had any advice about telling part of a narrative through things like letters or diary entries?

There are two different ways to incorperate diary entries and letters. It all depends on your formatting

You could have the person's letter be an actual quoted segment of the letter so the reader could physically read it or you could have the basic information be relayed to the reader by the characters.

Neither way isn't better than the other but they do have different pros and cons.

The benefits of quotes is the fact that it allows the reader to see the original writer's personality to come through in their writing. The con is the fact that this quoting can quickly get out of hand and the information is kinda under the emotion.

The benefits of characters relaying the information is the fact that this cuts down on flowing emotion. All the information is laid out there! The negative is the fact that this information lacks emotion and personality.

Objectively speaking, expositio is best gathered through story since it's more natural without having to do an infodump!

Question Two: Balancing Emotion With Info

Quote: "I’m not too sure how to balance the realism and emotion with the information that needs to be displayed."

Remember, realism in stories is less "factually accurate" and more "consistent within itself".

In this case, realism in information is "would this character say this" and "how would this character say this"?

Audiences hate "infodumps" because it feels like the character's personality has turned off and now a college professor is speaking.

So it's definitely important you maintain a character's unique voice and personality when reporting on information. However this can lead to some unreliable narrating.

Ultimately, a character's emotion trumps all else. If a character doesn't have a personality that would reveal all this information in an objective way then they will hide stuff or tell the information in a way that validates their own perspective.

However, in the case a character is willing to reveal information without trying to impress their ideology and beliefs onto your character you need to keep in mind what a character could reasonably know and care about.

Two characters could know the same information but prioritize others. For example, D might focus on the damn bread prices rising again while C is focused on the official's death.

Question 3: What Context The Reader Needs

Quote: "I struggle to imagine how much context the reader would want or need."

This is definitely the hardest thing to answer since this is a highly case by case basis but I will try.

The best universal measurement for what a reader needs to know is how much a character needs to know.

Your characters have information that the readers don't have and the readers have information that the characters don't have but readers don't want to know everything.

Readers need a little confusion and curiousity so they will keep reading and investigating.

The key is to get enough information out there that readers will be emotionally incentived to chase after the rest.

For Worldbuilding, unless this information directly impacts the characters then unfortunately readers just wont care about all the little details.

For future events, forshadowing and outlines are your best friend. You can also use an unconventional story formatting by having "flashbacks" be imbedded into the story as their own individual chapters.

For characters, you can use the "show, don't tell" method. Characters who aren't actively trying to deceive others will lay their personality on their clothing, their face, their room, their friends, and the way they speak.

I hope this was informative @loverboyxbutch . I genuinely appreciate your constant support and I wanted this to be an amazing post for such an amazing mutual :)

[phantobats]

If it's not too much trouble, could you share how you write your first drafts/outlines for your stories/fics?

You seem to have so many fascinating ideas, and you manage to word them in ways that almost seem cinematic and summarize your plots so efficiently. So, as someone struggling to summarize all my ideas into an outline to begin writing my stories, I wanted to ask you if you had any tips on that particular issue?

I will admit that I do have a peculiar work ethic when it comes to typing up outlines for my stories, but I find it's something that helps me more than just typing up a list of bullet points on what happens in a scene. I will also add an example from the current Batfam fic I am working on to better show you what I mean, but first some theory:

When I write a first draft/outline, I write it in the format of a movie script.

Writing outlines in the form of a movie script is incredibly effective because it forces you to focus on showing, not telling, by emphasizing visuals and action.

It tightens dialogue, ensuring every line has impact, while also honing scene structure and pacing. Script format reveals character through behavior and subtext, making emotional undercurrents clear without relying on exposition.

It drives conflict through concise, tension-filled dialogue and helps you create scenes with immediate emotional impact.

By stripping away unnecessary details, scriptwriting makes storytelling efficient, clear, and easy to visualize, naturally sharpening your narrative and maintaining momentum.

As an example, I offer you an outline written like this from a fic that I am currently writing:

EXT. JASON TODD'S APARTMENT - NIGHT

The sky opens up, rain pouring in sheets. TIM DRAKE stands outside a rundown apartment building, shivering as the cold bites at him. His clothes are soaked, clinging uncomfortably to his skin. He takes a deep breath, his body shaking, his eyes locked on the chipped, weathered door in front of him.

The door swings open.

JASON TODD stands there, casually leaning against the frame. A cigarette hangs loosely between his lips, smoke curling up around his face. His emerald green eyes take in Tim’s drenched, disheveled appearance. A beat passes, then Jason blows a cloud of smoke directly into Tim’s face. Tim coughs, looking irritated but unsurprised.

JASON (deadpan) “You look like shit.”

Tim laughs bitterly, tugging at his soaked clothes, trying to pull them away from his skin. The wet fabric clings to him, suffocating. His frustration is evident.

TIM (mutters) “Thanks. Are you gonna let me in?”

Jason smirks, flicking the ash from his cigarette onto the ground, eyes sharp as they study Tim. He leans against the doorframe, casual but predatory.

JASON (mocking) “Let me guess—His Highness finally replaced you?”

Tim barely flinches, but Jason notices. He always notices. Those green eyes catch every small twitch of vulnerability, every crack in Tim’s resolve. Jason grins, and it’s infuriating—like he’s been waiting for this moment.

Jason takes another slow drag of his cigarette, turning his head to exhale away from Tim. His voice drips with sarcastic sympathy.

JASON “Finally threw you away, huh? Gotta make room for the new, shiny model in his collection?”

Tim's shoulders hunch, his face contorting into a mix of hurt and frustration. Jason’s words hit too close to home, and that self-satisfied grin plastered on Jason’s face only makes it worse. The unspoken ‘I told you this would happen’ lingers in the air between them like a challenge.

TIM (hissing through clenched teeth) “Just let me in, asshole.”

Jason flicks his cigarette to the ground, crushing it under his boot. He steps aside, the grin still lingering, but there's a flicker of something else in his eyes—something unspoken.

Tim hesitates for only a moment before stepping inside.

And Cut!

Now, you have a wonderful and imaginative draft to work off of. It does take a bit of getting used to, but thinking of your writing as establishing shots in a movie generally helps with getting into the flow of what you are writing.

[evienyx]

im not too sure how to ask this, but i'm reading the first book in the fractures series, and really enjoying it, and you said that you started it when you were 14. i'm 14 at the moment and am thinking of writing a fic and was wondering if you had any tips on how to plan a longfic or for writing in general

Oh my god this was asked back in August I'm so sorry anon.

As it is, I can still give a pointer or two, regardless of how late it is.

So, as much as anyone hates to hear it and I hate to say it, the best way to get better at prose (as in sentence-level writing) is just by writing. You gotta train it, develop your own style, figure out what works.

I have a tendency to be very flowy and long-winded, often to my own detriment, which is something I'm working on trimming down in the Fractures Rewrite without sacrificing the emotional weight from the scenes.

When it comes to planning a longfic, generally the most important first step (for me at least) is figuring out where you want to end it. Anyone can write a fic whose plot goes on and on for eternity, but if you want your fic to kinda be a classic, having an idea of where it's going to end up will immediately help you.

After the end, the hardest part for me tends to be the middle. It is just as important as anything, and you want it to stay just as interesting. The middle part of the story is the plot, the beginning and end are just vessels for it.

Oftentimes, the earliest form of my outline is literally just a document with the entire plot written out. I don't care for length or details, I just sit down, write the beginning, and then write how the story gets to the end. From there, I clean the outline up. I figure out what makes sense to use and what needs to be added or taken away. I start separating the stuff into possible chapters and outlining those chapters to figure out what they will include.

As I'm doing this, I also write out (smaller) outlines for the arcs of individual characters. Depending on the size of the fic and what the focus is, I might do this for dozens of characters or only for a handful. Regardless, I need to know where they start, where they end up, and how the plot changes them to get them from point A to point B.

If you're ever struggling with coming up with a plot that flows well with good tension, one that feels like it's building to something satisfying, you can always just use a plot template from online somewhere. Even if it feels rudimentary, Exposition-Rising Action-Climax-Falling Action-Resolution works for a reason. It's often how I outline stories of my own that aren't related to fanfiction.

One more tip: Read. And I don't just mean fanfiction. The best fics are often compared to published novels, with some even being considered better than them. One of the reasons these stories are so good is because they don't flow like many fanfictions do - rather they flow like published novels, with a proper plot, arcs, prose, and a satisfying ending.

[books]

Hi! So, I’ve struggled A LOT with this in the past, and I was just wondering what a good way to outline a book was? I understand that there are many different ways to do it, and that it’s different for each person, but it’s hard to find good examples online on the different methods.

When we talk about outlining, we're often talking about structure, even though I think the best outlining also offers some connective tissue between the events of the story and the motivations and consequences of those events. My personal favorite outlining method is what I call a narrative outline, which is kind of like a reverse synopsis. In a narrative outline, you pretend you're explaining your story to someone very invested in it, who wants to know all about it. It's in paragraph form and written in your voice. It can be casual and incomplete. You can fill in the gaps with things like [FIGURE THIS OUT LATER]. Then you can take each paragraph you've written and make it into a chapter.

Sometimes, though, I don't even know enough about what I'm working on to do a narrative outline, and that's when I break out the tried and true four-part structure. This structure has served me well for many years, and even if it doesn't work for you, it's at least a place to start. Long-form stories generally have four major parts: exposition, rising action, climax, and denouement. I like to think of them as buckets in which I toss various scene ideas. The scene where characters A and B meet probably goes in exposition, which is the part concerned with establishing context and leading to an inciting incident. My characters getting to know one another would fall into the rising action bucket. Rising action involves raising stakes and escalating the tension. Then, the climax. This is when the rising action culminates into a major breaking point. Maybe my characters have a fight and break up. And lastly, my denouement, the action that falls in the aftermath of the climax. Here's where my characters, after some time apart, reunite.

Generally speaking, the halfway point of a story parallels the ending. If your halfway point is a major success of some kind, you likely will also have a happy ending. If your halfway point is a failure or a loss, you're probably writing a tragedy. Deciding off the bat, "Will this have a happy ending or a sad one?" will help you start putting events in order. Of course, there are also complicated or bittersweet endings, and those will also be reflected at the halfway point. For a complicated ending, your halfway point may be the most complex part of the book, the point with the least clarity. And a bittersweet ending will have a bittersweet middle.

Other writers have other structures they employ. There's Freytag's pyramid, which is two parts only: rising and falling action. There's the three-act play and the five-act play. There are the six stages and the eight key turning points. I've used all of these just to test them out, but I always end up back at my four parts. The trick to choosing an outlining method or an existing structure is to use it only as a jumping off point. It's a lot easier for me to start writing something knowing my job is just to fill four buckets. Often I end up with five parts instead of four. Don't box yourself in too much; as you begin writing, your story will let you know how it wants to be written. Trust your process and your intuition.

For those just joining us, @bettsfic is running a writing workshop on @books this month. Want to know more? Start here.

[ceph-the-ghost-writer]

WIP Questions Tag

Rules : Answer as many (or as few) of the questions about your WIP as you can.

Tagged by @drawnecromancy! Read their answers for Le Prix du Sang here.

1. What was the first part of your WIP that you created?

Apophenia was originally a short story called "Dysthanasia" I wrote for an event on Ao3. Now Dysthanasia is the name of the series overall, and the story's a novel-length rough draft in the process of being rewritten.

2. If your story was a TV show, what would the intro song be?

Something short, instrumental, and spooky but with a touch of whimsy. Gotta have that little spark of fun or it'd wind up taking itself too seriously.

3. Who are your favourite character(s) and why?

I'm in love with all of them, but I have to stand by my protagonist, Isaac. He's a squishy human nerd, with no supernatural powers to speak of, but through being resourceful and more than a little lucky manages to survive awful situations. A lot of his characterization has to do with principles and compassion, but not quite in the soft or naive way readers might expect. His enemies repeatedly try to buy or break him, punishing him every time he does what he feels is right, but Isaac remains defiant, refusing to become jaded or take the easy way out. Is he destined to become a martyr? A monster? Stay tuned.

4. What other pieces of media could share a fan base with your WIP?

I'd hope The Vampire Chronicles fans would get into it. Maybe The Witcher fans, as far as characters relying on each other in an unjust world goes? Possibly readers of Octavia Butler, whose work I enjoy. I guess anyone who likes fictional organizations and the paranormal might see the appeal.

5. What has been your biggest struggle while writing your WIP?

Juggling all the backstory and worldbuilding that influences the characters and plot. So much happens before the actual story even starts. The death of Isaac's family. Renato becoming a bloodborn and his eroding loyalty to his sire. A cataclysm that reshaped the map. I'm doing my best to make these come through the text without hitting the reader with a wall of exposition.

6. Are there any animals in your story?

Living and undead! There's Renato's beloved goldfish, Tesoro. The elk, coyote, and bear Motley transforms into. Likewise the species of sharks that some of the good people of Eureka, Nevada can turn into. Or the livestock they raise, mainly sheep, goats, and chickens.

7. How do your characters get around?

Electric cars, horses, trains, or by turning into a much quicker animal.

8. What part of your WIP are you working on right now?

I think I'm almost halfway through the outline for the rewrite? Isaac is getting to know the supernatural locals of America's friendliest town on its loneliest road, and they him.

9. What aspects of your WIP do you think will draw people in?

Renato being a hot vampire, and there being different factions to identify with will probably lure some in. Hopefully they decide to stay for the characters, emotional arcs, and end of the world too.

Dysthanasia Taglist (Sign up or ask to be +/-): @thecyrulik @thatndginger @sunset-a-story @space-writes @scoundrelwithboba (feel free to consider this a tag for the game itself too)

Additionally @izzyspussy @wintherlywords @authoralexharvey @chauceryfairytales @autumnalwalker @revenantlore @captain-kraken @angsty-prompt-hole

Blank questions beneath the cut

1. What was the first part of your WIP that you created?

2. If your story was a TV show, what would the intro song be?

3. Who are your favourite character(s) and why?

4. What other pieces of media could share a fan base with your WIP?

5. What has been your biggest struggle while writing your WIP?

6. Are there any animals in your story?

7. How do your characters get around?

8. What part of your WIP are you working on right now?

9. What aspects of your WIP do you think will draw people in?

[archangeldyke-all]

Hello again, Angel. Thank you very much for your advice on how to grow on this platform, it helped me a lot. Honestly, it's a bit difficult to find my own writing style, since the one I usually do can seem "too pretentious" to many people. I have many aspirations to be like you (in a good way). You are a person who has incredibly fascinating writings. I fell back into the compulsive habit of deleting everything (Even the nice presentation I had made).😭😭😭

I would like advice on finding my own writing style, sorry for the inconvenience.

P.S: I'm too shy not to remain anonymous. Take good care of yourself and drink water <3

of course babe!!

as far as finding your own style here's some helpful tips i have!

re-read your own works. figure out what you really like, what you wish you could improve on, and what your weaknesses are. rely heavily on the things you're good at, and work hard at the things that need improvement. for example, i really like how i write dialogue, but i struggle with settings and action sequences. so, while writing, i use a lot of dialogue for exposition, and always pay close attention to the scenes that are more action focused, making sure i edit and re-work them as often as it needs.

figure out what you like about other people's work! for example, in dogsog by @fyeahnix , i was really struck by the warmth of the tone of the fic. in @abitohoney 's works, i've always been particularly inspired by her interpretation of silco's crew (especially ran and jinx haha.) these helped me narrow down the tone and relationships i wanted to portray in some of my works :) so you'll often see a more warm side of sev in my fics, and many friendship/funny moments with side characters, because that's what i admire most about my peers' works!

some people don't like this, but outlines are so helpful to me. having a basic skeleton of what you want your story to look like can be incredibly helpful. it helps me feel less overwhelmed, and take things scene by scene, knowing that i already know how the story will pan out. it's also a great help because if you ever are struck with inspiration and have certain lines/character quirks/scenes you want to include, you can add them as notes in your outline so you won't forget them in the future when you finally get around to writing that scene.

stick to your guns! what comes naturally to you is likely what your writing style will be, it just needs a little tuning! so if people call your work 'pretentious', it probably means that you've got an expansive vocabulary and smart brain! that's great! a way to tune this to make it more accessible to a wider audience would be making sure you limit your big words or include context clues in sentences that will help audiences understand them, making sure you keep your paragraphs or chapters short and digestible. but don't lose that vocabulary or depth of understanding! that's your magic! that's your style! :)

i hope this helped babe!!

[wrongcaitlyn]

Glad you’re taking a break considering All That, I hope you get the time you need!! For the ask game: 4, 7, 10 and 23??

4. Do you outline before you start writing? If so, how far do you stray from that outline?

almost always yes! for shorter fics, i either go in completely blind (like my renegades or streamer au) or type out little scene descriptions (like, for the nerds au: nico's sick; arrival to school; uno; etc.). but for longer fics/plot-heavy fics, i usually have two main outlines: one that covers the main plot points, the things that are definitely happening / when those will occur, and then one that i regularly update with the scene by scene ideas so that when i start a chapter i know what i have to get done.

for tyt, i have like... five different outlines. one for album releases, one for chapters + one-shots (like, when the one-shots fit into the main storyline), one for scene by scene outlines of chapters that are only going a few chapters ahead, one for pre-tyt lore, and one that outlines the main big events.

album releases change a *lot* because i'm constantly changing little parts of the plot, so usually i just stick to the year i say i'm gonna release it, and then the date gets moved around quite a bit! pretty much all of the other outlines are constantly changing as well, but the scene by scene outline is the one i struggle with the most... i only plan a few chapters ahead in scenes because i almost always end up going either over or under the planned word count with the scenes i planned (i'm HORRIBLE at estimating this) so then i either pull from the next chapter or move a scene (or 2 or 3) to the next chapter, or sometimes i'm even creating brand new scenes just cause i feel like it. so... i stray a lot

and just for reference, this is what my main outline doc looks like!

Chapter 20 (january) rachel one-shot Chapter 21 (february) telling drew about engagement + hiring katie first show madison square garden tweets about tour sadie and carter + the rest of the crew and will + leo + jason releasing single on first night of tour - the archer hazel pov dead ends and moving research to jake

clearly, some things changed. katie was not hired yet (will possibly be eventually, if i can find a way to include it, so not that much of a spoiler), i didn't really do tweets about the tour, and the crew stuff was all combined into just an instagram post. didn't end up releasing the archer, decided to move that to a later date. but the gist of it is there and this was one of the rare occasions where i actually managed to fit everything that i planned for in the final draft of the chapter!

7. Which part of writing do you struggle with most?

party scenes. god i HATE those if i can i'll always just turn it into a piece of social media or something, i remember being stuck for like a month on that stupid halloween scene back in the first tyt chapter. and then i nearly got stuck on that will party scene before i decided to just cut it out completely.

aside from that specific type of scene, probably dialogue or just finding the time/motivation to write. dialogue has gotten relatively easier over time, but i still think i'm much better at an internal dialogue rather than external. as for time, as we all know i've got a lot of work for school to get done, and usually by the end of the day when i've finished all my hw/studying i just don't have the energy to write something, which sucks because i've usually been thinking about it all day :/ so it ends up getting crammed into the weekend, which can be hard if it's just not a writing day for me! but i still try my best to make time for it because i really do enjoy it and am unhealthily attached to tyt lmao

10. Do you enjoy writing dialogue, exposition, or plot the most?

probably exposition! i love including little details into the internal dialogue, as i said earlier, it's my favorite part of writing. so i think that would count as exposition, even if a lot of times i worry about just infodumping... either way, writing that first hazel chapter? SO much fun. i just get to completely dump all of her lore. after you spend so long thinking of the context and background of characters/new settings, it gets really exciting to finally put that all in there!!

23. If you had to remix one of your own fics, which would it be and how would you remix it?

ooh i feel like i would love remixing tyt just because there are so many opportunities there and so many different ways their lives could go. that's probably the basic answer just because that's my main fic rn, but like??? i love it sm. i might change it so nico comes out earlier, or maybe hazel found nico earlier, or maybe nico's father doesn't die, or... god, so many options. it's either that or my hunger games au so that i could remix it to have a,,, non-MCD ending lmao, but i do love the actual ending. very angsty, very fun.

[erisenyo]

Hello! You're like, the only author on ao3 who writes their stories in advance and who I follow, so excuse my whining here, please. Does it ever happen to you that you have a (conversation about the Thing here) in the first draft, and you just can't get around it? Because I'm feeling it very much myself and this is the first time I'm not doing chapter by chapter chaos and... well, I am missing the comments and losing the spirit. This convo is the base of all the other missing stuff, even if I try to move on, I'm still practically writing that one and. It shuts me down. Any ideas? Sorry for bothering you!

Hello anon!

So if I'm understanding your question right (and definitely let me know if I'm not!), you're asking how to plow through a stuck scene without the motivation and inspiration from the comments of posting as you go.

Which is a real struggle that I very much sympathize with! And I potentially have two answers, depending on if it's the stuckness that's getting you, or more the feedback side of things.

And in typical me-style, this answer is long, so I am putting it below a cut lol

On being stuck on a scene--if I truly can't get past it, it seems bogged down and boring and I'm just not excited for it anymore, I have a few strategies:

My tried and true is to go back 10ish lines or a few paragraphs before, even to the start of the scene, because a lot of times what I'm getting stuck on is that the scene needs a different narrative framing or lead-in (usually, for me, just starting more in the middle of things instead of giving all the exhaustive lead-in)

Sometimes a scene/convo flows better for me if I set it in a different location, between a different mix of people, or if I put some sort of action around it (a conversation between Sokka and Zuko about something purely plot-based can layer in lots of fun characterization if suddenly it's occurring while Zuko is trying to do work and Sokka is trying to get him to eat lunch at the same time)

A POV switch! Sometimes my current narrator is just the wrong one for this scene, because they know too much or not enough (I usually prefer the narrator who knows the least, so they can be learning along with the reader)

Sometimes I realize I don't actually need the scene, I just need to have the characters to reference or react to it after, and as long as I know that ABC happened I don't actually have to write it all out. (This can help make the pacing feel faster, too, and sometimes it feels easier and more interesting to fold the references and reactions into later scenes than to actually write it all out)

Specifically for exposition or something that's feeling infodumpy, finding ways to weave the information into other scenes can be really helpful. When I wrote To Open Every Door I worked a LOT at this, and I essentially ended up sketching out a chapter, having a list of like 10 or 15 or however many things I needed to convey by the end of the chapter (to establish worldbuilding, the status of interpersonal relationships, background, whatever), and then going through my rough draft and finding ways to drop those pieces into a character's reactions and thoughts, to fold them into dialogue, to have OCs saying things, basically weaving the exposition across the chapter instead of delivering it all at once

Talking it out! Literally just articulating what feels off or weird about a scene to someone (or like, your cat, or yourself) often helps me narrow in on what needs fixing, or start to form an idea on how to make it flow better (Thanks Ash lol, your support is invaluable even when you insist you did nothing)

This one is kind of silly, but...try working in a different format! I write in Word, but I plan out my outlines in a table, and brainstorm with bullets, and when I'm stuck I often break out Excel. Seeing the information laid out differently on the page helps me quite literally see it differently in a way that can help me think about it differently, too

And if at the end of all that I'm still stick...do I really need the scene? If so, why? What work is the scene doing (emotional, plot, characterization, worldbuilding, etc.)? A lot of times, understanding the purpose of the scene helps me figure out how best to convey the info, whether its another scene, a different version of the scene I'm stick on, or by refocusing the scene around some other element that's more exciting (like switching the plot into the background behind some characterization or interpersonal moment, or vice versa)

That was a lot! But if what's really got you losing momentum is the lack of feedback--that's totally understandable too! Writing can be a lonely endeavor, so some things I do...

Find a buddy to share it with, whether a hype man or a listening ear! Even if it's just on anon, feeding off of someone else's reactions and excitement can help me get excited and enthusiastic too

Did your commenters speculate and get excited for what was next in a way you found inspiring? Is there a way to replicate that by talking at a higher level about what you're writing so that people can get hyped for the scenario or talk about how it could go, or just add tags to a post that generate energy?

You can post updates along the way, like lines you're excited about or little scene snippets, or just talking about the fic in the tags where it fits. It can be a way to get little bits of feedback and engagement along the way (Meesh always with the eagle eye for my tags whenever I'm rambling about fics haha)

Share the things you're excited about! Whether it's a particular scene, a character dynamic, a trope, a bit of worldbuilding--it's a great way to find people who will get excited along with you, and it also helps me to focus on what got me wanting to write the fic in the first place. Sometimes I'm not the most enthused about writing another post-canon get-together requiring a bunch of setup exposition, but then I think about how fun the Zuko-Mai bestie dynamic will be, or the ridiculous angst of the boys pining for that one night stand they had at that masquerade that they don't realize is each other, and I get enthused all over again haha

And relatedly--hone in on what excites you about the story! Even if you don't share it, is there a scene you can't wait for? A particular interpersonal dynamic you can't get enough of? A twist or reveal you can't wait to share? Focusing on those exciting bits can help me keep my enthusiasm going

Mix up where you write--I rotate between writing on my commute, in my house in various locations, and in a coffee shop basically depending on how social I am feeling on a given day. If you're feeling a bit alone in the writing, maybe it would help to write in a library or cafe or park, or if you're feeling distracted maybe you need a quieter place, or pure just change of setting in general!

Maybe you post it! For me I need to write everything out beforehand, because the serialized posting format makes me hate writing in all ways, and also I get a lot of ideas as I go, where my first drafts very truly are working drafts and it's not uncommon for me to pause in the middle of like, Ch 12 to go back to Ch 2 to lay the groundwork for a scene, and then to Ch 5 to add the setup for a joke I'll land in Ch 14. (Or for me to realize as I edit that I included scenes with absolutely no follow-up that I can now add haha). But that approach isn't for everyone, and maybe you write a few chapters at a time and post them week to week, or maybe you post what you have now to get through this scene and then go back to writing all the rest out. Just cause you started thinking you'll write it all first doesn't mean you have to stick with it if it's not working and something about posting would shake you out of it!

That was...probably way more ideas than you wanted or needed, but let me know if any of them help! I'm crossing my fingers for you!

[grim-faux]

This definitely helps a lot, I have to try it or adapt it to myself. Thank you so much. I want to take advantage and ask you, as a writer you are, some advice for writing your drafts and dialogues clearly. I mean, I usually write a paragraph describing what happens at each moment, but I think it is a fairly orthodox method.

Shore ting. Rough drafts and the sort are probably the easiest to get done - if you've seen the post that tells you cold turkey.

Just write the damn thing. Tell YOURSELF the story, write out what needs to be said. You want to get the descriptions, story elements, dialogue - all down. Especially when you have a tight schedule and not a lot of work time.

Drafts can benefit from a good, organized outline - or an Outline that stacks out events, scenes, and the rough dialogue content. If you're still working on specifics to your story, or you have the setting and environment firmly fixed in your brain, but you're struggling with the dialogue. Anything. And an outline can be as complex as you want it, maybe you'll write out a very detailed paragraph that you'll implant into the story itself because it was written and hit all the nuances and descriptions you needed. The same goes for dialogue - You might have brief sentences describing the scene at its bare bones, but go ham entirely on this dialogue interaction and get the whole thing scripted out. If you're struggling with a scene leading to that dialogue, or you have a scene rolling but you haven't decided the direction of the dialogue, inserting bare bones basics of your idea can benefit keeping that creative juice rolling.

Another big aspect of a draft is pacing. Which can be the trickiest concept when drafting or getting a story written. What scenes do you want to focus on? Why are they important? How do they progress the plot, the story themes you want to cover? Where are you taking the reader, and why? Because in story pacing can cover a day or an hours worth of time, in a few paragraphs - if it's not integral to the story. Like a movie montage. Or, if certain scenes and events are important, the character might spend an extended amount of time working through the scenes - i.e., paragraphs or chapters. But in your story, you have to incorporate the components that are important and interesting, and fulfil the readers need for rewards for the questions we have. In pacing your readers progress through the story, you're informing them of the events as they transpire, as they are important to your plot; you also need to keep the reader fixed in the environment so they know where they are, in reference to the characters. It might work in some cases to dump a lot of exposition onto the readers lap to get them up to speed, but for some it can be a turn off to have a lot of information to take in all at once. You can trust your process of writing that when you are giving the details at the right time, your reader will be enticed and follow, and will learn about the story at increments that are easy to understand. This can be essential to extensive world building projects, because the invested reader will stay involved with the work and keep absorbing details - then that becomes a process and relationship between the writer and reader, where both are undertaking a journey to learn about a realm that is entirely fabricated. The writer tells a story piece by piece, and the reader returns because there is always something to return to.

A good method for helping with elements like pacing and description details, is try taking the time to evaluate a graphic novel or any other rich story telling comic book media, like mangas and the sort. You can think of each panel incorporated into this visual novel as segments of paragraphs - even the little boxes that say something like WHAMO! because recall, a paragraph can be as long or as short, or a single word - its a tool at your disposal. A paragraph breaks up the flow of thought, it changes the perspective or anticipation of the reader - much like the graphic novel changes the 'camera' to view each scenes. The panels give to readers what is need to know at each moment, where and what a character is experiencing. Panels sometimes overlap, sometimes they are interesting shapes or wedge between two dynamic panels. That is how the visual story is being fed to the reader/observer, and it can be very similar to how we tell story with paragraphs - some brief paragraph inserts go over a characters internal thoughts, or a cluster of paragraphs in a sequence cover an extensive establishing scene where the characters will exist for an extended period of time. It's always important to recall pacing though, and how much in terms of details the reader needs to know.

This is also valuable to how incorporating dialogue works with in the story itself, and how to pace conversations with certain actions - dynamic or passive. Think how the reader should experience this dialogue, and what it will define of the characters. Even a purely dialogue scene can describe to the reader what is happening, or what the character is doing.

"I cannot tell you how irate I am with this situation. Ingrates! All of them! Wait. Why is my door locked?"

"Er, did no one deliver the notice? You've been replaced."

Without any context, this brief can determine a lot of different things. The first speaker is angry, and they are trying to get through a door - a door that they no longer have access to. The second speaker elaborates some news which the speaker was not given, which in itself could imply a lot of different situations - no one cared, there's been a disturbance in hierarchy, or the first speaker is very unpopular. But as I've said, a draft can be as complex or simple as you need it, so long as you can get the details down and get the general mood or theme you want to convey. All of this might shift as you elaborate the broader idea of your story, so it depends on what and where you want it all to go.

Show, don't tell. Give the reader freedom to experience the story, use their emotions and perceptions to internalize a scene. In some situations it is important to elaborate why a character feels a certain way, or why they undertake a certain action. If a character is being swept away in a river, the reader does not need to be told, Gabriel flung his arms from the frothing rapids seeking the bank, a branch, anything or he would drown under the merciless waves. The description feels more visceral and desperate if it's described, Gabriel flung his arms from the frothing rapids and lashed at sharp rocks, his fingernails ripped at wood and mud before he plunged beneath the foam. Both sentences convey the same stakes, are very similar in terms of the situation and what Gabriel needs to achieve, but the latter sentence does not need to elaborate why Gabriel is panicked and flailing - it's in the moment and immersive, wherein Gabriel and the reader are both fighting to find a handhold, but fail and are sent beneath the river's rapids. Rather tell the reader what Gabriel feels, I want to immerse my reader with the sensation and panic the character is enduring. At the same time, the process is a balance of what you need the reader to feel and keeping them adhered to the story as it unfolds. It is always okay to detach the reader from the character and exposition when it is helpful or necessary. Don't become so fixed with telling the perfect story, that the process ostracizes the readers capacity to relate or interpret what is happening, or why we should be invested.

I hope all this is helpful to the drafting process. A lot of this is also finding your style and voice in the narrative, how you choose to choreograph scenes and approach the plot. It factors into how you choose to assemble the general idea of the story, for the eventual scope of the character and readers journey. And all of that comes down to getting it written, not getting overwhelmed or hung up with an instant perfect process.

Again, if there are additional questions or anything I should clarify - coz this is a lot of stuff, feel free to ask. Im far from perfect when it comes to following my own rules, but I do have methods to my madness. And the whole writing process is good for experienced writers to review and share with others, since its a learning process that never ends.

[50cal-fullauto-astarion]

For the fanfiction writing ask game:

23, 25, and 26

Thank you for the ask Branch!! 🥰🥰

23. Is writing the beginning, middle, or end of the story easiest? Hardest?

Middles are weirdly enough the easiest part for me! My problem is I have too many ideas and struggle to pare down on what will actually serve the story when it comes to the meat of the plot. I hate beginnings though. Unless I have an extremely clear picture in my head of what I want, I will sit there and fret myself to death over exposition and character introductions and the whole shebang. Starting a story will kill a story before it even starts for me lmaoo.

25. What’s your favorite part of the writing process (worldbuilding, brainstorming/outlining, writing, editing, etc)?

BRAINSTORMING. FULL STOP. Get that maladaptive daydream going with Spotify on full blast until my brain melts out of my ear, and I’ll sit there and build the entire plot for whatever thing I want to work on. And outlining is like smoking crack for me as of recently, at least while it’s going well. It makes me feel super productive and smart sfhjd.

26. What’s your least favorite part of the writing process?

Editing )): I’m trying to find satisfaction in it and putting out a much more polished product and taking feedback from trusted friends with excellent taste, but I am just so IMPATIENT. Cons of being a recovering cokehead, nothing is ever going to feel as good as instant gratification does for me. WHOOPS dgjhd.

[anniesocsandgeneralstore]

10. What is the last line of dialogue you’ve written?

11. What scene are you most hyped for this chapter/fic?

12. What emotions do you expect your readers to feel?

13. What common trope(s) do you feel are used in this chapter/fic?

14. What have you been finding frustrating with writing this chapter/fic?

<3333

fe my werewolf love!!! since i've already answered a few of these for the current wip I'm working on, I'll do these for the werewolf rhett au I've been working on! there....is not much....but there is a solid idea there i think....hopefully....we'll see lol

10. What is the last line of dialogue you've written?

“That’d look pretty.” She made no comment about her daughter’s disinterested tone. “And in the tier lines too? In the skirt?” “Sure.”

so the basic plot is that the Abbott line is dying and they've forced Rhett into an arranged marriage with Tess (also a werewolf in this), I've opened the piece with her wedding dress getting altered but idk how i feel about it yet. i just didn't wanna do a whole shit of exposition before getting into the story.

11. What scene are you most hyped for this chapter/fic?

Problem is, I haven't figured out exactly what I'm gonna write yet lol this is WIP in it's most basic form. But I'd say the scene where Rhett and Tess are sat down and told they have to get married to one another (ANGST babey).

12. What emotions do you expect your readers to feel?

I mean...I hope people like it. And I hope they don't think it's too close to the other werewolf au I've done, I've done everything in my power to make them different but still within the same world. I would like readers to feel Rhett and Tess's pain over being forced into a relationship, having the entire weight of their pack's future on their shoulders. This one is prolly gonna be more angst than happy fluffy sexy vibes lol

13. What common trope(s) do you feel are used in this chapter/fic?

Arranged marriage, obvs. Best friends to strangers to forced married to actual lovers (complicated I know lol). Classic werewolf possessiveness. The "I don't want my first kiss to be in front of all our family" thing. Themes of "the spare son" are in this for sure.

14. What have you been finding frustrating with writing this chapter/fic?

...all of it? I don't know what my hang-up with this is but, I've had a hard time starting it. I think I'm just thinking about it too much. Worried about what other people are going to think or IF they'll like it as much as my other werewolf au. And I think another struggle is that I don't really want it to be a series. A couple one-shots max. But there's....so much history and so much to say. The balance is hard. I think I just need to outline and see what happens tbh lol

Talk to Me About the WIP I’m Currently Writing

[syncogon]

misc thoughts fresh off finishing yumi and the nightmare painter: 

* i should’ve taken my time reading this ahaha. books definitely hit different when savored and on larger screen/pages

- there were some tropes i didn’t like here, like painter pretending to yumi to be all cooler and more heroic than he actually was = cringe when it comes falling down. at least that part was relatively short. but like digging a hole with your lies ughhhhhhh hate that hate misunderstandings hate people not believing you when you tell the truth 

- was not convinced to care about the side characters. they didn’t really get any development. i wasn’t even sold on the old friend group being friends with each other - their banter wasn’t that good, and I’m sensitive to this kinda thing atm since I’m in my own struggle of writing convincing and interesting friend group interactions - nor were they written particularly compellingly as individuals. akane was kind but that was about it. i love the sleepless as a concept and masaka was great but she really came out of nowhere to help. and liyun could have used more development 

- speaking of masaka this is a hot take as a cosmere fan but i think there’s a point where the cosmere references get too much and detract from the story at hand. felt that a bit with lost metal, at times with tress, and definitely here. 

- hoid’s narration - i thought it fine in tress, suited the fairytale storytelling tone, but his comments felt kind of more annoying and distracting and out of place in this one. at least he had an actual role in tress...

+ the twist was very cool, big fan, i was totally misled, but 

- the reveal was... the fact that what happened was so complicated that it needed SUCH a big exposition dump, i was not a fan. like im grateful to hoid that he knew i was confused. but it shouldn’t have been so confusing, there had to have been a better and more elegant way to present what happened 

- and im still a little confused about what we saw of yumi’s world was real 

- also like who were the actual aliens they encountered lmao we’re just moving right along

+ so i was ready to throw hands when i saw “epilogue”. and then “another epilogue” ahaha. to be fair that sad ending was still a good ending itself but god i would’ve been so upset hahaha

+ the ending made me feel things. almost eked out some tears. such a good ending overall.

+ the art ahhhhhhhhh so pretty. def my fav artist / artwork of the four (i’m just a big fan of this kind of aesthetic. traditional korea + futuristic japan) 

- though i was a little disappointed with the cover. not sure why. the pure outlines don’t stand out very well and the text font/color... idk... 

* for some reason i thought that the colors being cyan and magenta meant that there’d be significance in the missing third color yellow or lime or smth. i thought there was a WoB or smth. oh well 

* are maipon sticks actually any different from chopsticks. why not just also call them chopsticks. 

- i think the preview chapters gave me expectation that there’d be a bit more with their respective magics and worldbuilding which were so cool and i wish we saw more of that, b/c that kind of stuff interests me more. top tier aesthetics for these worlds. but i guess this was always supposed to be more “inward” and more focused on the romance... 

- i think i didn’t find yumi or painter super likable on a personal / personality level either. this is kind of a me thing though. i know they’re supposed to be Like That with their backgrounds, histories etc. i suspect i’d appreciate them more on reread.

- oh yeah and i want to know more about the other yoki hijo too! 

+ this is a pretty focused book even if i do want to know more. i can respect that. like how this was a lifeswap not a bodyswap, allows for keeping the focus on the story he wants to tell 

+ will admit it was super funny that painter was seen as yumi but yumi was still just seen as herself 

+ was gonna cry at the introduction of the Machine to replace Art. but then it was like, maybe it’s worth it if it saves any other girls from suffering the - abuse, basically - that yumi had to go through? but in the end the Machine is unequivocally the evil here 

+ i do love yumi Stacking Things whenever stressed ahaha

this sounds like a lot of negative points but those are more interesting to talk about and those are what come to mind quickly esp since i’m just pulling thoughts out very quickly and haphazardly here. to some extent the good parts go without saying and id appreciate them more on (a slower) reread and tbh i might make a follow up post as i think more on this. i think i was just a little disappointed bc i came in with really high expectations... ah well. still a good book overall, and i want to give it a reread to better understand and catch some things. i think my current ranking is tress > yumi > frugal 

but im gonna hit post for now to forcibly stop myself from adding more

[domonomin]

Working on Underlord

Issue #1 was scary.... I did not have a lot of faith in it when I started working on the story. The thing about it was that I had to be able to deliver a lot of exposition without having it drag on the story and also leaving enough information out to still have some mystery.

Took me 4 drafts to figure it out. Wrote up like 15 pages. only really used 4 of them... the issue as a whole ended up 44 pages... which is fine cause I think it turned out good. a lot of the pages were for slowing down pacing and having neat little character interactions. I didn't write a 5th draft, I just kind of made a bunch of notes on how things should play out and made things up as I went along. which was honestly freeing

my style of writing has been something I struggled to figure out since I started making comics. you'd think that just writing a script would be enough, but I get a little more leeway seeing as I'm a solo act. So I went from no script with my first comic, to a heavy script with the second, to a little mix of both for this one. I've settled on just doing a little outline where I describe what the character is doing and then write a page breakdown with dialogue. It's quick and gives me enough room to improvise when things aren't working quite how I want them to. I'm a lot happier with it.

enough about writing, Lets talk about the art side of things.

I mentioned some confidence issues in my first comic post(Though I doubt you read it...link here) and I guess doing another comic in-between that one and this helped me chill out more. going into this, I had a decent grasp of what I could do, so the main focus was on refining some of my skills and trying to push a little more. Mostly my layouts and compositions. I just wanted to be more creative and I think I handled it well enough with the regular, comic style pages.

The webtoon style ones were hit and miss I think.

so lets talk about pacing for a bit.... Pacing has been my enemy for many years. things always went by faster than I would have liked. I like it when things have time to breathe. My issue with my previous comics was that It felt like things happened a little too fast. writing definitely played a part in it, but I figured, at the time, that maybe using the regular comic format did too. so I actually would draw things normally, then copy and paste panels into the webtoons format to see if that would help. It's not bad, but it is more work. Not to mention that I'm not really used to the style, so things are here or there. I think the first/second part worked out best. the rest are decent, nothing special. At the moment, I'm wondering weather to just stick to one format or the other. That way I could plan things out better. I'll probably test it out with issue 3

Moving on. I mentioned confidence a little earlier. Confidence made me jump into this. Like I did a bit of concept art for some locations and maybe 2 or 3 characters, but for most part, things were made up on the spot and adjusted from part to part. Once again, Nice. Still think some things would work out a little better with more forethought, but I guess that's writing(???).

Don't quote me on that...

I changed art programs twice. Parts 1-4 were done on medibang, 5-9 were done with CSP and for the rest of it, I used procreate. each had their bonuses. I think drawing In procreate is the better of the 3, but lettering in it is kinda rough. I end wrestling with it more than I'd like. I might end up transferring pages to my pc for lettering next time. hopefully that helps.

It's nice seeing how much better I get with drawing as time went on.

I'd like to go back to the issue at some point. Cause there are a lot of easy to fix errors that bother me on re-reads. Originally, I figured I could just redraw the whole thing, But I one of the rules of webcomics is to keep moving forward. If I get to it, I'll be fixing things without erasing my old art. Fix errors and make some changes to help out with character consistency

any who, that's the ramblings of some guy you don't know on a comic He'd love for people to read. It's not the greatest, but it's mine and I'm happy to have done it. I guess next I'll ramble about issue 2 and some plans for the future

Till next time

Link to comic btw!