#I swear I didn’t plan this

[ovaryacted]

Not really tmi but I’m talking about period cycles here.

Of course, only I would get my period that I’ve been meticulously waiting for on the night of a full moon and a partial lunar eclipse in Pisces right before I go to bed. 😭 Somebody give my witch badge already, cause this is crazy. My body really said “release these blockages” literally like DAMN!

[llettucestuff]

i love the finale of season 3 rb ITS SO GOOD and it hurts my heart but it’s so sweet and RAHH I WILL NEVER GET OVER ITTT

Like Heatwave gently but firmly telling Chief “With all due respect, sir, it’s not your call to make” AND THEN THEY GO AND BASICALLY SACRIFICE THEMSELVES knowing FULL WELL that they might never recover from this AUGH

Heatwave carries so much respect for Chief Burns and we see that respect form and grow and it all leads up to this point where Heatwave is essentially like “we all care about this family so much, we’d do anything for you guys” and then THEY DO and then we see how upset Cody is and how upset KADE is ohhh don’t get me STARTEDD because I will never stop

It’s the culmination of all the soft moments, all of the rescues and hardships the entire Burns family (including the bots you cowards they ARE family, it’s not “the Burns and the bots” it’s just the Burns at this point so when I say Burns I mean THE HUMAN BURNS AND THE BOTS CAN ANYONE HEAR MEE) has led up to his moment of loyalty and respect and straight up love and it’s so plain for anyone to see it.

And that’s why Frankie putting the unedited video into the time capsule is so important, not just for the future residents of Griffin Rock to see the kind of good people the Burns are, but for the whole world to see the character of the family. It’s also a declaration that these guys, the Bots, are important to us and our family lineage. We have loved them and they have loved us since day one, that’s why we think it’s important to have that notion in the future as well, yk what I mean?

The Burns and the Greenes family are SO IMPORTANT TO ME and the Bots are just as much family as any other human in that fold, and they were prepared and entirely willing to sacrifice themselves for that family, no matter the protest

[missingn000]

[deathsmallcaps]

I swear. I comprehend I’m not the best teaching intern in the world. I also was not the best camp counselor, cashier, and so on. But if my observer gives me so much criticism that I cry again I’m going to be so motherfucking pissed.

Especially since she’s asking me to stay late just to review me. While I have family visiting. And I’m gone for most of the day. And my commute is over half an hour. Which isn’t bad around here but still.

[cto10121]

How Romance in Fiction Works

For this Valentine’s Day I dedicate this to all the “Romeo and Juliet/Twilight/[insert X] isn’t a romance!!1!1” clownery out there, because now I have to contend with the depressing fact that people—and not just illiterate randos, actual bookish people perhaps too used to the Hero’s Journey template—have no clue what romance in fiction (as the main plot) works. And no, it has nothing to do with ~fantasy or ~wish fulfillment or ~everyone is nice and in love and nobody’s mean or cheats ever!!!1!1 It has to do with the goals of a romance. I’ll be focusing largely on literature, but technically this can also apply to TV, movies, and other dramatic mediums.

(Disclaimer: I will not be talking about romance as a genre, either the knight/damsel tradition or the HEA conventions of modern American romance fiction. The former has nothing to do with romantic love and the latter has nothing to do with the art of fiction but what sells, so don’t @me. It should also go without saying that I won’t be talking about romance as a subplot to the main plot. You lot already know too much about that already.)

Romance IRL vs. Fiction

So romance in real life can be literally anything and occur anywhere and at any time. No duh. That is true for *waves hand vaguely* everything in reality. Fiction, however, is a different story. It must, in short, make sense. There is plot, character, tone, as well as your literary techniques and devices. Otherwise the romance will not work or be implausible. So far, the same as most any other fiction.

Where romance differs from most fiction, however, lies in its purpose. I like it to call it The Romance Novel Paradox. To whit: Romance in fiction functions on the premise that the couple cannot be together because of X reasons. As soon as the couple resolve all of their issues and be together fully, that’s when the romantic story is over.

Thus, the task of the romance writer is to prevent the couple from getting together before the point where they absolutely need to be. So in a way, writing a romance…is fundamentally writing an anti-romance.

Sounds crazy and weird and hard? It is. That’s exactly why writing romance is so hard in the first place. You have to juggle these two separate and opposite tensions tugging and tearing at the work. You literally have to do two things at the same time along with all the other things required of writing a romance.

The Goals

So with all this in mind, the goals of the romance is as follows:

That the couple meet and fall in love

That the couple enjoy and even consummate their love

That the couple overcome any obstacles that threaten their relationship

That the couple be successful in being true to their love and the first 3 goals.

The Plot(s)

Romances actually have two kinds of plot. I’ll just call them the Courtship Plot and the Love Story Plot respectfully.

The Courtship Plot essentially deals with the inner conflicts/obstacles that prevent the couple from being in love or falling for each other. This could be as short as a scene or two or as long as a whole book/movie/TV show, depending on the medium and intentions.

Beginning/Set Up: Establishes both the world, its stakes, and/or the romantic couple. Oftentimes, though, a romance does start with a different character(s) entirely who talk about the couple before they appear.

Inciting Incident: This is when the couple first meet. This could range anywhere from love at first sight (instalove) to absolute abhorrence (rivals/enemies to lovers).

Courtship/Investigation: Even if the couple does do instalove, they must first get an understanding of each other’s intentions, the depth of love/attraction, personality, etc. This time also includes Proofs of Love, in which the lovers each provide proof of their love for each other through words, acts of service, etc.

Internal Conflicts/Obstacles: These relate to the couple’s inner conflicts/hangups that prevent them from entering a relationship and what they must do to overcome those. In this type of plot they will mostly be internal but there can be some external obstacles as well.

Separation of the Lovers: Most often because of misunderstandings/internal hangups, but it can also be because of actual external shit beyond their control.

Resolution: These inner conflicts are resolved and the couple can get together properly. Traditionally this is shown through marriage (Cheers, bells, and Hymen the God of Marriage arrives to officiate your wedding. Congrats!). Or simply living together/dating.

This is more or less the plot of a romantic comedy, but this can be the plot of romantic drama as well, especially if those internal conflicts are truly heavy. There may also be some external conflict happening, but it’s usually not as significant as the internal ones.

The Love Plot, or Love Story, is concerned with the the love/relationship of a couple as well. However, it is less focused on the courtship side and more on the external conflicts/obstacles that threaten their love. To whit:

Courtship (Abridged): Some Love Plots may include this, but it is not strictly necessary. If they, it’s mostly in abridged form, quick montage, small flashback, or simply just as Proofs of Love.

Couple Is In Love (Status Quo): Most Love Plots begin with the lovers already together and in love.

External Conflicts/Obstacles: These include anything that prevents the lovers from getting together or keeps them apart. Family doesn’t approve, society doesn’t approve, natural events occur, personal enemies, other love interests, etc. Sometimes the couple has an internal conflict going on, but mostly not for this

Separation of the Lovers: Almost always temporarily and literally, due to above External Conflicts and, on occasion, Internal Conflicts. Very rarely metaphorically.

The Lovers Reunite: Almost always, although some media may skip this part.

Couple Triumphs (Or Not): The couple succeeds in vanquishing all obstacles and they come out stronger than ever, yay! Or they don’t and they die and/or their love dies, oh no! Yes, the latter is definitely an option and actually not an uncommon one with these plots.

The Love Story Plot does have its downside in that it can be harder for the audience to care very much for the couple if they haven’t spent at least some time getting to know them and their love. However, it is preferred traditionally if just because of the dramatic and much-clearer stakes involved. The lovers’ characters are also revealed/developed through adversity, which is always a plus.

So all romances are effectively love stories. However, not all romances are love stories. Most romances tend to have both, mostly in one or two books. In Epic Romance this is stretched to three or four at the most. Beyond four the book/TV show/thing turns from a romance into a full-blown soap opera (coughOutlandercough).

So here are a few examples of romances often classified as such and why they count as romances. I’ll start with two works people most insist are not romances: Romeo and Juliet and Twilight.

Example 1: Romeo and Juliet

Though tons of Internet clowns insist to this day that Romeo and Juliet is not a romance and is a comedy/satire/what have you, it skews closely to the Romance plot as outlined.

Romeo and Juliet:

Courtship Plot: Two families in a patriarchal, violent, and conservative society hate each other (Beginning/Set Up). They meet at a ball and fall in love (Inciting Incident). But of course they are heirs of two feuding families (Obstacle 1). However, Juliet is worried that Romeo is just playing with her (Internal Conflict) while Romeo is worried Juliet might choose to refuse him after all (Internal Conflict). As proof Juliet asks Romeo to arrange for their marriage and Romeo agrees right away (Resolution). Romeo pretends he is over Rosaline with Mercutio and Benvolio and meets with the Nurse to arrange the marriage (Proof of Love). They then get married and renew their commitment to each other (Couple Triumphs).

Love Story: This is the latter half of the play. Tybalt kills Mercutio, so Romeo kills Tybalt and gets banished (Obstacle 2), Juliet forgives him (Proof of Love), they make love (Proof of Love), and say goodbye to each other (Separation of the Lovers). Juliet is then forced to marry Paris by her parents (Obstacle 3) and so with the help of the Friar she fakes her death (Resolution). But Romeo doesn’t get the news in time due to plague (Obstacle 4), and so goes to her tomb and kills himself; Juliet wakes up and does the same (Couple Defeated…Triumphs?).

So obviously Romeo and Juliet is a love story in just plot alone. But is it also a romance? As you can see, they end up dead and do not succeed in having a full relationship.

That said. Romeo and Juliet do succeed in keeping their love for each other true and pure. They do not cheat each other, think about cheating on each other, or decide not to pursue their relationship. And that, I feel, is more important than the fact that they could not be together in life. So yes, I do think theirs is a romance too, and why most people consider it to be one.

Example 2: Twilight

Speaking of another work that gets a lot of hate for no good reason, Twilight! And of course you have the antis insist this isn’t a romance either. Unfortunately for them the plot hews even more closer to the romance plot and even has more of a Courtship Arc. To whit:

Twilight:

Courtship Plot: Bella goes to Forks to please her narcissistic mother and worries about fitting in (Beginning/Set Up). She meets Edward on the first day of her new school (Inciting Incident). Unfortunately Edward wants to eat her (Obstacle 1) and leaves for three days later. They meet again and talk about each other (Courtship). Edward then saves Bella from the van the next day (Obstacle 2). This, however, does not bring them together and they don’t speak for one month until Edward gets jealous of Mike Newton (Obstacle 3). Edward and Bella become tentative friends and Edward takes Bella to the nurse’s office when she gets dizzy smelling blood (Obstacle 4). He insists on driving her home and they talk (Courtship). Bella and Edward spend the weekend apart but still thinking about each other; Bella learns what he is (Courtship). Bella then goes to Port Angeles with friends and Edward rescues her from rapists (Obstacle 4). They then talk (Courtship) and Edward admits he is a vampire. The next day Bella and Edward go public about their situation (Courtship) and they talk at lunch, clarifying their feelings for each other; Edward invites Bella to the meadow on the weekend. Billy Black learns of their relationship and tries to warn Bella (Obstacle 5). Edward and Bella meet in the meadow and confess their love for each other (Courtship). Edward successfully resists his bloodlust all for his love for Bella (Resolution of Obstacle 1).

Love Story: This is basically the latter half of Twilight and the rest of the series. Edward saves Bella from James (Obstacle 1) and the lovers are together again (Lovers Triumph).

New Moon:

Love Story: Bella and Edward are in love (Status Quo), but then Jasper tries to eat her and Edward’s self-loathing and desire for Bella to have a regular human life kicks in (Obstacle 2). Edward lies to Bella and tells her he doesn’t want to be with her and she accepts it (Separation of the Couple). For six months the two are barely functional. Eventually Bella’s need for adrenaline leads her to a friendship with Jacob (Obstacle 3–yes, this counts) and starts to love him despite herself. Laurent arrives and tries to eat Bella (Obstacle 4) and tells her that Victoria is out there trying to hunt her as revenge (Obstacle 5). But then Alice comes and Jacob unintentionally tells Edward that Bella is dead; Edward decides to commit suicide (Obstacle 6). Bella saves Edward from the Volturi (Obstacle 7) and they are reunited (Reunion of the Lovers).

Eclipse:

Love Story: Bella and Edward are in love (Status Quo), but Bella wants to keep her friendship with Jacob (Obstacle 3). Jacob is also opposed to Bella being with Edward for both ethical and personal reasons (Obstacle 3 again). Victoria is still hunting Bella but now she is making a whole new army (Obstacle 5 again). Bella realizes she loves Jacob in a potential-love-interest-way (Obstacle 3) but still chooses Edward (Resolution). The lovers decide to get marries (Couple Triumphs).

Breaking Dawn:

Bella and Edward get married (Status Quo). Bella and Edward make love, leaving Bella happy but bruised, which pains Edward so much he refuses to make love to her again (Obstacle 1). Bella seduces him successfully (Resolution) but then falls pregnant (Obstacle 2). The pregnancy is high risk, causing dissension between the two (Obstacle 3) but Bella convinces Edward to go along with her plan (Resolution). Bella delivers her baby and turns into a vampire (Resolution). She learns the ropes of vampirism (Obstacle 4) and harbors no romantic feelings for Jacob anymore; Jacob imprinted on Renesmee so he has no more love for Bella (Resolution). Irina finds out about Renesmee and think she is an immortal child, and tells the Volturi (Obstacle 5). This leads the Cullens to call their friends and prepare for any eventuality, and Bella learns to use her power (Obstacle 6). The Volturi come and try various excuses to execute the Cullens (Obstacle 7) but they are able to defend themselves aptly. The Volturi leave and Bella and Edward can finally be together with their little family (Couple Triumphs).

As you can see, a lot of Twilight's Obstacles double as Proofs of Love what with Edward and Bella saving each other constantly. That is perfectly acceptable and in fact a very common doubling in romance.

What Is Not A Romance?

Romances do have to have some provisos, a couple of quid pro quos. Again, though, there are some exceptions and writers can and will break the rules successfully.

They must be requited. Unrequited love on either side does not a main romance plot make. Unrequited love is mostly a romance subplot if that or as part of a love triangle.

They cannot be abusive (to each other). The lovers of a romance do not have to be good people at all. In fact, they (yes, it has to be both) can be bad or villainous…to other people. That said, their love must be actually mutual and good for each other, even redemptive. A couple who is bad for the world and each other defeats the point of a romance. Mutual enmity does not count (see: Enemies to Lovers).

Their love must be main plot. If the couple is not the focus of the plot, then it’s not a romance but a romance subplot. Subplots can be as complete or incomplete as they like, developed or underdeveloped, but they are subplots for a reason.

Can a romance focus on a beta couple as well? Generally no. In American romance novels, authors do set up the couple for the next installment, but that is not quite the same as page time and development. Romances focus on one couple at a time—once that couple’s love story is done, writers can move on to another couple’s romance. Stories that have more than one couple tend to be something else entirely.

What about second chance romance? Second chance romance is essentially the same as the Courtship Plot, since the work very rarely talks about the lovers’ relationship before they separated. So in plotwise it’s basically just like meeting each other for the first time.

What about love triangles? Unless Character C is framed as an obstacle in the overarching narrative, then love triangles do not really count; they are more for coming-of-age or slice-of-life fodder. Polyamorous couples, however, should count in theory if their story has the romance plot. But of course, that is the rarest kind of all.

Keep Calm and Love On

There are some unconventional romances out there, for sure. But they are ultimately rare; the standard romance plot should fit most works accepted as such. As always, romantic tropes and dynamics are neither good or bad—they all largely depend on the the execution.

The only plot that may be confusable with the romance is the marriage plot, which is something different. Marriage Plots are essentially comedies of manners and they may or may not include romantic love or attraction as a major plot element. They are less about the couple’s erotic compatibility and more about their social compatibility. Austen’s works come the readiest to mind; a contemporary example would probably be Crazy Rich Asians. Otherwise Marriage Plots have much of the same beats as a romance.

So if you’re not sure if X is a romance, see how it fits within this plot. Nine times out of ten, you should get your answer.

[youronlybean]

Is it really a chilled chaos stream if he isn’t at least ten to fifteen minutes late?

[nomsfaultau]

Mmm haven’t posted the chapter of Lord, what fools these mortals be! where Fae!Kristin shows up but I want to ramble about characterization so. Ahh. Anyway, fae!Philza is pretty upfront with his creepy fairy shtick. Incredibly possessive, clearly operating on an alien morality system (or lack there of), oscillating between kindness and a cruel apathy for Tommy’s feelings. Kristin though….she’s a LOT more subtle. There’s warning signs of course, such as the sudden extreme violence. Philza had that too, of course, but never directed at the kid he’s trying to manipulate. But Kristin gets away with it. She wants them to survive, of course. She’s just trying to make them better. And it clearly works. Kristin’s just so nice, and over protective, and clearly lonely. She’s frequently reassuring to Wilbur and Technoblade but it’s in a way that hides her true plan if not her intentions. No, she’s very clear about wanting their souls forever, but all her blatant tactics are decoys. She’s far more subtle than Philza. She gives Wil and Techno everything they want till they don’t even consider leaving even as they’re determined to never fall into the obvious, fun traps, the type they joke about at dinners so the men feel like they’re outwitting her while all the while she’s unraveling their character flaws until they’re fully ensnared. She designs the rules of the game to mold them into her perfect children. Little details piling up until it’s revealed she’s completely altered their bodies until they’re unrecognizable as human, so slowly neither even noticed. And she’s shaped their thoughts for decades to the point they don’t even care. Why should they? She’s just trying to make them better. And it’s Kristin that reveals why the Fae rulers even need children: they keep accidentally murdering their kids. It’s why she’s so over protective. It’s why she wanted Techno and Wil to be better, promised them power in a way that was honey poison to their ambitions and made them prisoners of the fae world no matter how free they thought they were.

That’s the real difference between Fae Phil and Kristin. All three Neapolitan trio felt scared, but Tommy was never given the illusion of protecting himself while in actuality only endangering himself further. His fear saved him.

And that’s why Tommy’s going to escape, while Techno and Wilbur willingly go back.

[skelliecrow]

inktober day 5, Map

[sgt-tombstone]

so… spoiler alert for my Swallowed in the Sea series

My original plan was to write a third installment where it was revealed that Soap was actually alive (surprise, surprise, I feel like everyone and their mother has written a faked death fic in this fandom but I figured I’d try my hand at it too) where Price knew about the whole plan and called Alex in to save Soap

The only reason it was Alex was because he was (and still is) my favorite character and I wanted to write more of him, but now that I’ve watched game play-throughs and gotten deeper into the fandom, I really don’t think it fits with his character as well as I originally thought

If only I had an oc that was very similar to Alex in almost every way but was a trained combat medic…

[fingertipsmp3]

“How’s the job search going” well to be honest I think I’m going to start leaving companies voicemails where I just screech WERE YOU SENT BY SOMEONE WHO WANTED ME DEAD

[pierregaslays]

has someone in your family really died if there isn’t a massive row going on between family members 🤪

[brontes]

.

[starfiyah]

these mfers have been sawing down the trees by my apartment building for 2 days now. am i fucking crazy or should it not be taking that long!!!! I CANT LIVE MY LIVE IN PEACE ANYMORE 😭😭😭

[itsjaywalkers]

do we think i can finish the sequel to iwtywmm before the month ends so it counts for kinktober

[florshedworf]

hello newly realized bisexuals

[the-irken-pony]

First Henry vs Charles and Burt vs Sven and now Reginald vs RHM

Huh