#after the fic i just read too

[royalarmyofoz]

🥲

[tadfools]

You guys are commenting on the fics you read right? You’re at least leaving kudos on the Astarion smut and the pairs that have less than 20 fics for them too? You’re bookmarking stories you really like that are still being updated and ones that haven’t been touched in over a year right?

You know that even the smallest interactions are like cocaine to fic writers right? You understand how important a string of emoji hearts left behind on a chapter at three am is right?? Right????

You’re treating AO3 like a community and not a content factory….right?

[raynewolferune]

DC x DP Prompt: Bruce is bad at emoting but at least ghosts are empathic (too bad bat kids are not)

Was reading Twincognito on AO3 when I stumbled across this gem again:

~

" “Danny, Tim. I was just…checking in. Is everything alright?” Curse his inability to make meaningful conversation when it wasn’t a life or death situation.

They glanced at each other and shrugged.

Then Danny hauled himself out of the bed and walked over to Bruce.

Bruce tried not to let too much excitement show on his face. "

~

Now I really want to read a story where Bruce adopts Danny post Meta trafficking and is being his usual emotionally constipated self. His kids keep getting mad at him because he's treating their new meta brother who was trafficked poorly (generally being stilted in conversation with him, walking away hurriedly mid-conversation, avoiding Danny when he's feeling really awkward, etc). They think Bruce is discriminating against Danny for being a civilian, meta, dealer's pick, but really it's just Bruce being horribly socially awkward. Danny knows this because of ghost empathy and find the whole thing hilarious. The whole thing comes to a head with the Bat Kids staging an intervention in the Bat Cave.

[petricorah]

scenes i loved from Real Enough to Get Me Through by @marriedzukka <333 [ids in alt]

[starkspi]

"why, I had no part in that. you've always been this way!"

just a little something from @morningstarwrites fanfiction "of saints and sinners" which i'm obsessed with

[beescake]

Sorry for the spam (^o^;) I just really like your blog

no need to apologize ayy!

in this corner we welcome all forms of enjoyment, regardless of whether you're a

happy to have yall here w me,

headin into homestuck 2024 :^)

[fantasy-girl974]

Studying hard

**** A follow up of the comic I did based on the fanfic "One step at a time" by OuterWilde 💙

[crossthread]

No jokes here. The Navy’s best pilot and the Navy’s best admiral. Between them, eight air-to-air combat kills and five stars. These were men who commanded respect with or without your approval. This was the picture of ruthless competence.

Debriefing (& Other Stories) • part 2 of Easier Done Than Said by @compacflt

[lunarharp]

What led to this (orufrey comic, cw an uncomfortable/creepy scene)

[swordoffrivolousthings]

Thoughts about Heroes of Olympus and how it could have been better.

Sometimes I think about what would have made HOO a better series. And I'm not talking about the obvious 'too much focus on romantic relationships' and the lack of usage of certain characters or the dumb ending.

I mean the little things that would change so much (mainly character dynamics but also worldbuilding i.e. Camp Jupiter and Gaia's reasoning)

Some of the points are inspired by @crisisreading and their posts. They are the first I saw raise some of my own points so! part 2

Make the ages vary more in the main cast, trust me

Let Percy, Annabeth and Grover get older by 4-5 years. Let them become adults and find themselves outside the godly war. Let them even finish college, I wouldn't get mad. Let them do anything beside being teenagers.

I promise this would make the dynamics more interesting. Percy and Annabeth will be more mentor figures, than fellow comrades. This would create some distance between some of the them, but ultimately create something fun. Piper would come to see some aspiring female figure in Annabeth (I think this would ether be positive or negative, depending how Annabeth changed as a character over the years, but I tend towards negative). Leo would potentially have someone older to exchange ideas with. Jason would possibly feel intimidated by Percy's vastly superior age, prowess and experience, instead of being able to clash heads with him.

Hazel would have not one, but two that people that would play parent to the others' reckless behavior. (go snort your harmful stereotypes up your ass, Riordan.) Frank, when telling Percy and Hazel about his stick, would possibly find in Percy a kind hand (not that he wasn't kind already, let me explain) and Percy would probably share with him this feeling of vulnerability - not dump it on Frank - about having your life tied to a specific thing. I mean his Achilles heel, with which he would have lived for far longer.

And a whole lot more.

2. Add Grover into the series as a perspective character

You have a new trio dynamic introduced in the first book of the series. Let the original trio interact as main characters and let us see how their relationship has changed.

Grover's opinion on the conflict between the gods and Gaia would be important. He is the Lord of the Wild, and Gaia is the literal personification of the Earth. Let us see his struggle between the loyalty he has to the gods and his friends and his powerful feelings towards protecting nature.

Also, he would act as a protector for the demigods. Because while I enjoy Hedge, he is not enough to keep them safe.

3. Throw the bullshit about Gaia getting revenge for Kronos' defeat out of the way

Gaia, as mentioned before, if the personification of the Earth. One of the first gods to emerge from Chaos.

Gaia can, of course, keep her resentment for the gods defeating the son that freed her from her pain (caused by Ouranos initially). But she is a mother goddess. She should want obliterate humanity because humans are slowly killing her. Painfully. She wants to survive and the only way she sees how if by killing all the humans. She wants to save her children, aka animals, insects, nature, and the only way she sees is bloodshed. Gods are not rational in their anger, no one is. So let her be angry and vengeful and out for human blood.

DO NOT MAKE HER A FUCKING VILLAIN, MAN! Make her an antagonist, but someone's whose ideals are worth taking in and adapting. Kinda like Luke about the demigod and minor god recognition. Where have the themes of the original series gone? Remember, an important theme in BOTL was protecting the environment. It was one of the most important moments when Pan faded. Do not let that go to fucking waste. Especially not now, in the world we live in.

4. Show the effects the war had on Camp Half-Blood. Hint it at Camp Jupiter, when Percy does not have the memories to corelate it with

We've had years since the end of the Second Titan War. How did the gods change the course of events ? (the victors write the histories) How much of Luke's reasoning for starting the war was erased. (hint, all of it.) Show us how much the perspectives were shifted and how much the people that fought in it were made into martyrs and villain, basically becoming caricatures.

Let us feel how much this hurts Percy, Grover and Annabeth. How it had impacted and impacts their trauma, grief and utter horror. The younger, newer campers see them as wonderful, all-just and loyal heroes of the gods. The way they hate it.

Good moment to implement the new cabins for the gods and let the new ones forget that it wasn't always this way. Let Percy's demand to the gods be forgotten, shoved under the rug. The tragedy unfolds, use it.

Since in Camp Jupiter none of the main characters have fought, let us see the subtility. Let the older legionnaires be ragged, scarred. Older and weary, with eyes glassy and suspicious. Have younger recruits have this heavy air around them. They know what happened, what killed most of the older people in the legion.

Have Jason, Hazel and Frank see these things in Annabeth, Grover and Percy too. They realise that oh. oh. these three have fought in the war, of course they would. Show them gain respect for the trio. The same kind of respect they have for the veterans back home.

5. Cut one of the Seven from the prophecy.

I know this seems radical, but it is a symbolism thing, which I think would be more interesting in a world based on Greek mythology.

It is established in PJO that three (3) is an important number: 3 Olympian sisters (Hera, Demeter, Hestia), 3 Olympian brothers (Hades, Poseidon, Zeus), 3 Fates, 3 quest members, 3 Furies, 3 godly realms (the Underworld, Olympus + the sky, the seas). Use this.

Give us six (6) prophesized heroes. It is, after all, the second most used number in the series and a multiple of 3.

I suggest Annabeth. Why? because she has her quest from Athena. Let that be her top priority, while hanging out on the Argo II to get to Rome. Let her bond with the younger demigods and have her possible death be always on her mind. Bring her hubris into play and she would think herself the chosen one, the one demigod child of Athena to survive. This would make her falling into Tartarus with Percy not letting her go more taxing on her psyche.

Show us how she hates herself because she took one of the principal quest members to certain death. She feels like she'd jeopardized the whole saving the world thing.

Cut the Seven to Six and let Annabeth die in Tartarus. Show us why a single-man quest is a death sentence. Why three (3) is such a valuable number.

6. CONSEQUENCES!!!

Jumping straight off the last point.

Change why Annabeth would end up in Tartarus. Make her ignore the string around her ankle because she thing that nothing bad can happen to her now. After all, Arachne is gone, right.

Let this be her undoing. I do not care how she dies, but make her choices, her hubris, be her undoing. Do not let her death up to a chance, a mistake or miscalculation. Show how toxic Tartarus is, because we do not see it enough, but make it Annabeth's idea, the plan by which she dies.

Do not make it Percy's fault. Let him try to do everything to keep her alive, but still failing. Attack his sense of loyalty, his self-esteem. Show how the experiences and her death affect him.

Bring the trauma from the last war back in those chapters, in a place where demigods leave something behind.

To less drastic things - let the others get hurt. Permanently. Show how this life affects and damages people physically, too.

Have one lose an eye, another get horrific scars. Lose a limb, a part of themselves. Do not make it seem like any other could have gotten the same wound.

Tailor them to their character, their pride and their skill. Hit them where it hurts most and let us see how it changes them.

Also, about Leo. Kill him too. The fact that he ended up alive is a deux ex machina. He should have suffered the consequences.

Also also, bring back the fatal flaws. They are missing from the series. Play with them, show why they are important parts of their characters. Bring back ancient Greek fatal flaws, and new ones that make sense in a modern world.

Hurt them because what hurts them is part of who they are. Show us why the Greeks invented tragedy.

7. Age up the target age. Go more young/new adult

I understand that PJO was made for middle schoolers. But the target audience had grown up alongside the characters, and as such they have matured.

This is why I said to age Percy, Grover and Annabeth up further. Leave some distance for the old and new readers to get up and personal with the new main characters. Have them find common ground with the new demigods but have their anchor in the old ones.

Make the readers work to understand and refamiliarize themselves wit the older demigods. Because they've changed.

Targeting a more mature audience allows exploring n. 6. The realistic consequences of living with the fear that something will come and eat you. How just a little mishap could change you for life. (or what has been left of it)

Please do not go grim dark. Show that despite this all, their purpose has not stopped existing. A life exists outside of your appearance or disability still exist, and while it would be hard, do not lose hope.

8. Hope, or lack of its importance in the Heroes of Olympus series

Alongside other callbacks and reinforcements of PJO's lore, where is Elpis (hope)? Why doesn't she appear as a larger theme in the books? I don't know.

Elpis is still in the jar, having been used as a threat of defeat. But now Kronos is gone. Have Gaia use it as s symbol for her own cause.

Make hope Gaia's argument. The most important part of why her cause stands. Gaia is waking now because there is no hope for the betterment of the planet while in human - and therefore godly - grasp. She wants to save the planet, but they, the destroyers, are opposing her.

Hope is what she wants to bring back. The hope that death will not be the end of life, but further evolvement and betterment of all species.

This argument is what the counterargument should unravel. All species? Why are humans considered irredeemable, unworthy of becoming something greater?

Why can't they not coexist and why can't humans learn how to care about the world surrounding them.

Make hope for humanity and for the environment not a question of if they are capable to coexist, but how we can manage that. Humanity and nature are not mutually exclusive, but two halves of the same whole that need each other to sustain their longevity. Yes, nature can exist without humans, but humans can't.

This does not mean that the best way forward is to kill all humans.

There is no need for hope in HOO because there are no greater questions being asked about topics that require hope, because otherwise we would descend into nihilism and fatalism.

9. Give the gods reason to act the way they act, or a look at a greater narrative problem in the series

I may be generalizing, but the gods act erratically and make choices convenient for the plot, as it is, to happen.

Hera: how, specifically, does she know that Gaia is rising and what her plans are. Why is she against Gaia, when the older goddess has a track record of helping the Olympians on different occasions in the myths. Why does she decide to act when she does, how she knows that the king of the giants (whatever his name may be) is coming after her right then.

We don't know.

Athena: we understand why she wants the Athena Parthenos back. Why not force the Romans to give it back. After all, she is a goddess, even if the Romans don't respect her as the Greeks did, she has power and sway over them. Why send her children, a supposedly important part of what brings her glory, to a near-certain death. Is it misguided vengeance, an obsession to get the statue back at all cost, or simple cruelty. These reasons could apply very well to sending the Romans, yet she doesn't.

Zeus: why lock down Olympus? Paranoia, which fair, but you are a King, why wouldn't you look after your subjects? (bc Riordan chose to ignore part of his characterization in the myths and part of his godly domain) (I know kings aren't perfect, but after the last war, one would think he would do everything in his power to stop another one before it begins) Why not seek justice for Octavian's lies, that affect their ability to win the war, and kill/imprison him? Justice is part of his domain, as Zeus Nomius.

I know that we wouldn't necessarily need these answers, but without some of them, some choices left hanging seem to be there only to add to the drama and danger of it all.

All in all, I have many problems with the 'Heroes of Olympus' series. Some of them are nitpicks and personal preference as a high fantasy reader in my free time. Some of them would really add to the story and continue the themes of PJO.

Please ask me if something wasn't clear to you. I'll happily explain further.

If you find something you don't agree with, let's discuss. I'm open to changing my opinions.

[windfalling]

THE FALL the acolyte | osha/qimir | 18k words | now complete

"You can unlearn what was taught to you," The Stranger said, his voice almost gentle. "We will do it together." Osha discovers her strength in the Force with The Stranger to guide her.

[tanoraqui]

I’m not personally a headcanonner of Maglor living in Rivendell in LotR under a new name, but if he is, I adamantly believe that he is not Lindir (“song guy”) but rather Erestor (tentatively glossed “lonely brother.”) Tragic humor or bust!

[sukirichi]

PLEASE STOP COPYING FICS ‼️

I am by no means gatekeeping concepts or tropes. We all know that it’s normal to see the same tropes or AUs be used differently, and that is not plagiarism. However, I recently found a fic that was oddly similar to my old (and discontinued) Gojo x Reader series, Reckless. The CEO! Gojo is nothing new, and neither is an accidental pregnancy trope. The only reason I am concerned is because this Gojo series I found has the exact same themes as Reckless that consists of: a playboy CEO Gojo with a very notorious reputation, a poor reader who is an employee and asset to the company (someone who works closely with Gojo), reader getting knocked up from a one night stand with Gojo, reader with a seemingly dead/absent mother yet still in contact with her father, Gojo with a very traditional family who does not like reader, and Gojo with an ex he struggles to let go of - which are all elements of Reckless.

The first chapter of that Gojo fic is also eerily similar to my first chapter with the same flow of: YN finding out she’s pregnant and her friend being there for her, Gojo saying he’ll take responsibility because ‘they both made the baby’, YN having to move in with Gojo to take care of the baby, and both of them coming to a mutual agreement that their ‘relationship’ will be purely for the baby’s benefit. The flow of events and specific details about the characters’ backgrounds are too similar to mine.

Again, I am not gatekeeping concepts, just as how I’ve had other writers ask me if they could write their own stories or takes based off of the NAOYA’S TROPHY WIFE COLLECTION or the BONTEN HUSBANDS EXCLUSIVE, and I’m fine with that. I’m even happy people are inspired by what I write. But being inspired is completely different from taking someone’s story and posting it as yours. Please trust your own creativity and skills in writing. You can write amazing stories and have people love them without having to steal from others.

It’s sad to say this is not the first time I, and other writers, have been plagiarized. It’s even more upsetting to know that a friend of mine who has also written a Gojo series (that I’m sure you all know and dearly love) experiences the same issues with the same person. The fact that this is happening to many writers out there is disheartening. We work hard and pour a lot of love in the stories we create. None of us are getting paid for this, and we simply want to share our passions with others. So please, let us be kinder with one another and show love and support the right way. If you love a fic, you give feedback and rb/comment + show support to the writer. You don’t steal their ideas and play it off as your own because you liked it.

[twentyfivemiceinatrenchcoat]

(i love you, i love you (kill me in the morning) ; bonus part)

kenjaku rests on a tatami mat, admiring the ephemeral glow of the starry sky.

it’s a sight to behold, truly: the infinity within it, blooming endlessly across the milky way, before his very eyes. that swirling of indigo and pure white. endless possibilities, just out of reach — so close he can almost reach out and touch them, feel them glide across the skin of his fingertips.

slowly and sweetly, savouring the cold air, he ponders. legs crossed, hair swaying gently in the summer breeze; about this, and about that. about a plan that’s been resting in the back of his mind for thousands of years.

he wonders if there is any way you could be of use to him. 

without too much contemplation needed, he decides that there isn’t. that nothing about you could benefit his goal, that there’s nothing your presence could possibly accomplish. that you have no place, in the world he resides in, no place in the narrative of the story he is crafting. no place in the clash between curses and sorcerers and everything in between.

(and kenjaku understands, without needing to peek into his host’s memories, that perhaps that is exactly why suguru geto loved you.)

he goes to visit you, anyway. just for the fun of it, just to satisfy the ingrained urge his body has to do so. and it’s fascinating, it truly is — the fondness that sprouts in the confines of his chest when his eyes meet yours. a childhood muscle memory, one this body could never fully rid itself of. 

it is nothing short of horrified, the expression on your face; you look like you could pass out any second, and kenjaku finds it just a little bit amusing. 

but he bites back a laugh, and his lips curl up into a smile. not the smile of a people-pleaser, nor the smile of a liar, but the smile of something rather monstrous.

kenjaku does not think you will figure him out. he does not think it possible. how could you possibly? with such miniscule cursed energy, without any concept of the soul? 

and yet you do.

you tell him that he isn’t suguru geto, and you’re absolutely right. and now, kenjaku is maybe just the slightest bit intrigued.

(how strange. how amusing.

is there really no limit to what love can accomplish?)

eyes shining with barely contained, gleeful curiosity, he takes a step forward, and you call out for a dead man. a ghost. kenjaku does not expect anything to happen, because how could it?

— a hand comes up to squeeze at his throat.

it is a firm grip, with strangulation as its intended purpose. a lethal kind of ferocity. almost desperate, primal, like a mother wolf protecting her cub; the pads of his lithe fingers press into the sides of his own esophagus, and prevent any air from entering his lungs. those chipped nails dig into his pale skin, vicious and ruthless, hard enough to draw blood.

it is violent, it is gritty, it is devoted. an instinct of the body, as natural as the beating of a heart.

kenjaku can’t help it — he chokes on a laugh, as suguru’s hand curls around his throat. within the vice grip lies an old promise, molded into the very fabric of his being. a promise that transcends death.

he’ll protect you forever. 

kenjaku smiles, all teeth. drool dribbling down his chin, neck bruised and bloodied. pondering; about this, and about that. about two children by a dusty summer creek.

(no matter what, huh?

— such a fool.)

[painfulgoodbye]

My art for the @dreblr-gen-big-bang event!

Go read the fic 'A Family of Two' by @bagelrites ✨

[lizardkingeliot]

I haven't done WIP Wednesday in foreverrrr so who wants a little sneak peek of the Lousat post-season 2 finale thing I'm currently working on? I'm trying soooo hard to finish this thing as quickly as I can but I've just been so busy and distracted these past couple days. I'm hoping to have a nice chunk of time to get some writing done today tho. Fingers crossed I have this up within the next week or so! 🥰

—

Lestat was talking in his sleep.

“Louis, Louis…”

Louis opened his eyes to the sound of his name falling from Lestat’s mouth like some sacred litany. He drew a breath. He could feel Lestat’s withered heart beating where they lay so close together. Could hear it pulsing on the air like some flagging piece of machinery.

“Louis. Louis.”

He was pressed to Louis from his head to his feet. Wrapped around Louis in the coffin like he was trying to meld their flesh together. His face tucked into the hollow of Louis’ throat as he muttered and dreamed.

“Louis. Louis. Louis—”

“Les. Hey…” Louis rubbed tiny circles against Lestat’s back, right between the pale crests of his shoulders. Feeling the cool skin under his tattered robe. Feeling the bones and flesh underneath. “Lestat. Hey. Wake up.”

Lestat flinched. Inhaled. Gasping, desperate sound of waking. “Louis…” Shaking in Louis’ arms like something on the verge of collapse. Skin like vellum, like breath. The quivering, fragile skin of a human being. “Louis. You’re…”

“Hey…” Louis pressed a kiss against Lestat's golden head. Outside the dark cocoon of the coffin, hurricane Odette was still raging. Wind howling through the shattered windows of the cottage on Dumaine Street. Rain falling through the cracks in the ceiling, pattering the coffin with its melody. “Hey. It’s okay, I’m—”

“Louis. You’re really here with me?”