#also just so we are clear: all writers are unique in their own way! this is good and results in the variety of wonderful genres we have now

[kindlythevoid]

You write so that your favorite actor will one day star in an adaptation of your book.

I write so that an adaptation of my work gets featured on Film Theory.

We are not the same.

[nanowrimo]

Smash Your Word Count Goals in 3 Easy Steps

from our sponsors at Freewrite

Here at Freewrite, we help writers reach peak productivity in order to meet word count goals and create their best work yet. That’s our reason for being.

Today, we’re going to share the three easy steps proven by science to help you reach your writing goals!

1) Set A Goal & Write It Down

The psychology of goal setting is pretty clear. It’s what NaNoWriMo is all about, right? Research has proven that people who set goals experience higher motivation and are more likely to feel accomplished.

However, the type of goal you set makes a big difference to your efforts. Make sure that your goals are (a) clear and specific, (b) realistic, and (c) measurable.

Being clear about your goal will help you hone in on what you’re trying to achieve and ignore distractions. Make sure to write it down, as well. Research by psychologist Gail Matthews has revealed that people who write down goals are 33% more successful than those who simply set a goal in their head.

Next, be realistic. This means being honest with yourself about what you can and can’t achieve based on your other life obligations. Setting goals that you can’t achieve will only lead to frustration and, ultimately, a lack of motivation.

And last, make sure each goal is measurable. “Write 1,000 words each day” is much easier to measure than “Finish this book.” Because we all know it’s difficult to measure a book being “done”!

Breaking these goals down into smaller, simpler steps will help, too. If your goal is to write 20,000 words during Camp NaNo, break that down into 5,000 words a week, and then figure out how many words you’ll have to write each day to reach those smaller goals.

2) Practice Freewriting

Freewriting is thinking. It’s as simple — and as difficult — as that.

While every writer is unique, and there is no one way to be a writer, there are similarities we all share as humans — especially humans in the modern world — that create common obstacles to doing the things we love — like reading, writing, and yes, thinking. There are the obvious external obstacles: social media, email, the internet. But there are sneaky internal obstacles, too — the main culprit being the inner critic.

As humans, we are judgmental. It’s in our DNA. Our brains are constantly assessing situations, imagining outcomes, and making decisions. It’s part of survival at a very basic level. However, that means that when we do anything, including writing, we tend to automatically assess our actions — judging our own words, tweaking and editing them as we go along. That constant evaluation not only hinders progress, it can also stop us from ever getting started. And if we do manage to sit down to write, that inner critic creates an unconscious anxiety that prevents us from experimenting and writing down our most innovative and creative — and weird! — ideas.

We’ve all heard the advice to “write now, edit later.” Or perhaps you’ve heard writers reference “the sloppy/crappy/messy first draft.” Those are just fun ways of referencing the writing method in which you separate the drafting process from the editing process. Or, what we call freewriting.

Many people haven’t written this freely since childhood, but there’s a reason this method is taught in MFA programs. Getting your thoughts down first and revising later increases productivity and yields better, more creative work because it allows you to give your brain fully to each task. It means that when you’re drafting, you’re drafting, and when you’re editing, you’re editing. There’s no context-switching or multitasking.

So, what if you gave yourself permission to write badly at first? And we don’t just mean cheesy or with glaring plot holes — we mean typos, missing words, character names replaced by big Xs because you couldn’t remember them in the moment.

The next time you draft, we challenge you to give it a try. Just let yourself go and give your thoughts and feelings over to the act of creating. Because that’s when the magic happens. 

3) Track Your Stats

OK, you’ve set measurable goals, and you’ve started drafting. What’s next?

Track your efforts!

Here at Freewrite, we’ve created a tool to automatically track important writing stats, like word count, writing days, writing streak, and more! It’s called a Postbox Profile, and it gives you a unique URL that allows you to share your stats with writing friends.

Anyone with a Postbox account — that’s anyone who writes on a Freewrite OR uses our free in-browser drafting tool, Sprinter — can create a Postbox Profile and track their stats.

👉Don’t have a Freewrite yet? No problem! We have a FREE in-browser drafting experience called Sprinter that helps you shut down distractions and make progress — and gives you access to Postbox. Start writing today absolutely FREE at sprinter.getfreewrite.com.

👉Ready to grab your own Freewrite? Our entry-level device, Alpha, is $50 off this June only! Just use code STARTWITHALPHA at checkout.

[jesncin]

The Potential of Asian Lois Lane. Pt 1: Girl Taking Over and American Alien, a comparative analysis

Lois Lane has had many iterations over the years. But specifically in the last decade, Lois has been reimagined as an Asian American woman in both the comics and recently in the animated show My Adventures with Superman.

I believe making Lois Asian is a very inspired choice for the Superman mythos! I would like to take a moment to analyze these versions of Lois from an Asian perspective, seeing what works, what doesn't, and what I'd like to see more of. We'll start with the comics first, as MAWS is going to need its own post.

Usual disclaimers: I'm just one Asian perspective, I do not and never will claim to cover every Asian person's opinion on a thing ever. We're not a monolith, we come from a variety of backgrounds and experiences. I'm simply a fan who enjoys media analysis and believes it's valuable to have my perspective in this topic. Secondly, this discussion covers the comic run American Alien, which is written by Max Landis. He's an ultra creep and while I think the comic is worth a read for what it is, I leave it up to you whether you'd like to buy the comic. You can always arg-arg-ahoy otherwise.

I'd like to start with Girl Taking Over: A Lois Lane Story written by Sarah Kuhn with art by Arielle Jovellanos. This is a self contained YA graphic novel about a young Japanese American Lois dealing with the ups and downs of breaking into journalism as a career in National City. When her dream internship at Catco gets a corporate take over, Lois seizes an opportunity to write an exposé on a shady art director. But when her story is turned down, Lois does some out of the box things to get the story of marginalized performers shared with the world.

Girl Taking Over is a fantastic story and I happily recommend it to anyone looking for how an Asian American Lois could be reimagined (with fabulous art by Arielle! The fashion especially is on-point). This story isn't just a diverse coat of paint on a Lois Lane story, being Asian informs Lois' experiences and choices. Both she and her frenemy roommate Miki, are ambitious Asian women yet have hidden insecurities where they still made themselves small to their respective white male bosses. They played into model minority in different ways, and it's only by working together that they're able to foster a community for their stories to be told.

Lois and Miki don't just "have a diverse friend group", that friend group is actively being taken advantage of and suppressed by white gatekeepers. By extension, Lois' friends from work find solidarity in each other. Lois looks up to Cat Grant, a Filipina-American journalist, because seeing Cat succeed made Lois feel like her dream as a journalist is possible. I love how Lois' mom (a character so rarely expanded on in DC canon) acts as a voice of comfort for Lois in the story. All these characters feel holistic and whole, going through their own unique struggles.

It's clear from interviews with both the writer and artist that they care for the history of Lois, and saw an opportunity to reimagine her in a way that aligns with her character but also revitalizes her for new readers of color who aren't used to seeing themselves reflected in media. It's taking Lois' ambition and fearlessness and channeling them into the need to be a model minority, and the insecurities that can come from the desire to succeed constantly. It's taking a character historically frustrated by sexism and disrespected by her male peers- including Clark Kent (who got better treatment than her as a man), and expanding her to be a Lois that has to deal with both sexism and racism in the workplace. It's humanizing Lois' excellence into something painfully specific and relatable for many Asian women.

The only thing I feel I want from this version of Lois is... honestly more of her! I want to see what Japanese Lois does when she moves to Metropolis and works at the Daily Planet. I want to see how her experiences in National City informs her adulthood. Girl Taking Over sets up an incredible groundwork for stories to be told in the Superman mythos. How would Lois react to Superman, a fellow immigrant? Would Superman see himself in Lois? Since she's someone who, in the American context, is perceived as the perpetual foreigner? What would their relationship be like? Out of all the Asian Lois' in media we have so far, this Asian Lois' story has the most rich potential in my opinion.

Up next, we have American Alien written by Max Landis. This 7 issue series swaps artists for each issue, as a means of reflecting different milestones in Clark's life. I will be focusing on issues #4, 5, and 7 since those have the most prominent Lois appearances. With that, I'd like to celebrate the artists for those issues: Jae Lee (issue 4), Francis Manapul (issue 5), and Jock (issue 7). All these artists did a fantastic job, their art styles are energetic and fun to look at. Lee and Manapul are both Asian artists (Korean and Filipino respectively) and I love how they draw Lois- who looks undeniably Asian in their art styles.

American Alien is a modern take on the Superman tale. It expands Clark's story to be connected to Batman, Green Lanterns, Green Arrow, and more. We see Clark grow from his days in Smallville to a city boy in Metropolis, coming into his own as Superman. It's a bold and pretty divisive take with some standout story moments. From what I know, this is likely the first time Lois has been reimagined as Asian- and continues to influence Superman media like MAWS (the producer specifically calls out this comic as inspiration).

In issue #4, Clark moves in to his Metropolis apartment and talks on the phone to his mom about "some bigshot guy named Louis Lane". The reader, likely familiar with the Superman mythos, knows Clark is coming in with biases and a preconceived notion of who he considers a promising student reporter. Once we meet Lois Lane however, the comic turns the reader's expectations on their head:

Lois Lane is an Asian American woman (it's not specified what her exact ethnicity is)! This is a fun moment where the comic metatextually challenged the reader's own biases, showing it's not just Clark who had a different idea of who Lois Lane could be.

Lois' introductory panel is my personal favorite part of her characterization in American Alien. Lois proudly stands as a wall of text behind her recounts how she was considered as a winner for the Daily Planet's Charlton Memorial Laureate Program. When asked why she deserves a place on the program, Lois snaps back that the very question itself is loaded. She's listed her credentials and looks professional- so she's either already been rejected and is just being made to "at least had my say" or she's been accepted and is "meant to garnish my success with eloquent affirmation" to which Lois refuses to do either.

This is a great defiant introduction to Lois, showcasing how jaded she is with the way the world perceives her- but is very confident in her self worth as a journalist. By the end of the issue she reaches out to Clark to combine their exclusive interviews into one story to make a big impression on the news. Her words inspire Clark to seize an opportunity to make a big change in the world as Superman.

Afterwards, the comic plays the classic Superman and Lois dynamic straight. Lois is initially suspicious of Superman, but eventually comes around and is inspired to hope through him. There's a great back and forth between the two where Lois' words initially inspire Clark to be Superman, then Clark assures Lois that Superman is probably just a good guy, and when Clark loses hope from a bad day of heroism, Lois gives him hope again. In the end, Lois realizes her love for Clark Kent over Superman and they share a passionate ending kiss.

Overall American Alien nails the Clark and Lois dynamic and understands their relationship. I consider this Asian Lois "just okay". I like that we get to see an adult jaded Asian Lois meet Clark Kent and Superman, and see them get together. Similarly to Girl Taking Over, I'd like to see how this Lois and Clark would play out. My only issue with American Alien's Lois is a sense of missed opportunities.

The writing overall leaves room for plausible deniability over Lois' Asian identity. The artists (particularly Lee and Manapul) are doing the heavy lifting delivering Asian Lois. If she was drawn as a white woman, none of the writing would need adjustment. Sure her introductory panel implies that people judge her based on her appearance- but that could be just sexism instead of the intersectional experience of Asian Lois going through racism and sexism. Clark did assume she was a man after all- it's never specified if he assumed she was a white man. The only thing you'd lose is the metatextual shock value of Lois Being Asian This Time. That's really what this Lois boils down to, initial shock value with no specific writing to follow through. Her marginalization and identity is written broadly enough that it could be attributed to general sexism and womanhood. It's not specific to being an Asian American woman.

However, because of its broadness, there's room for Lois' Asian identity to be built on in the world of American Alien. The story centers Clark's experiences, but I can easily imagine a continuation of the story expanding on Lois'. The basic groundwork is there. I think it's telling that in a comic called American Alien, we get a more diverse Superman cast system. Jimmy Olsen is Black, Lois Lane is Asian- when Clark moves to the city it feels expansive compared to Smallville. It's a world that feels ready to tackle themes of racism if it was ever to continue (and probably in the hands of a writer with that kind of life experience!). In the end, there's room for this Asian Lois to be something special. Clark isn't the only American Alien in American Alien, if you catch my drift.

You can see how Girl Taking Over has a huge piece of what American Alien is missing. The characters aren't just diverse for shock value, they're not an aesthetic change over historically white characters. They have a story to tell that is inseparable from their identities. Whereas in American Alien, the art is doing the heavy lifting with the reimagined diverse characters- Girl Taking Over has both the writing and art carry the representation. Lois can't be changed into being white in Girl Taking Over.

Both of these stories have potential- but if I had the choice to pick which story should continue, it would easily be Girl Taking Over. This graphic novel works for what it is: it makes sense that this is a younger and idealistic Lois that hasn't met Clark or Superman yet. It's a YA book and Lois can absolutely carry a story on her own. What I want as an Asian fan, is for the potential of Asian Lois Lane to be seen through to the point it's considered the definitive version. As of right now, Girl Taking Over is a fun twist on the Lois Lane story. Not something that is seen as inseparable from the Superman mythos. However! If those themes of marginalization and immigrant identity are tapped into for both Superman and Lois Lane? I feel that has the potential to radically strengthen the overall themes of Superman. It's certainly been touched on before.

(TW/CW: racial slur mention in below image)

Superman Smashes the Klan by Gene Yang with art by Gurihiru is a retelling of the Clan of the Fiery Cross arc in the classic radio show The Adventures of Superman where Superman faces off with the Klan who had been terrorizing a Chinese American family. The graphic novel adapts the story to center the Chinese American characters, and makes it a point to show that Superman relates to them. If that dynamic was applied to Asian Lois, that feels like a definitive love story waiting to happen.

The classic two person love triangle with Clark and Lois is that Lois loves Superman and is indifferent to Clark Kent. She thinks Superman is this ideal macho man and Clark is a cowardly fumbling guy at work who rivals her. What happens when you take that dynamic and made it so Lois identified with Superman- the more othering identity? How complicated would that make Clark Kent feel? How would he navigate that when his marginalization isn't always visible? That's a whole new depth to the love triangle we're not used to seeing. I feel so far, none of these versions of Lois have touched upon this potential dynamic. The perpetual foreigner, Lois Lane and the ultimate alien foreigner that is Superman. The jaded city girl meets the alien farm boy who gives her hope. They inspire each other to be more of themselves in a world not ready to accept either of them.

Up next, we'll be discussing My Adventures with Superman's Korean Lois Lane in pt 2. It's well. You can probably guess how I feel about it from what I wrote here but welp. We'll talk about it.

[guilty-pleasures21]

Jason Todd submissive? Please I'm obsessed 😭🙏🏼 (I don't speak English, sorry Google translator JAKSKAKSKK)

— 🐏

Ahh! My first request! I tried my best based on what I understood of the assignment and I really hope you like it 😅!

Also, I speak French, a little bit of Spanish, Mandarin (though it's been ages! 🫠) and Punjabi, so don't worry about having to translate these if it's easier for you! Although I'm only comfortable writing in English, so I hope this is still all right!

Also, also, I know most writers on this site write in Y/N format, so you guys can just let me know if you prefer that format or 3rd person and I can change it accordingly.

Interrogation practise

I feel like Jason wouldn't let you try to dominate him, so you'd just have to try to trick him into it 😉.

Part 1 - the interrogation

Part 2 - the revenge

Part 3 - the roleplay

Warnings: bondage, explicit description of sex (male x female).

----------------------------------------------------------

     She gave the knot a final tug, then looked up at him. “Is this okay?” 

     “That’s perfect, baby,” Jason assured her, shifting in position to get himself more comfortable. She stood up and moved to stand in front of him. She’d asked him to help her practise her interrogation techniques - she was always too soft when it came to questioning criminals and she wanted to learn how she could improve on her weaknesses. She’d tried asking some of the others before - Bruce, Cass, Dick - but they were all either too impatient or too violent for her tastes. And even though her boyfriend could be … a little hot-headed at times, he was always gentle when it came to her, helping her use her own unique talents to better improve her crime-fighting style. 

     “Okay, so, how should I start?” X asked him. Jason let his gaze trail over her body, his eyes lingering a little too long on her tanned and tone legs, bare beneath her little shorts. He dragged his gaze back up to hers, trying not to think about how very helpless he was right now, tied up to this chair in front of his pretty little girlfriend, just waiting to torture him. He shook the thought away.

     “So, you want to start gentle,” he coached her patiently. “People are already scared of the big old Bat, right? So you want to convince them that it’s better for them to talk to you instead.” She nodded in understanding.

“Okay, so … What should I be trying to get out of you in this situation? Give me a storyline.” He smirked, amused by how seriously she was taking the situation. She was so cute, his sweet little girlfriend. 

     “Hmm … Maybe you could be trying to find out where the Riddler’s hideout is?” Jason suggested. “I could pretend to be one of his goons.”

     “Okay,” she agreed. She cleared her throat, taking a moment to get into character, then raised her head again, clasping her hands behind her back and strolling over to him. “Look. You and I both know things are going to get a lot more … unpleasant when my boss gets here. So, why don’t we help each other out?” 

     She placed her hands on the back of his chair, bending over so that her lips were just a breath apart from his. “You tell me where the Riddler’s hiding and I’ll make sure the Batman goes easy on you.” 

     Jason’s lips curled at the ends as he appraised her and he raised an eyebrow in challenge. “Oh, sweetheart. You’re going to have to do a lot better than that to convince me.” 

     “Hmm,” X considered, her dark eyes trailing down his face and landing on his lips. “What would you like me to do for you, Mr Todd?” 

     F*ck. This was a bad idea. Why had he agreed to this? Oh, right: because she’d given him that pretty little look of innocence that drove him mad whenever he saw it, her dark and curly eyelashes fluttering up at him, her full and rosy lips twisted down in a pout. But shit, they’d barely started and he was already regretting his decision. He should have made them do it the other way around instead; he should have tied her up to his bed while he ‘demonstrated’ the proper technique to her. She dragged a finger down his chest, her eyes following the path she made along his hard muscles. 

     “What would it take …” she slid her legs on top of his, settling herself in his lap, “... for you to tell me where the Riddler is hiding?” She wrapped her arms around his neck and leaned forward, her breath tickling his ear as she murmured into it. 

     “Hmm? 'Sweetheart'?” His head fell back with pleasure as she chuckled at her own words before nipping playfully at his ear.

     “Ah, f*ck!” Jason shifted in position, struggling against his binds so he could free his hands and run them all over her deliciously bare thighs. God, she was hot. X straightened and moved one hand to cup his face, her lips so close to his, but still so painfully far.

     “Why won’t you tell me, Jace?” she whined, pouting at him pleadingly. Then her lips twisted into a grin and she dragged her thumb across his lip before beginning her mouth to his. “You know what I’ll do for you if you do.” 

     He leaned forward, meaning to kiss her, to close the distance between them and lick up the sweet taste of her. But she pulled away again and he growled in response. “X!”

     X giggled and stood up, curling her fingers around his shoulder and moving to stand behind him. 

     “This is an interrogation, Jason,” she reminded him, bending over and sliding her hands down his chest appreciatively. He was so hot, her big and strong boyfriend. “You’ll get what you want when I say you get it.” She nipped at his ear again and he sighed, wriggling his legs to try to free his ankles from their binds. She pressed her lips to his neck, the soft moans escaping from her throat driving him crazy as she made her way down to his shoulder. 

     “Mmm, Jason,” she mumbled, her voice low and seductive in his ear. She straightened, her hands returning to his shoulders as she stood over him. He closed his eyes and took a deep breath, trying to maintain his self-control - and his control over the situation he’d landed himself in. 

     “Princess,” he called to her, his tone sweet, lazy - like he was the one still in charge. “Why don’t you untie me and we’ll see what we can work out?” She pursed her lips, pretending to think about it as she moved to stand in front of him again. 

     “Hmm, I don’t know,” she admitted, grabbing his shoulders again and bending over him, her dark hair falling forward to frame her sweet face. “I’m having much more fun trying to work things out like this.” 

     Her eyes fell to his chest, to the sharp lines of his muscles pressing against the soft fabric of his shirt as he sat there, hands bound behind his back as he looked up at her. “It’s too bad you still have your clothes on though - we could have had so much more fun if you’d taken them off first.” 

     He sighed and let out another curse as she shot him a wicked smile. Then he watched as she turned around and went over to the kitchen, grabbing a knife before making her way back over to him. His heart started picking up its pace in his chest and he couldn’t decide whether he was terrified or thrilled by the idea of what she was about to do next. “Princess.” 

     She ignored him as she walked back over to him, her steps slow and precise. Then she grabbed the collar of his shirt and traced her knife over the soft fabric before slicing it down the centre. She stood back and licked her lips at the sight of his bare chest, setting her knife aside before climbing back on top of his lap. 

     “Mmm, Mr Todd!” she chuckled, running her hands down his chest and leaning forward to bring her lips to his ear. “Looks like the Riddler’s got his men working on an extensive exercise routine.” She curled her fingers around the waistband of his pants, wriggling back a little to give her hands more room, and he felt his body start to heat up in anticipation. 

     “Does he have a gym? At this secret hideout of his?” She traced her fingers over the outline of his cock, already starting to harden in his sweatpants, and let out another little laugh. “Maybe you could take me there sometime. How about that?” She nibbled on his neck as she slid her hand into his underwear and wrapped her fingers around his cock, sliding them up and down teasingly. 

     “F*ck,” Jason groaned, his head falling forward at the sensation. X pulled back to look at him, brushing her thumb across his bottom lip. 

     “What’s wrong, Mr Todd?” she asked him, delighted to finally have the upper hand over him. “Still not convincing enough for you?” She lowered her lips to his, but continued to dodge his attempts to kiss her, chuckling when he groaned in frustration. Then she leaned forward to pull his lip between hers and sucked on it before letting him go again.

     “Ah, shit!” Jason exclaimed, his breaths getting heavier as he started to become more aroused. He let out a choked gasp as she brushed her thumb over his tip and began circling it gently. “X. Don’t … Stop it, sweetheart.”  

     “You want me to stop?” She shook her head at the thought, lips still curled into that devious smile. “Don’t you remember what I said, Jace?” 

     She brought her face back to his, smirking at him in the way he’d always smirk at her when he was teasing her, pushing her to the very limits as he played with and pleasured her. “I’m in charge tonight.” 

     His head fell back against the seat as she continued twirling her slender fingers around his cock. He should never have agreed to this; he should have known the moment she’d asked him to help her out, that mischievous glint sparkling in her eyes as she'd gazed up at him. Had she planned this all along? Had she wanted to tie him up just so she’d be able to dominate him for a change? Dominate him in the way he’d always dominate her? X frowned, feigning confusion as she looked down at the frustrated crease between his brows. 

     “You’re feeling a little dry, Jace,” she informed him, removing her hand from around his c*ck and pushing herself off of him. He swallowed hard as she lowered herself to her knees and pulled his pants down, licking her lips hungrily at the sight of his cock exposed before her. “Let’s see what we can do about that, hmm?”

     “X, don’t … This isn’t how an interrogation works, sweetheart,” he informed her, trying to keep his tone gentle so she wouldn’t be tempted to challenge him. She glanced up at him quickly, then fixed her gaze back on his cock, her eyes lighting up with delight. 

     “Hmm?” she mumbled, reaching forward to grab hold of his dick. “I’m just trying to use my strengths, Jay. Like you always tell me to do?” She turned her face up to his, grinning at the feeling of his cock throbbing in her hand. Then she leaned forward and dragged her tongue across his tip, licking him up slowly. He bit down on his tongue, trying to stop a groan from falling out at the sensation. He could do this: he’d been in much, much worse situations before and he hadn’t cracked then. There was no way he was going to give her the pleasure - the satisfaction - of knowing that she was the only one capable of breaking the unbreakable Jason Todd. No way in hell was he going to let her have this! But then she wound her tongue around his shaft, closing her mouth around him and letting out a low moan that danced along his skin. F*ck. He pressed his lips together, barely muffling the groan that managed to escape his throat. 

     “X, don’t … don’t …” he panted heavily, struggling against his binds as she continued sucking his cock, her pretty little mouth taking him in so nicely. She pulled her head back slowly, dragging him out of her mouth, then lowered her lips to his balls, her fingers continuing to work on his tip as she suckled on him gently. 

     “Don’t what, Mr Todd? Are you not enjoying this?” She licked one of his balls, curling her tongue around it before pulling it into her mouth to suck on it. 

     He was definitely not enjoying this - not at all! He was the one who was supposed to be dominating her; throwing her around and teasing her until she was begging him for relief, her perfect little breasts bouncing up and down as he brought her to the edge of her pleasure and back down again. He never hurt her, of course - never forced into anything she wasn’t comfortable with. But it was just one of the only times he finally felt in control of something in his life and he was f*cked if she found out how so very aroused he was right now. 

     She chuckled, knowing exactly how much he was enjoying it - and exactly how much he was hating the fact. She’d wanted to try it, just once, but she knew her boyfriend would never have agreed to something like this, proud as he could be. So, she’d devised this clever plan, playing into his ego to make him think that she was just so innocent and so desperate for his help. She pulled his dick back into her mouth, moaning against his tip when it hit the back of her throat before letting him go again. Then she stood up. 

     “Okay. You’ve had your fun,” Jason relented, the muscles in his shoulders flexing deliciously as he pulled against his binds again. “Now untie me, X.” She rearranged her features into that innocent expression that drove him crazy every time she used it on him. 

     “But you still haven’t told me where the Riddler’s hideout is,” she pointed out, eyes wide as she waited for his response. He huffed in irritation, his chest heaving up and down as he glared at her. He looked so hot like this, jaw clenched in anger, strands of his dark hair falling into his mossy eyes. There was no way she was going to let him go so easily - not until she was completely done having her fun! He kept his mouth shut and she shrugged. “If that’s how you want to play.” 

     X started taking her clothes off, taking her sweet time removing each piece of clothing and dropping them into his lap. She smirked when she saw his Adam’s apple bob up and down and her eyes fell back down to his cock, the tip glistening now with the prec*m starting to leak out of it. She slid her hands up her abdomen and squeezed her breasts when she reached them, her body entirely bare before him now. 

     “What’s wrong, Jay? Are you gonna come all over my clothes?” She blinked at him sweetly, feigning innocence before bending over to murmur in his ear. “Why would you do that when my pretty little p*ssy is already waiting for you to fill it up?”

He let out a choked gasp at her words. “F*ck!”

She straightened and giggled at the thunderous expression on his face, his thick brows crashing together over his darkened eyes. Then she flicked her hair over her shoulder and straddled him again, wriggling her body against his as she ground her hips into his slowly.

     “F*****ck,” he groaned into her neck, his dick so painfully hard for her. “Shit, baby. Faster. I need you. Now.” She twisted her fingers into his hair and pulled his head back, forcing him to look up at her again. 

     “You just don’t listen, do you, Jason?” She flicked her tongue out, licking his lips before giggling and tugging on the skin of his neck with her teeth. “We should do something about that.” She slid her hands down his hard chest, pressing quick kisses down his neck before licking a stripe back up to his ear. 

     “Shit, baby. Anything. I’ll do anything you want me to.” He began thrusting his hips against hers, desperate for relief. “You want me to tell you where the Riddler’s hideout is? I’ll tell you. Gotham … museum … or whatever.” Had they agreed on a location? He couldn’t remember. And he didn’t really care, either way - all he needed was her, her tight little p*ssy clenching around his dick, her warm and wet walls squeezing him tight as he unloaded himself inside of her. She giggled as she bounced up and down on his lap, clearly delighted by how desperate he was for her. Then she took hold of his chin, tilting his face up to hers so she could look him in the eyes. 

     “Really? You’re not just lying to me so I’ll give you what you want?” Jason shook his head quickly, doing his best to focus on what she was saying. But f*ck, she felt good, her p*ssy already dripping for him as she waited for him to fill her up.

     “No!” he reassured her. “I promise. I … Shit. Please, X. Please, sweetheart, I’ll … F*****ck.” His head fell forward as she stopped her movements, his dick pulsing and throbbing with desire. Then finally, she reached down to take hold of his cock, sliding it through her already drenched folds in preparation. He suck in a breath at the feeling of her warm and sticky c*m, then let out a grunt as she started easing him inside of her, his hips thrusting into hers as his body begged him for relief. 

     “Slow down, Jay!” she laughed. “You wanted to hold out against me, right? You didn’t want to give me what I wanted?” She grabbed his hair again and pulled his head back so he was forced to look up at her, at the wicked curl of her lips.

     “And I asked you so nicely, too!” she continued, letting go of him and lowering her lips to his. “Should I wait? Should I just stop and wait for the Batman to come and deal with you?”

     “F*ck, no! Don’t … Shit.” She wouldn’t actually stop, would she? Not when he was already halfway inside of her? “I’ll tell you. I’ll tell you anything you want to know, baby. Please, just …”

     He lowered his head to her shoulder, brushing his lips along her neck and murmuring against her skin. “Come on, sweetheart. Please? I’ll give you anything you want, baby.” 

     “Hmm, anything?” she asked him, her body tingling at the low rumble of his voice, at the way his thick cock filled her up so very nicely. She held his head in her hands, guiding his mouth to her breast as she ground herself into him, her p*ssy pulling him deeper inside of her with every roll of her hips. She shivered as he closed his lips around her nipple, dragging his tongue around it and suckling on it in just the way he knew she liked. “Mmm, shit, Jay.” 

     She moaned at the way he licked and sucked on her breasts, his cock brushing up against her walls every time she moved. She slid her fingers into his hair and tugged on the strands, pulling his head back again to see that dazed look on his face again. Her nipples tingled at the way his eyes had glazed over from pleasure, his pupils so wide now that the beautiful green of his irises had disappeared almost entirely. She giggled at the sight, then pressed her lips to his, moaning into his mouth as she kissed him deeply. He raised his hips to thrust himself into her repeatedly, his dick hitting that one spot that had her curling over in ecstasy. And then she hit her breaking point, her body shuddering and shaking against him as she came. She gripped onto his shoulders, trying to maintain her balance as her p*ssy pulsed around his dick, clenching it tight and begging for him to fill her up. His hips stuttered as his c*m gushed into her, the warm and sticky liquid shooting into her vagina and leaking back out again. X whimpered at the feeling, curling herself around him and burying her face in his neck as he unloaded himself inside of her. Then finally, he leaned back against his seat, the tension leaving his body as he finally got his release. 

     “We … are never doing that again,” Jason panted warningly, his green eyes boring into her as she straightened. His eyes fell to her breasts as she tried to catch her breath, the beautiful mounds glistening with sweat just waiting for him to lick away. 

     “In that case … I guess I’d better take advantage … of right now,” she joked, delighting in the way his dick was still buried inside of her. Jason growled, baring his teeth at her in a snarl. 

     “X. Untie me - right now,” he demanded, not playing around anymore. X sighed and got up off of him, her body protesting at the sudden emptiness inside of her. She knelt down to undo the ties around his ankles, then moved to take care of the one binding his wrists together. He jumped up as soon as he was free, shrugging his shirt and pants off before grabbing her and lifting her up in his arms.      

“Just you wait, sweetheart,” he growled in her ear, carrying her over to his bedroom. “It’s my turn now: and I don’t care if it takes me the entire night to get what I want from you.”

[luthien-under-bough]

my meandering thoughts after ep7:

i think a lot of people are overlooking the importance of daemon's scenes in episode 7 in focusing so much on oscar tully. like ok sure it is objectively funny to see daemon be read for filth by a teenager, but this is not some meta punishment doled out by the writers because they hate his character - or even oscar "gagging" daemon. this is daemon directly responding to rhaenyra's accusation during their ep2 argument: "I think you used my words as an excuse to take your own revenge… to indulge the darkness you keep sheathed within you like a blade." Oscar's own words to willem blackwood call back to this: "it is true that he made clear his base desires, but you did not have to pursue such savagery. You did it… because you wanted to."

like yes, daemon is being humbled, but he is also specifically acting contrary to his own desires, and choosing to do what is necessary in service to rhaenyra's claim. it's obvious in the look he shares with ser simon, and in his shifting expression from anger to acceptance as he realizes he must do this to earn the crucial support of the riverlords. i do not think the daemon of episode 2/3 would have responded this way. he would have given into that impulse that's telling him to smack oscar around and burn the lot of them. he is putting aside what he would do, in favor of what rhaenyra needs him to do.

And the look on his face afterwards is full of horror - for the first time we really see him haunted by his own act of violence, when we've typically seem him remorseless or flippant (rhea royce, vaemond velaryon, the unnamed body they used for laenor's "death") if it advances his aims. this contrasts with rhaenyra in this same episode, where we see her really indulging in violence for the first time - she sacrifices the dragonseeds in pursuit of finding new dragonriders, which is also a repudiation of her and daemon's earlier argument, where he accused her of being too weak to spill blood to achieve greatness.

(literally everything they do ties back to one another, their influence on one another, and which parts of each other and viserys they choose to internalize and express - two halves of a whole, indeed - so it baffles me that most daemyras are unsatisfied with this storyline just because they aren't physically together, but that's a story for another post)

daemon's scene in the Harrenhal godswood leads directly into the vision with viserys, where he is confronted with the question of whether or not he still wants the crown (really, if he ever actually wanted it - or was it just a symbol of his brother's love, of recognition, of the ultimate tool to achieve power and respect in this world). he's just had to make a choice and take an action that conflicts with his own worldview, of what strength and loyalty means, of the acceptability to the ends justifying the means, of the ramifications of the collateral damage that such choices have - which is all tied into the true weight of bearing the crown. is he really cut out for this? i think it's clear the answer will be 'no' - and it will reaffirm his support for rhaenyra, at the same time her own journey has brought her to a place where she has found a way to wield her power and authority in a way that can be respected (and feared) and is independent of her reliance on daemon's martial prowess and masculinity.

if there's still any doubt that daemon's visions all have purpose and are moving him forward, i really don't know what to tell you. it's frustrating to see his arc reduced to "daemon is doing nothing all season" because most of it has been internal. both daemon and rhaenyra have grown from the accusations levied at one another in their argument, and i think are positioned well for a reunion that allows them to "finish their conversation" from a place where they are both more able to function within the parameters of their strange and unique relationship as sovereign/consort, husband/wife. uncle/niece, and even brother/sister (as their relationship to viserys is very much reminiscent of siblings competing for their father's love and attention). it's a very clear arc to me, and i am very excited to see how it all comes together in the finale (as well as how this sets the stage for future conflict between them).

(the " but in the book…" arguments about daemon at this point are also weak IMO, because daemon basically does nothing during this section in the book. and because the show has added different dimensions to his character that simply do not exist in the source material. his time in harrenhal is summed up in a couple of paragraphs. the riverlords all honor their oaths without conflict - and he fights in the battle of Stone Hedge, which you can mourn as an adaptational choice you do not agree with, but personally i think it's far less interesting than what we were given in the show.)

this is where i wish the fandom at large would give the writers a little more credit, and extend your faith a little further. sure there are some odd choices throughout, and yes they have taken adaptational liberties you may not agree with - but as we near the end of the season, the overall vision for daemon (and rhaenyra) is clearer, and i think it will be even more rewarding looking back on the season as a whole.

[visit-new-york]

The Legacy of the Chrysler Building

As we reflect on the Chrysler Building's storied past and enduring significance, it becomes clear that this architectural masterpiece is more than just a building—it's a living testament to the spirit of human ingenuity and creativity. Its legacy extends far beyond its physical presence, leaving an indelible mark on the cultural landscape of New York City and the world.

The Chrysler Building has not only inspired countless architects, artists, and dreamers but has also shaped the way we perceive skyscrapers and cityscapes. Its iconic design has become a touchstone for Art Deco enthusiasts and a symbol of the Roaring Twenties. It continues to serve as a source of inspiration for filmmakers, writers, and photographers, who seek to capture its unique beauty and timeless elegance.

In a rapidly changing world, the Chrysler Building remains an anchor, a reminder of the enduring power of architectural innovation to captivate the human imagination. It stands as a beacon of hope and ambition, reminding us that even in the face of challenges and uncertainties, we can build something extraordinary that transcends time and place.

The Chrysler Building's ability to grab the attention of both residents and visitors to New York City is a testament to its timeless allure. Its shimmering spire, intricate ornamentation, and rich history continue to captivate the hearts and minds of all who encounter it. It stands as a symbol of human achievement and ambition, a reminder that the pursuit of beauty, excellence, and innovation can create enduring masterpieces.

So, the next time you find yourself in the shadow of the Chrysler Building, take a moment to look up and marvel at its splendor. Let its timeless elegance and rich history inspire you to reach for the sky in your own endeavors. The Chrysler Building is not just a part of New York City's skyline; it's a part of the city's soul, a shining example of what can be achieved when dreams and determination collide. It's a symbol of the past, present, and future—a true architectural treasure that will continue to capture the attention and admiration of generations to come.

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[secondhandsorrows]

Keys to Crafting Characters Readers Will Root For (w/ some examples)

As a writer and while making up this blog, I’m quite adamant that characters are just as important (if not more) as plot. In the grand scheme of things, an active, relatable, and engaging main character is crucial for a novel's success. But how exactly do we make a character all these things? There’s many ways, in fact. It is up to us as authors to keep track and manage the developmental arc of our protagonist: primarily, who they are on the inside, and how they grow or change / adapt to the situations or people around them. 

Here are some examples and tips to help you develop a compelling protagonist (or all kinds of characters). Keep in mind these tips are at their most basic, essential level (there’s just so much that can be explored in each one), so I hope to go further into each point sometime in the future. 

~`* They have clear goals and motivations.

First things first: you’d want to clearly define your character's goals and motivations — and the sooner, the better. Proper and well-set goals and motivations provide a sense of direction to the narrative. They should be specific, measurable, and achievable — or perhaps, not achievable, at least to its fullest extent. This would ultimately depend on the type of arc or ending you intend to write for your story, but there should at least be some main goal the character is vying for, and a motivation that dictates how much they want or need it. 

For example: An aspiring actress hoping to make it to the stage and audition for the lead role in her favorite play.  —> Why does she want to be an actress so badly? What does it mean to her to act in her favorite performance? What does she have to prove, to herself or others?

~`* They are flawed, yet relatable:

I’m sure you’ve all heard this before… but I’m still going to reiterate:

Your character should have relatable flaws that readers can sympathize with. It’s no secret that flaws make characters human and relatable. Flawed characters help us remember that nobody’s perfect, and that we’re not alone in our struggles and in our plights (stay back, Mary Sues!). These flaws can be anything, from fears, limitations, biases, misbeliefs, quirks, shortcomings, or behaviors. It’s useful two have at least two: a minor flaw and a major flaw, where the former affects only the only character and nothing else, and the latter hinders the character and affects the plot. 

For example: A highly-knowledgeable yet socially awkward and oblivious professor who can hold a bar of soap better than a conversation.  —> Does this flaw make him out to be charming or weird to others? How can his social-awkwardness affect the plot… does it hinder him from connecting to his students or colleagues? 

~`* They have unique talents or interests.

Sometimes I read a story, and personally I have a hard time connecting with a character if all they care about from beginning to end is what’s happening in the plot. It’s like they exist for the sole purpose of the plot, and are nothing but a shell to see through the events or its challenges. This is understandable, especially when it’s an action-packed story or thriller. 

Personally, I can’t help but wonder what its main character does for fun. What they’re like before the events of the novel. 

I think it can be useful your character skills or interests that set them apart. This not only makes them interesting, but can drive the plot in unexpected ways. *Bonus points if they have a particular skill or hobby that conflicts with the way they present themselves to others, or if they hide it well if they are embarrassed by it or afraid of getting judged. Essentially, this is all to clue-in on the reader to the character’s backstory, their personality. It helps them seem more individualistic, like humans with their own sets of interests or ideas that give them more complexity and uniqueness. This can also be useful in creating parallels or connections to your story’s themes or your character’s arc. 

For example: A brave warrior with an aptitude for gardening and flower arranging.  —> Seems random, right? But what if this warrior had workin in their relative’s flower shop, and has kept the skill alive in their days of battle to see pieces of beauty around them, hope from fear and danger? They might dig graves of their fallen friends and leave behind flowers in remembrance. Just an obscure  example, but see all the possibilities something like this can open up?

~`* They have deep, complex relationships.

Sometimes we can get a better idea of a character when we see them interact with the people around them. It’s like showing vs. telling, where we get a firsthand look at how the main character treats his family members, how he accepts or refuses help from those he’s close with, what he appreciates most about his significant other, how he feels about the annoying neighbor next door. Who’s the one person they most admire and never want to let down? Who’s the one person they despise with all their body and soul? Whether it's friends, family, enemies, or romantic entanglements, complex interactions and relationships add layers to your character and in how they showcase themselves to the world. 

For example: An excellent, compassionate therapist with a strained relationship with his own family member.  —> How does this character feel about this kind of relationship? Does it stem out of shared family troubles, or something deeper? Is there a glimmer of possibility the therapist might reconcile with this relative, or are they dashed because of mutual pride or distrust? 

~`* They often face moral dilemmas.

It’s time to get philosophical. Human nature is full of paradoxes and tough moral questions, and so characters with conflicting qualities can be intriguing and relatable. Introduce moral dilemmas and conflicting values that force your character to make tough choices and confront their conflicting values. Do they have a friend with conflicting beliefs that challenge their own? Are they forced to act a certain way because of external pressures? Are they forced to choose between saving one person while destroying another? 

No matter how serious this dilemma is, you can also add a moment of clarity or self-awareness for your character. This can be a turning point where they acknowledge and confront the conflict within themselves, thus becoming face-to-face with their internal crisis and how they decide to go from there. Do they weigh the pros and cons considerably, do they fumble because they’re hesitant, or do they embrace the new changes? 

Despite conflicting values, make sure your character's behavior is consistent with their established personality. Consistency helps maintain authenticity and keeps the character grounded. 

For example: A scientist torn between protecting humanity and the pressure of making a groundbreaking discovery.  —> How does making this discovery very important to this character? What do they stand to lose… what do they stand to gain? Are they at the risk of becoming something completely opposite of who they were at the beginning of the story, losing their sense of morality or forced to choose a side? 

~`* They show their quirks and habits.

Introduce quirks or habits that make your character memorable. These little details can make the character more relatable and interesting, because just like talents or hobbies, this can also give a clearer sense to the reader of what kind of personality the character has and what they’re like. Not to forget, it also helps them to stand out from other characters on the page, giving them a unique voice with their kind of dialogue, their behaviors, style, and mannerisms.  

For example: A scholar who can focus only if she’s chewing gum or wearing her lucky ring.  —> How might’ve this character started this habit or tradition? Does it actually work? Does it not work, but they still do it anyways because it’s comforting for them? Also, where did they get this quirk from?

~`* They have a backstory.

Most of what we’ve been discussing in this post already leaves some framework for the character’s backstory. It’s important to have a meaningful backstory in mind that influences the character's present actions and explains why they are they way that they are. This adds depth and helps readers understand their fears, desires, and motivations better; not shallow and two-dimensional as cardboard cut-outs. 

Sometimes we don’t get a backstory for our character right away. Backstories takes time to brainstorm and shape — let alone into a complex or compelling one — but its helpful to trust the process. What you can do if you’re still looking for the right one, is to ask yourself questions  on things that matter to you most. This pertains to your story’s themes and other main ideas you may like writing about, such as grief or family matters. It all boils down to who your character is (the present), and where it stemmed from (the past). If we take this a step further: does this backstory guide them or force them to make changes within themselves, thus leading to their changed self at the end of the novel/series (the future)?

For example: A woman with a fear of marriage because she’s seen firsthand its faults, including her own parents’. —> Is her parents’ divorce still something she’s struggling to come to terms with? Is her misbelief equating marriage to constant conflict? Does she have a secret desire to get married, yet it put off by its pressures? Does she make up for this fear by focusing on other matters? Will this fear later be disproven?

~`* They are often vulnerable. 

Every hero needs vulnerabilities. Imperfections. Weaknesses. We’ve talked about strengths and flaws before, but giving them that dent in their armor, any little opening someone or something might get through, leaves a reminder that no one, especially our hero, is invincible. Nobody’s perfect, after all (side-eyeing you, Mary Sues…). Make your characters messy: adding vulnerabilities helps makes them more authentic and genuine, opening up chances for them to learn and evolve as the story moves along. 

It can also add a layer of suspense to the story, especially in conflict and tension. How will the character handle someone breaking their walls down, or a bad experience threatening to make them crumble and fall back to old habits? How do they handle their insecurities? How well do they hide their fears, and will they ever admit them?

For example: An old woman with bad eyesight and lives alone can’t tell that the reluctant robber breaking into her home is not her grandson.  —> This is a fun little example that opens up many possibilities. Her bad eyesight is a physical vulnerability, and so is her soft spot for her supposed grandson. The robber notices this, and he too may have a soft spot for any old woman who treats him kindly. Does he use this to his advantage to rob the house, or does he humor her for a while?

I’d definitely like to expand on these tips sometime. If there’s anything you’d like to share or add, please do so! I’d love to hear y’alls thoughts. Hope this helped!

[valhalla-awaitsfor-us]

Hi! I hope you don't mind I take your reply to my post to talk a little bit about script writing as a scriptwriter.

This is in no way an attack, I just saw an opportunity to explain something as someone who works writing scripts.

At this point I think it's becoming clear that live action only exists because Netflix wants to have its own Game of Thrones, but that they are not going to respect the core of the original series, because their goal is different. Having said this, I want to review why the changes that are being made are incorrect (if the idea is to respect the story and the characters) focusing on the 3 protagonists: Sokka, Katara and Aang.

Let's start with Sokka, whose changes are perhaps the most "controversial."

As I said in my original post, The core of Sokkas character is that he is a boy who grew up trying to be a man since his father left for war. In that attempt, as someone immature and unguided, he had sexist attitudes, only to later mature and become a real man. Great example for young boys.

No, his sexism comments didn't last long, but they changed at a key moment in the plot: When Suki appears. Avatar is a special series because it was one of the first of its time to so explicitly touch on the topic of feminism. Rebelling in every sense of the word is a recurring theme in ATLA. Sexism was literally knocked out of Sokka when he met the Kyoshi warriors. That's why the scene of him wearing the warriors' clothes is so significant and why it's so important that at the end of the season Sokka has learned his lesson, because there is a direct comparison between him and Pakku. Sokka, on his path to becoming a man, was able to deconstruct his misogynistic mentality at his young age and without an adult guidance, while a man of Paku's age, admired and respected, was still rooted in his sexist beliefs.

It was Katara's act of rebelling against Sokka's sexism that freed Aang from the icerberg. Because, again, an act of rebellion, of standing firm in the face of injustice, along with redemption, are the pillars of Avatar. Sokka's journey encompasses all of those topics, and the fact that he is 16 and not 19 is essential to his character arc.

Is not that we want him to be sexist. We want him to be flawed. Because each flaw are unique to each character. It talks about their development and also about the themes of the show.

Also "Toned down" it sounds weird because as a kid I always knew Sokka was an idiot when being sexist. But it wasn't that bad that I was afraid of him or so angry that I hated his character. Because Avatar is a kid shows even if people from all ages can enjoy it. So when they said "toned down" I was really confused. It made me feel that for them, the only way to show him being sexist way to make him do some unredeemable thing.

Katara

So. Im gonna start saying that Im not a fan of Katara. I think her character is written incredibly well, but it just not for me. In fact, i do feel like we needed an scene between Sokka and her where they can clear the air about their mom. The things she said to her brother and to Aang, the only survivor of a genocide, were too hard to not have a talk after that.

NOW, After saying that, Katara is Katara because of her backstory. Seeing her mother die in front of her and being the only waterbender in her tribe lead her to feel the need to take care of everyone, especially her brother, to be overprotective, to be compassionate. To be Katara.

Sokka himself admits that sometimes when he tries to remember his mother he only remembers Katara. While Aang is a boy who must mature faster than normal, Katara is a girl who has already grown faster than normal and her journey not only includes rebelling and protecting others, but also recovering some of that lost childhood.

Katara is the representation of water. Healing and destructive at the same time. Turbulent but benevolent. I feel the live action writers, and even the actors and actresses, do not understand that the feminist message was already perfectly captured in the original material. The creators of Avatar created complex female characters and just because Katara's story is influenced by the concept of motherhood does not mean that she is not a strong character. She is a strong character because her story is influenced by that concept. Not because motherhood in itself makes us women strong, but because motherhood, specifically for her character, puts her at crossroads and forces her to go through an arc of transformation.

Aang

I'm going to be concise and short with Aang. The decision to have so many "distractions" in his mission is because Aang is 12 years old and does not want to face a war. I think it's something so basic that it seems dumb not to understand that a young boy doesn't want the responsibility of saving the world and seeing his friends die again. I think, maybe, just maybe, understanding that is not that hard.

If they wanted to write a story of wars, blood and darkness, they should not have chosen Avatar, whose protagonist is a little boy.

[dootznbootz]

Hello. I honestly don't know how to prep this but uh, why do I feel like MM's Circe had so much potential? Like, MM did the lazy thing that is "making Circe's life a living shit show because that's the only way her actions would be justified" which... Is the annoying thing most modern interpretations do.

One good example would actually be EPIC: The musical. But in EPIC it only works because Circe isn't exactly a vocal point. And Circe having a motive plays into a pretty big theme of the show (Specifically in the song "Monster" where Odysseus is basically just... Contemplating everything)

But when you have 400 paged book, focusing around Circe, you have so much potential to focus more on the godly elements of these people. Someone else has said this before but ama say it too. The Greek gods had REASONS for acting the way they did. Zeus misused his power, that's what a king does. Artemis's wrath was unmatched when you wronged her, that's how nature is. Hades took a young girl from her mother, that's what death does.

And I'd like to add some of my own.

Aphrodite is a completely morally gray character, that's how love can be, it can go againts you sometimes. Dionysus was all over the place, sometimes good sometimes terrible, that's what madness is. Hermes is swift and a trickster because that's what people we deem 'messengers' can be like, via rumours.

When you notice these complexities to the characters, you start to realize. Circe misused her magic on innocent people for entertainment, that's what black/evil magic does. But at the same time, she helped Odysseus. Because even evil magic, or the 'worst possibilities' can be useful sometimes.

I think it is SUCH a missed opportunity MM didn't focus more on this aspect. Because that would've made for such an interesting story an unique story. Most of these modern retellings try to push modern ideologies on ancient works, which doesn't work. No retelling tries to tell these stories in a ancient Greek perspective (which is actually fairly easy you just have to do your research)

And with an author as skilled as MM is, I'm sure she could do it. But honestly, I don't think her writing is good in the perspective of Greek mythology. She could probably do a great modern story but let's face it, that wouldn't get as much money.

A story focusing around a goddess, and what it means to be a divine personification of nature and a concept, not to you but to the humans you exist for.You can really focus a lot on that and it could be such an interesting story.

All of these writers to me just seem like they're exploiting Greek mythology, which bugs me. If miller wanted to tell these stories, she would've told THE stories with her own twist. Not completely change them to the point they lose their charm.

If miller couldn't do that, if she wanted to write a complex feminist character she wouldn't have chosen Circe.

Something I really admire in your work is how you characterize these guys. It's obvious you're extremely passionate. I also love how you give Penelope clear flaws. You don't have to mortify everyone else to make her 'stand out' or to be 'more likable'. I really love your fic and I'm wishing you nothing but success in the future! :D

Anyways, enough about MM's book.

What do you think is one of Penelope's favorite little quirks od Odysseus', like something he does she finds really cute? :)

I hope you find pretty flowers today and get a sweet for free, dear anon. This ask made me so happy as it's like, perfect. As you gave a Circe rant that will be fun to dissect but also gave me a silly lil question for me to feast on and for the balance and the silly and I love it. You also sent it at the perfect time as I was getting a wee bit sad about how women from Greek Mythology get treated by retellings and fandoms. This really cheered me up 🩵

And thank you so much for the sweet compliment! It means so much to me that you love my silly lil guys as I love sharing them! And don't worry I am working on stuff! ;~; I know I'm taking a while but I am!

I'll do the cute stuff Penelope loves about Odysseus :P

(I do have them "mirror" each other a lot with "like-minded" so they often have SOME similar traits in some ways that both find endearing about the other. (both love watching the other brainstorm/think/swindle/winning/etc., both love (and are sometimes annoyed by) their stubbornness.) Stuff like that :D Also in general. Thank you, Anon. You've made me realize I've been going a wee bit too crazy with Penelope and kind of forgot about Odysseus.

1.) This is a past post that goes into it more but she just adores his freckles. She has counted them and memorized them. She's going to kiss every single one. He mostly has them on his face and shoulders but they are peppered a lil everywhere (he gets it from his mama). She uses the freckle pattern he has across his nose as "stars" for her tapestries.

Rando: Hey, that's not how the stars are mapped. Penelope: They're my stars, asshole >:(

She has to do a "recount" when he returns as some of his "stars" are covered by scars now :')

2.) She loves his hair and how well-groomed he usually is. He also is a bit like a cat in how he loves being pampered. (lil post about that) She loves scratching at his scalp and at the tiny hairs that are at the back of the neck. She loves the pretty grays he has when he returns as well :') She really loved how he looked without and with a beard. (It doesn't end up growing too long anyway)

3.) He's very warm. She's not really affected by temperature too much (she's used to freezing rivers and she herself is naturally cold. Her average temperature is colder than the average person. She only really has to worry about "drying up".) she loves his warmth. She wraps herself up in blankets while he's gone despite not really needing them sometimes as...she misses her furnace. (also his snoring) He also wraps himself in her blankets while away but sadly wakes up to them tossed about because he gets too hot. He needs his lil iceblock wife.

4.) She just adores his big laugh. The laughing so hard you cry one. Hearing it was kind of a "...Okay, I wanna hear that again." for her.

5.) He tends to bite his lip. Sometimes it's endearing and hot but he also will often rip at them. She tries to help him with this habit by distracting with kisses...Though with her teeth, it doesn't always help. Fun fact: For their first kiss on the lips, they were so stupid excited that he knicked himself on her teeth. She felt awful but he just kissed her again. It was bloody and bad but they were so happy. His bad habit returns when he's away because he's not getting his kisses 😔

6.) He whistles while he whittles often.

7.) So ancient Greece had yo-yos (probably in Odyssey but I'm getting silly with it)...and Odysseus is a nerd who WILL do tricks with them. (they can be made with wood and string so... odypen lol) He has fun trying to show other people how to do it too. It's a nice fidget. (modern day he would have definitely been that guy with that rubix cube lol)

8.) So Penelope is better at getting more for less, (lowering prices) and Odysseus is better at giving less for more. (selling shit for good things) They both can do it but they have their strengths.

9.) He got big eyebrows and with his weird "face shifting" thing he inherited from Autolycus, he can make a lot of silly faces.

10.) He tends to make sandcastles whenever he waits for her at the banks of rivers.

11.) He's a "heavy stepper" when he's not sneaking. It's not because of his scar. He just likes walking like that. :) Not so much "stompy" but she finds it cute that she knows it's him coming based on the footsteps she hears.

Some things that annoy her >:3

She's incredibly ticklish and he's not so much and he keeps doing it. STOP IT >:(

So she's smaller than him in mine and in general, he loves draping himself across her (he's like a cat remember?). Most of the time she loves that weight as she loves him and he's a warm weighted blanket. Though while she's strong, he'll sometimes be a brat and put so much of his weight on her just to mes with her. (mostly when they're young and dumb. not so much after he returns)

(Not this big of a size difference ofc but you know >:) )

Those are some and I have more rattling around in my head but I wanna finish this ask and I gotta do some shit :')

Thank you again, Anon. This made me happy <3

[lgcrp]

A NOTE ON IDOL ACTIVITIES

hi everyone ! as we approach our fifth anniversary, we're so grateful to still have muses around since (almost) the beginning, and since our initial opening, lgc has grown in a way none of us have ever imagined before. we think it's a testament to not only ours, but also our members' hard work that we've been able to ic-debut five idol groups (with a sixth on the way !) within the almost-five years we've been open as a roleplay, and we've always operated in a way to reward our members' commitment and dedication to their groups with new, fun ideas for activities and gigs that keeps the excitement for writing for your muses going, even after debuting. however, we at lgc also like to maintain a certain level of realism in our directory, while also being considerate that both admods and members alike all have real lives that take precedent to roleplaying. hence, we've made a conscious effort to diversify as much as possible for our idol groups in terms of ooc-missions and writing requirements that correlate with ic-career development. it's come to our attention, however, that there's speculation of favoritism amongst the idol groups in terms of what the admod team 'gives them'. to address it bluntly, we have never and will never 'play favorites', and to make that clear, we'd like to clarify as much as we've deemed necessary to finally put the topic to rest.

firstly, we want to address the culture of comparison that's been happening around lgc. as it stands right now, a person could have two muses in the idol career path, in two separate idol groups regardless of gender, and would have two completely different experiences ooc and ic. we intentionally operate this way because we think that one of lgc's charms is the variety we provide our members as writers here. we all know how monotonous and boring idol roleplays can get, which is why we've made a conscious effort to diversify as much as we can as we've expanded. however despite these efforts, it's disheartening, to say the least, to hear talks of comparison more than anything whenever we post new events. we understand that, to some extent, comparison is inevitable, especially when we ourselves simulate an environment of competition with future dreams, awards, and other marks of popularity. but it seems that lately, more often than not, these comparisons and even criticisms are done without the consideration that we purposely give our idol groups their own unique flair, and that what we write out in missions (and even sometimes what we don't write out in missions) is not done because we supposedly favor one group over the other.

we've never planned to release this information publicly, but to cease all debate on the topic, just in terms of music releases, we can break our idol groups down simply:

crystallis is the group with subunits and their own solo shows;

v&a is a self-producing group with their own reactions;

nova gets 6 songs constantly;

type zero gets prereleases; and

nknd releases often but mostly digitally, then will compile in physical releases.

everybody gets two korean comebacks + one other comeback in a targeted market in the original calendar we plan out at the beginning of the year:

crystallis and agito target the japanese market;

type zero targets the chinese market;

fabula and versus target the western market;

nova targets the domestic market; and

nknd currently just targets domestic but will likely also target japan.

these are just two factors that come into play when we plan out an idol group's activities for a quarter. not to mention that agito, crystallis and fabula all have members that regularly act for their notoriety tiers gigs, and as acting career gigs are the most time-consuming along with idol career gigs, we have to also take those into account when writing out missions.

and on the topic of notoriety tiers, we want to provide some context: the Great Revamp of 2021™ really solidified a lot of what we wanted to do for the idol groups early on here at lgc. as the years went on and muses gained more points and notoriety, though, we implemented our notoriety tiers system mainly as a way for our members to provide input into their career trajectories for the first time, but also as a great resource for us as admods to figure out the 'reputation' each group has.

needing to have all this information in place is partially why notoriety tiers gigs happened so frequently in the beginning, but as muses started reaching higher tier levels and claiming activities that required more time and effort for us to plan out, we've had to adapt the way members submit their notoriety tiers forms.

it's now explicitly denoted how busy muses actually are in the forms so that everyone has an idea of the amount of additional work they're putting on their muses through the notoriety tiers vs. the work they already have through their career missions. additionally, this change was done to better reflect just how much a muse's solo activities do impact their group activities, both ic and ooc.

as stated before, realism is important here at lgc, and it's not unrealistic to see idols miss out on comeback promotions because of their individual activities. for us as admods, the choice has either been between (1) planning comeback/group promotions for certain idol groups to accommodate their members' acting gigs or (2) to exclude certain members from comeback/group promotions if their schedules don't permit them. we haven't started the latter, and we don't intend to, but with growing complaints amidst all the comparison, we wonder if taking it to the extent of excluding certain members is necessary to reach a compromise.

for instance, it's unrealistic to give a 12-track full album to a group whose main vocalist is also an actor and busy with acting gigs, but right now, we could give the group a two-track single album instead and only let the main vocalist be on the title track with minimal promotions to still include them in the comeback if that's preferred.

from our perspective, though, it's always been more realistic that during that first seven-year period when an idol signs their contract and debuts, their priority is always the group first and foremost. there's always exception to the rule, and idols do typically have to make that big decision of solo vs. group career eventually. but our most senior muses are at-most three years into their careers, and in the fictional entertainment company that we run, it doesn't make sense for us to let an idol prioritize their solo career over their group's at this point in time.

relatedly, the notoriety tiers have also been a great way for us to see which muses actually aren't eligible for any notoriety tier gigs and as such, we're able to give additional gigs to certain muses as part of their career missions. this is part of our constant struggle of balancing older muses with newer muses, especially when it comes to our idol groups.

as is the natural course of things in roleplay, members and their muses come and go, and that unfortunately means that muses in idol groups do drop and throw a wrench in our plans. along with future dreams, that's part of why we've also introduced team unknown – we'll be honest and say that we had different plans for team unknown, but had to change said plans because of members leaving the roleplay.

again, that's just one of the many factors that we have to take into consideration as we keep the machine going that is lgc. we don't want to over-explain ourselves but at the same time, we hope people can start understanding our reasonings better through this post.

and that's not to say that we aren't open to any criticism nor suggestions. if anything, we always to strive to make ourselves as available as possible to our members either individually on our personal accounts or as a group through the main to consult with us about anything. we have no desires to close those lines of communication, but as much as we want to reiterate that we're always open to discussion as our roleplay continues to evolve, we also hope we won't have to make another statement on the matter.

lgc has always had a long-standing issue of being too events-focused, and we've tried as best as we can to alleviate the stress and dissatisfaction that comes with such a culture by taking in feedback, implementing new systems, and keeping things fresh and fun for everyone as k-pop fans.

however, it's only natural that most people focus on their own muses in idol roleplays and can view other muses getting certain things as missing out on something when, in reality, we hope people can start seeing that they also have things that no other muse (or group) has in lgc. no one has ever gotten less or more, just different, and different is okay.

at the end of the day, we hope everyone doesn't focus too much on the comparison or competition-side of things. lgc is what it is today partly because of what we've curated for you all as an admod team, but mostly because of the unique experiences our members have crafted for themselves as writers and roleplayers.

thank you all for your understanding. please like this post to indicate you've read this announcement.

– lgc admod team

[fragolar]

A new promise || Geralt Of Rivia - The Witcher

Hello to everyone, new and old! As you may have noticed, I'm a slow and lazy writer. I write for fun and to keep my mind busy rather than wasting time on social media. To those who enjoy my light-hearted stories, thank you! You keep me smiling all day long. Previous part. Summary: Lexa challenged Geralt's belief in destiny, expressing frustration over her lack of freedom. Geralt explained his quest to find Ciri as his purpose. The result of their diversities but similarities results in an explosion of emotions.

Warning: Strong language and depiction of carnal desires, nothing too explicit.

The next day brought little change. The Princess was awake early for her usual morning walk in the garden, while the Witcher meditated under the gentle sunlight.

A bench was nearby, yet Geralt preferred to sit on the green grass, where, if the botanists saw him, they would try to behead him. Lexa found his provocation rather amusing.

Geralt didn’t seem to care about royal statuses, and frankly, neither did Lexa. The thing is, she couldn’t show it. She had an etiquette to follow.

“Your eyes are more piercing than the sun,” Geralt’s low, raspy voice finally spoke after she had been seated on the bench for half an hour, her elbow on the edge of the armrest, staring at him.

“You were meditating. I didn’t want to disturb.”

“I doubt that.”

Lexa rolled her eyes, amused. “Must I ask for consent to observe my guest’s unique behaviors?”

His eyes slowly opened, revealing that yellow color they held, golden under the sunlight. They were beautiful, Lexa thought.

“I’m not plucking your roses—”

“But you’re crushing my grass with your—”

“Your etiquette, Princess.” Geralt smirked at her, putting her back in her place as she huffed, less joyfully now. “I admire your dedication to get a reaction from me, to anger me, but I’m a man of great patience. It will take more than that to break me.”

Lexa’s eyes diverted. The Witcher was smart. He had caught on to her little teasing to make him snap and give her a reason to lock him behind bars. For a reason she wasn’t aware of herself, she enjoyed his company. Which could be explained because she usually didn’t have visitors, so now that she did—

“You could just ask me to prolong my stay instead of trying to trick me like a child. But I’d have to decline the generous offer. Not because I don’t appreciate your hospitality but because I am searching for her,” Geralt reminded her.

“Do you have at least a path to follow?” Silence. It was clear Geralt was navigating blindly. Lexa tore her eyes from him, straightening her body on the bench and crossing her legs under her dress. Her eyes looked ahead at the gardens.

Full of life and color, yet they felt like mere decorations. All these years she felt like nature was her home; now it felt like an illusion of control. She was trapped inside her own castle by her father, who had denied her permission to be free. She despised him.

“It’s not that easy,” Geralt finally spoke back. “But it’s what my destiny is.”

“Destiny this, destiny that. Fuck that.” Lexa suddenly said, mad, making Geralt open his eyes to look at her, confused. However, he was met by her back. “You can decide your own path because of your actions. Nothing happens for a reason. We give it reason. If there’s a reason behind everything, why the fuck are there so many wars, so much injustice?”

Geralt sighed, considering her words. “You’re not wrong,” he said quietly. “I’ve seen my share of horrors, and I know that destiny can be a convenient excuse for the chaos in the world.” He paused, his voice softening. “But I’ve also seen things I can’t explain. People whose lives have crossed mine in ways that feel… fated. Ciri is one of them. I can’t ignore that. Maybe destiny is just a word we use to make sense of the chaos. Or maybe it’s real, and we’re all just trying to navigate it the best we can. But in the end, I have to find her. For my sake as much as hers.”

He studied her for a moment, searching for a response. “We give things meaning because we have to. It’s what keeps us going. And right now, finding Ciri is what gives my life meaning.”

“Take me with you.” Lexa turned around to look at him, her determination showing through her expression. Once again, Geralt was slightly surprised by her reactions.

“The road I walk upon is not an easy—”

“The road you walk upon is better than being a Princess with no crown or kingdom to rule.” She stood up from the bench, hovering over him as he was still on his knees. “A better road than me being a mere ghost presence in a place where I’m no one. What? You’re scared I can’t stand up for myself?”

Geralt grunted softly as he stood up and looked down at her, standing much taller and much closer to her as well. “I’m not scared, and I know you can stand up for yourself, but you can’t wield a sword. A sharp tongue is not enough to keep you alive day and night in the woods. If you think it’s so easy to survive in the wild, I question why you haven’t escaped already if staying inside these four walls because your father said so is so unbearable.”

Lexa wanted to slap him, her hands trembling with anger as she stood up against him. He had gotten so close she could feel his breath on her face, his voice growling, angrier at her. Complex emotions overwhelmed her, not knowing how to handle them properly.

“You’re stepping on the roses, Lexa,” Geralt’s rough voice grounded her, making her frown and look down at her feet. She had stepped on the grass and flowers, her rage having clouded her.

“And you’re—” Her head raised to look at him, to try and be spiteful towards him, to insult him.

“Lexa, I’m not that gentle—”

“Well maybe I don’t want you to be—”

Geralt’s lips crashed against hers, making her moan in frustration as she kissed him back. She felt her body burn with desire, with a need to be satiated. Something she had never experienced despite all of her lovers, women or men. And the way his roughness consumed her, she wondered if she’d ever be able to kiss another after this. She wanted more, whining against his lips as her hands went to grab his shirt, but he pulled away from her, a heavy breath making his chest rise and fall rapidly, just like hers. Lexa frowned at the rejection, looking into his eyes for an answer.

Geralt’s intense gaze met Lexa’s as he took a step back, trying to regain his composure. His breath was still heavy, and he could see the confusion and frustration in her eyes. He knew he had crossed a line, but there was something about her that made it impossible to resist.

“You make everything so frustrating…” Her tone calmed down, steadier compared to her angered state. “Teach me then, teach me how to survive out there.”

“Lexa—“

“Geralt, please…” She brushed her nose against his, her heart stammering. Lexa was out of her mind. Maybe he wanted to fuck her, maybe she could use her body to convince him to—

“Lexa, I kissed you because you wouldn’t listen to me.”

Oh. Her stomach dropped.

“I need you to sit down and ponder what you desire truthfully. My path is a dark one. I kill monsters and men worse than monsters. I won’t be able to defend you if you’re danger. Here you’re safe, isolated, but safe.”

“Not from myself.”

Geralt’s eyes turned to look at her, a sympathetic expression on his face formed before he cursed lowly under his breath. “Shit.” He shook his head and then back at her. “We’re leaving at dawn.”

“What?! Really?” Lexa’s eyes widened enthusiastically before she grinned. She couldn’t hold her excitement and threw herself in Geralt’s arms, clinging her body against his. Feeling an immense warmth wrap around her, his strong arms around her waist.

“Lex—“ Geralt’s balance was compromised as he tried to step back but the spot of ground was softer, making him lose and fall down with Lexa in top. He grunted from the impact and his eyes slowly opened to a pair of green eyes full with playfulness. She was excited, happy. “Lesson number one: don’t get so excited, your attention lowers.”

[scarlet--wiccan]

Do you think there’s a meaningful distinction between “witches” and other magic users in the marvel universe (beyond, potentially, gender)?

Witch and warlock are obviously treated more or less as gender-swapped synonyms and both have somewhat negative connotations that don’t get associated with people like Dr Strange (afaik), but I feel like there might be more to it, I’m just not sure. Calling Nico or Billy a witch feels more accurate than calling Cleo or Victor a witch, but I can’t figure out if this is grounded in anything besides my own opinion

Yes, actually! We can identify social, cultural, mythical and practical factors distinguishing "witches" from other types of magicians. However, those distinctions are not always clear. As you noted, the word "witch" is often used very broadly to describe any female spellcaster. As a reader, you'll have to rely on context to determine whether the writer is denoting a specific type of magician, or just using gendered language.

Functionally speaking, all forms of magic are basically interchangeable. Most spellcasters have the same powers and abilities, and writers don't always put in the effort to make them feel unique. That doesn't necessarily bother me, so long as they are tailoring the language and imagery to suit each character's background, but that doesn't happen as often as I'd like. Again, you'll just need to use critical thinking to figure out when a lack of distinction is really just a lack of creativity and effort.

With that out of the way, let's break down what we do know about witchcraft, and the history of witches, in the Marvel world!

Social: Witches have historically gathered in covens, settlements and societies, and have even endured literal witch-hunts. In real life, this is not quite the truth, but it Marvel comics, we can say that witches comprise distinct societies which suffer distinct forms of persecution. We also know that many witches belong to a magical lineage, and that these witch families often use a special naming convention to identify themselves with unique colors and symbols, indicating that witches have unique customs and traditions setting them apart.

Cultural: In Marvel comics, all forms of magical or spiritual folk practice are literally real, in the same way that all mythologies and polytheistic religions are literally real-- Asgard is a real place, Thor is a real person, and spells have real power. Witchcraft is typically represented as a form of European folk magic. Other traditions, such as vodou, voodoo, and multiple forms of Indigenous spirituality have also been demonstrated, and are often grouped together, along with witchcraft, under a broad category of "cultural magic." As shown in Midnight Suns, many of these traditions from around the world have a certain shared history, as the Coven at Mount Wundagore included representatives from numerous cultures.

Mythological: "Witchcraft" itself exists as an abstract entity, like Death, Nightmare, or Eternity. She is the source of witchcraft's power, but also a symbolic representation of all witches and the natural balance of magic, and she is sometimes worshipped as a goddess. Witchcraft resides at the heart of the Witches' Road, an Inner Plane uniquely accessible to witches that transcends time and is connected to many of the mythical realms. Witchcraft may also be intrinsically connected to chaos magic-- ancient witches were responsible for binding and harnessing Earth's natural chaos magic; Witchcraft, the entity, is shown consorting with an abstract Chaos entity; and we know that Wundagore and the Darkhold are connected to many cults and covens throughout history.

Practical: Unfortunately, this is the weakest area. For a brief time, Wanda's magical practice borrowed a lot of Wiccan motifs, which was problematic in its own right, but in modern comics, we just don't get to see enough of how witches, specifically, do magic. Most characters who practice some form of traditional magic have a closer connection to natural elements and the spirit world, and they may have particular powers related to their background. Doctor Voodoo is a great example, although the actual depiction of his culture is deeply flawed. Scarlet Witch (2015) introduced certain unique abilities, such as witches' sight; specific mechanics around the cost of magic; and a style of spellcasting that relied on Wanda's knowledge of real-world languages and magical symbols. Billy and Nico also use varying degrees of wordplay, so I like this approach and I would focus on building that into a cohesive magical system if I was a writer.

[rollercoasterwords]

your fanfic doesn't need to be Content

ok so thanks to this lovely anonymous message i've been motivated to organize my thoughts on the increasingly common phenomenon of fanfic writers treating their own fics like Content for consumption, the way an influencer on social media might (all of this is in the context of the marauders fandom specifically -- no idea how or whether it might apply elsewhere)

what i mean by that is, essentially, instances of fanfic writers playing into the idea that fanfiction is a product created for the consumption of readers (and thereby the idea that fandom is a community that can be clearly divided between "producers"/writers and "consumers"/readers).

some examples i've seen: people "advertising" their fics on platforms like tiktok, sometimes even before they've started writing said fic ("hey guys i'm going to start writing a fic with x y z who's interested??"), or making posts asking outright "if i wrote a fic with x y z would people read it??" i've also seen people share concerns that if they write a certain thing they want to write (i.e, heavy smut, heavy angst, etc) then it will make their fic less "accessible" to a broader audience ("i want everyone to be able to enjoy my fics!")

another recent example that comes to mind is the "jegulus strike." while i'm sure it was largely well-intentioned, a strike is a form of protest tied inextricably to a consumer economy, and positioning writers as laborers who are standing in opposition to readers demanding that labor reinforces the framework of a consumer economy in which fanfiction is a product for consumption.

something i want to make clear here--i'm not saying that any of these behaviors are like....Moral Failings deserving of Ridicule. i think we are all very much conditioned by late-stage capitalism + algorithmic social media to view everything, even our hobbies, within the framework of a consumer economy. this is just me observing some of the ways i see that mindset creeping into fandom spaces.

like. i think there's this unspoken assumption that art is only worthwhile if it has an audience; that creative pursuits only matter if you can profit from them. if people are applying this mindset to fanfiction, then it makes sense to see this impulse to advertise fics the way authors advertise their books on tiktok, or twitter, or whatever. it makes sense for writers to become preoccupied with audience perception, perhaps changing their stories to make them more palatable for a certain audience or even going into the writing process with the audience already in mind--an overhanging and ever-present anxiety, asking yourself "how will this be received?"

the problem is that fanfiction doesn't fit into this model. it has always been meant for a niche audience, never the mainstream, and it has always existed outside the profit economy. trying to turn fanfiction into broadly consumable content is antithetical to the medium itself, and, in all likelihood, will fail. the vast majority of fanfiction is never going to be read by hundreds of thousands of people. if you go into writing it with an audience as your end goal, you will likely be disappointed.

what makes fanfiction so wonderful and unique is that it is meant to be written, first and foremost, for the writer. fanfiction as a medium grew out of personal joy in creation, out of individuals who thought "I want to see this story for myself" and then wrote it. because fanfiction is specific, catered to individual tastes and niche audiences, it lends itself to a unique sort of community in which your work attracts other people with that same niche taste, making it easier to strike up a conversation or start a friendship by saying, "hey, i love this story you wrote for yourself! it just so happens to be the exact sort of thing i wanted to read."

so i guess at the end of the day, my question for other fic writers is: if nobody was ever going to read this, would you still want to write it?

and if the answer is no...i think that's something that calls for reflection! where is your motivation rooted? is it rooted in a desire to create, in the joy of creation? or is it rooted in a desire to be seen, to be validated? wanting to be seen and validated is entirely natural, and it is by no means a bad thing. oftentimes, both these impulses--creation and validation--will be part of the decision to write + post a fic. but if validation is your primary motivation, and if you have internalized the idea that validation means getting as many people as possible to look at the thing you're making and click a heart button, then you will probably end up disappointed. you will probably end up feeling like your writing isn't good enough, no matter how many people end up reading it--because no audience will ever be big enough to validate you if you aren't able to take pride in your creation independent of any metrics of consumption.

i'm not saying that you should never share your fics on social media. like i mentioned above, community is one of the best parts of fanfiction--but are you posting in search of community? or are you posting in search of an audience? i know the line can get blurry sometimes, but i do think those two things look different, and i do think it is productive to look inwards and ask what you are truly seeking when you throw your writing into the void of social media posts. and i think as writers it's important not to fall into the trap of acting like our fics are a product intended for audience consumption, because to do so contributes to the deterioration of a fandom culture that is separate from the profit economy. plus, i just think all of us would be happier if we started trying to actively unlearn the idea that art is only worthwhile if it manages to amass a huge audience.

[patrickjanebrain]

Red Hot: The Slow Slow Burn of Jane and Lisbon (Walter Mashburn Edition)

I just finished re-watching Red Hot (3x07), and I have some thoughts about Lisbon and her aborted love affair with Walter Mashburn.

I admit that I didn't like it that [spoiler] Lisbon had a one-night stand with Mashburn. I enjoy the character. Mashburn was entertaining, charming, and likable in a whimsical sort of ruthless way, and Currie Graham had great chemistry with both Simon Baker and Robin Tunney. It would have been interesting if he had made more appearances on the show. But I felt it was out of character for Lisbon to just take him for a quick spin and then never see him again. And obviously he's a horrible romantic bet. The writers make that clear when they introduce him.

And then I realized that's the point.

During the 7 seasons of The Mentalist, in the course of their investigations, Lisbon and Jane meet hundreds of people, and Walter Mashburn is quite unique among them. He and Jane hit it off right away, despite the fact that Jane suspects him of being a possible murderer. Mashburn immediately understands exactly who Jane is ("You're a psychic, aren't you?").

He succinctly sums up Jane's entire raison d'etre the second time they meet.

Walter Mashburn: Oh, I know you're a charlatan as I said. You lost your wife and kid to a serial killer, your fault you think. And now you're on this hopeless quest for redemption. Battling evil and injustice, right?

Patrick Jane: Close enough.

Walter Mashburn: You play mind games with people. You size up their weaknesses, and then you give them the rope to hang themselves.

Patrick Jane: Oh, you make it sound so cool.

Mashburn happily goes along with all of Jane's schemes because he's essentially bored being the smartest, most danger-seeing, risk-taking person in the room all of the time. He enjoys new experiences.

Mashburn also has a thing for revenge. When we meet him a second time it's because he's in the process of destroying an old enemy, Yuri Bajoran. He's maneuvered a hostile buyout of his business, Yuri's "baby," because Yuri once stole the woman he loved away from Mashburn.

Playful. Ruthless. Brilliant. Charming. Hedonistic. Risk taking.

You get where I'm going here. He's Patrick Jane. Minus the trauma.

Mashburn is what Jane was trying to become before his wife and child were murdered. He was chasing fame and fortune. He was ignoring his wife's desire to live a straight life because he was having too much fun indulging himself.

And then, because of Jane's arrogance and carelessness, Red John deliberately targeted Angela and Charlotte for destruction, and Jane had to do a massive internal restructuring of his priorities.

When we first meet Jane, he's still playful, charming, ruthless, brilliant, and risk taking. But now he has a mission, and that suicide mission for revenge takes precedence over ever other thing. He's no longer self indulgent. He's sublimated his hedonistic urges, including his sexuality, to give himself greater focus. The only thing that matters is hunting down and killing Red John.

Then he meets Teresa Lisbon.

Lisbon is a soulmate. She has survived her own crucible of trauma, and she has a critical understanding of (and empathy for) broken, hurting men. She understands that Jane is off-limits romantically. He's shut down. He may flirt and charm out of habit or need, but the part of him that could give something to a relationship is no longer operational. There is an attraction between them, but it's impossible.

That impossibility is the reason they allow themselves to get so close and eventually care so deeply for each other.

Because Teresa is extremely skittish. She's a bolter. She left Chicago because she felt tied down taking care of her father and brothers. She abandoned her fiance when things got too serious between them. She's afraid of commitment. To her commitment feels like slavery, and she doesn't want that. She's afraid of that.

But that doesn't mean that she's not attracted to Mashburn. She has a type: she likes charming, ruthless bad boys who don't follow the rules. She knows they're bad for her, but she can't help it. That's her thing.

When she meets Walter, he immediately tells her he's attracted to her and available.

He asks her out. He says he'll fly his plane to Sacramento to see her. Jane finds all of this amusing. He agrees with Mashburn's assessment of Lisbon's appeal and compliments him on his style. And later he tells Lisbon that she should have taken him up on his offer, that a little empty glamour would be good for her.

When you realize that Mashburn is a stand-in for Jane, the whole thing is quite funny, really. Lisbon being attracted to Jane. Jane telling Lisbon that he'd be good for her, loosen her up a little.

When they meet again in Red Hot, Lisbon does take Mashburn up on his offer. She enjoys herself, and then like the skittish filly she is, she never sees him again. It's too much. Too tempting, too out of character for the person she wants to be. And Mashburn could overpower her emotionally. She doesn't want that.

The trauma, their mutual trauma, is what Jane and Lisbon share and bond over. It's what keeps them apart, and what eventually, after that slow, slow burn, brings them together. The attraction was always there. It's takes time to build that complete understanding and utter trust, and it never would have happened if Jane had been available to begin with.

@tmsource @robntunney @tresalisbon

[drdemonprince]

Many times at this protest, I notice Arab men filming or livestreaming the proceedings, or Facetiming relatives so they can watch the action too, a stunned look of gratitude on their face. I’m not normally good at interpreting facial expressions, but even this registers to me: they’ve never had so many people caring about them before. 

Two generations ago they were driven off their lands, robbed of their homes, had their legal citizenship revoked, watched their olive trees burn. For decades they have been battered, bombed, and demonized, and now suddenly a great number of people care, and they never expected to live to see it. I see multiple grown men cry just taking it in. This is a sight that I will soon get used to.   Hundreds of us gather in the freezing cold at the Buckingham Fountain, just a few yards from the highway and the lake. We are wearing layers, leggings under pants, long sleeves tucked into sweaters buried under coats, the rows of our bodies blocking the worst of the wind but also making the speakers leading the chants impossible to see. It does not matter, we are hear for one another. Together we are the event. 

For a long time we are there, repeating and repeating the phrases we’ve all come to know so well. End the Siege on Gaza Now. There is Only One Solution, Intifada Revolution. Long Live the Intifada. Israel Bombs, the USA Pays. Palestine is Our Demand, No Peace on Stolen Land. 

In the past, at protests, I used to be highly neurotic, too aware of the unique nasality of my voice, afraid of being the last voice to call out or the one that kept a statement repeating for too long, wondering needlessly whether I should be repeating phrases like “I can’t breathe” when people like me obviously can, or “Whose Streets? Our Streets!” when perhaps the streets should not be mine. 

These actions have freed me of my navel gazing, which was always purposeless and entirely too self-involved. I am one body among hundreds that helps make the crowd, I am to be a megaphone. I am echoing the collective will of the people, my own mewlings of support subsumed within the growing wave of everyone else’s. I don’t need to think about everything, I can just be a part of the great resistance all around me. 

I’m a solitary white person and a writer, and it took me far too long to welcome the modesty of my place. Suddenly though, I’m incredibly moved by the chanting, and feel a shared power in our all getting to amplify it together. This must be what people feel at church, I think, or at synagogue or the mosque. This must be how people who haven’t been poisoned with individualism feel. This is how it is to really be a part of something, not for how it looks or because you think you should, but because you have no choice, it is simply what you do. 

We are asked to lay down for a twelve-minute “die in,” representing the (at least) twelve thousand people whom Israel has killed. But there are so many of us, pushed togethering in spaces so cramped, so we have to collaborate to arrange this arm and that leg so we don’t get in one another’s way. I am filled with peace as we all lay there, staring into a pristinely clear sky. I think of the silence between the dropping of bombs, how the Palestinians never know rest and how we cannot either. 

Then, perhaps only four minutes in, the organizer takes to the megaphone and lets us all in on the secret: Get up now, get up now, we are taking Lakeshore Drive! This was never meant to be a die-in, that was all a ruse, but it only worked as one because so many of us were able to be pawns and had no inside knowledge for the police to steal from our private messages. 

We dash down the plaza and into the street, a few of us sitting down in the road with banners while the cops try to block the rest of us off with their barricades and bikes. What ensues is terribly exciting, the organizers leading us by the dozens over the fences and into the barricades, elderly people and children pushing up against the cops just as doggedly as teens and twenty-somethings. Cups fly, bodies launch themselves over barriers, and we scream and scream LET US IN. 

The cops’ large metal barricades rise up in the air, and some police press them outward into us, trying to knock us back, but then one man hurls himself between the joints, injuring himself as he hits the pavement but creating a gap, and then we all rush in like a flood, taking the highway, yelling and gesturing backward to welcome more down the hill and into the road with us. 

We hold the highway for hours, much of the traffic through the city’s main artery having to be redirected to avoid us. I watch young people scale traffic light poles to hang Palestinian flags and keffiyehs from the lights. I see Muslim men lined up on the sidelines, buffeted by us, kneeling to pray facing Mecca. I march with my comrades down the length of the street, tiny toddlers just as precious as the ones whose lives as been stolen, young adults with futures as promising as Moaz and Bisan, and elderly folk like those who still remember the united and free Palestine. 

Plastic buckets clap out a rhythm while street performers join us too, singing Free Free Palestine in a honeyed harmony. We are proving to be quite the hassle for the city to deal with, together, but they’re having to get used to it. 

The full essay is free to read or to have narrated to you at drdevonprice.substack.com.

[alifeasvivid]

Let me be very, very clear.

England and America's caregiver/ward-charge-""~son~"" relationship (as it kind of relates a lot to this post) is only interesting to me at all if they end up in a romantic/sexual relationship later and not because I think it's incest because it is not that (.that's not a thing in hetalia. even if it was, America is not "blood" related to England. England has actual brothers, we know what that looks like. the implications born out of England being his colonies' "father" give me the ick.)

It's interesting to me in the sense of America having "been in love" with England for his entire existence and England being basically the only one with that caregiver view of the relationship. America definitely wanted to be England's wife and/or husband from the time he was very wee smol and England laughed indulgently and said of course, of course and thought it was "cute" at the time, but America was dead fucking serious about it and never really stopped being so.

Even England thinking that he is/was a caregiver to America is a retcon in his own mind because he definitely was just the world's worst babysitter. He's painting a better picture of himself by claiming that he gave America the world on a string and nursing his own ego over America giving him the finger and demanding independence. He liked knowing America was out there, across the sea, loving him and always being happy to see him, but he was never there. Not even at the end (rainy battlefields be damned, he was way too busy with more pressing matters).

The fact that England is so much older than America but they end up at very similar ages in the modern day so that England is suddenly forced to see America as an adult and equal in a way that isn't the same old "older adult sees 18 year old as 'grown up' for the first time', is just... I dunno it's very unique to them as far as I've encountered and I can never properly articulate just exactly what I mean by this. It's a vibe. I've only ever gotten the full experience of it from a few artists/writers.

Let me be even more clear: in my mind, as far as Hetalia goes, America declared independence, yes for himself primarily, but also because England wouldn't see him as an adult and specifically because he wouldn't see him as a potential partner.

I understand where people find the idea of them having a father/son relationship sort of warm and sweet (esp face family) and/or sort of dark and twisted (they're too alike in all the wrong ways). I get it. And I go out of my way to respect people who don't ship them. If a post says "don't tag as ship" I don't tag it as ship... and if it's not tagged when it comes across my dash and it's not overtly shippy, I check OP's tags and honor that. So let's just be clear. If you interpret a post of mine as them having a familial relationship, keep your mitts off of it, capiche?