#and different retellings will have different details

[imthecleric]

Ooc: now people think will is Brenner??? I simply cannot with this fandom and their “media literacy”

[wildbasil]

I don't think St Collen is enjoying their little date 😔

[sysig]

My kingdom for a "So you say” (Patreon)

[bookshelf-in-progress]

It's so weird when you have a story whose plot problems you've been unable to tangle for years, and then suddenly you come back to it and bash your head against it for a while, and it turns out that the answer was so simple and it was there the whole time. Am I supposed to be happy this came together or embarrassed that it took me so long to find the obvious answer?

[fictionadventurer]

Short stories are about ideas and moments. Longer stories are about characters and development.

A short story can be a great way to present an idea--a cool setting, a theme, a thought experiment--without having to develop concrete details that can distract from the core idea that interests you. You don't have to develop a detailed plot and characters, because the concrete details aren't as important as the idea behind the story. You can provide just enough detail to present the idea and then let the reader's imagination take over from there.

A short story is also usually focused on one particular moment. The big emotional conversation, the revelation that changes things--just any interesting scene. If the moment is all that matters to you, you don't need to make up a novel's worth of plot around it--you just show us the cool moment and give us enough context to understand what's happening and why it's important.

If the story idea makes you want to dig into the nitty-gritty concrete details of your story world to see the entire sequence of how the plot unfolds and the characters develop, that's a sign that you've got a longer story on your hand. One plot thread suggests a novella; multiple subplots suggests a novel. It's not better or worse than the short story approach; it just prioritizes a different type of storytelling.

Yet, knowing what a short story is good at is really helpful for paring down larger ideas. Instead of committing to an entire novel, pick a couple of your favorite moments and just write those. Instead of developing the idea into a complicated plot with a long sequence of rising and falling action, just write a scene that shows the idea and then move on to other stories. You still get the emotional effect; just without so much time commitment. Making the distinction between if I want to focus on the moment or the entire journey has been one of the most helpful writing revelations I've had this year.

[thats-my-passion-right-there]

I finally saw the mean girls musical (the movie one) I have so many fucking thoughts oh my god

[darudedogestorm]

brand new warrior cats headcanon time. if dead cats fade when the living forget them i think it would be cool if they changed appearances based on the clans' general cognition of them. like for example thunderstar. thunderstar during life is still a pretty huge cat but then he dies and slowly he appears larger, maybe more intimidating or more noble - depending on who's looking at him of course - until at some point it seems to the living he's the most impossibly giant cat to have ever lived (until they meet the sisters but that's a different story).

you could do this with dark forest cats also. tigerstar dies and sure there are still cats who knew him while he was living, but he starts to attain nursery-myth legend and his ghost begins to distort. his stripes are that much more distinct, his teeth and claws seem to get bigger and sharper, the wound on his stomach opens up wider and wider, etc etc. the potential for character design is huge.

[savrenim]

mildly annoyed that my brain really only wants to write One Fic Per Fandom because sometimes I have two really good really different ideas but only one of them will be born

[arolesbianism]

Hi guys guess who's literally shaking rn from excitement

[waloeders]

i havent even finished editing the prev fic for jupe but i did write this for the next part and it made me laugh

[vaspider]

In defense of retellings & reimaginings

I'm not going to respond to the post that sparked this, because honestly, I don't really feel like getting in an argument, and because it's only vaguely even about the particular story that the other post discussed. The post in question objected to retellings of the Rape of Persephone which changed important elements of the story -- specifically, Persephone's level of agency, whether she was kidnapped, whether she ate seeds out of hunger, and so on. It is permissible, according to this thesis, to 'fill in empty spaces,' but not to change story elements, because 'those were important to the original tellers.' (These are acknowledged paraphrases, and I will launch you into the sun if you nitpick this paragraph.)

I understand why to the person writing that, that perspective is important, and why they -- especially as a self-described devotee of Persephone -- feel like they should proscribe boundaries around the myth. It's a perfectly valid perspective to use when sorting -- for example -- which things you choose to read. If you choose not to read anything which changes the elements which you feel are important, I applaud you.

However, the idea that one should only 'color in missing pieces,' especially when dealing with stories as old, multi-sourced, and fractional as ancient myths, and doing so with the argument that you shouldn't change things because those base elements were important to the people who originally crafted the stories, misses -- in my opinion -- the fundamental reason we tell stories and create myths in the first place.

Forgive me as I get super fucking nerdy about this. I've spent the last several years of my life wrestling with the concept of myths as storytelling devices, universality of myths, and why myths are even important at all as part of writing on something like a dozen books (a bunch of which aren't out yet) for a game centered around mythology. A lot of the stuff I've written has had to wrestle with exactly this concept -- that there is a Sacred Canon which cannot be disrupted, and that any disregard of [specific story elements] is an inexcusable betrayal.

Myths are stories we tell ourselves to understand who we are and what's important to us as individuals, as social groups, and as a society. The elements we utilize or change, those things we choose to include and exclude when telling and retelling a story, tell us what's important to us.

I could sit down and argue over the specific details which change over the -- at minimum -- 1700 years where Persephone/Kore/Proserpina was actively worshiped in Greek and Roman mystery cults, but I actually don't think those variations in specific are very important. What I think is important, however, is both the duration of her cults -- at minimum from 1500 BCE to 200CE -- and the concept that myths are stories we tell ourselves to understand who we are and what's important to us.

The idea that there was one, or even a small handful, of things that were most important to even a large swath of the people who 'originally' told the store of the Rape of Persephone or any other 'foundational' myth of what is broadly considered 'Western Culture,' when those myths were told and retold in active cultic worship for 1700 years... that seems kind of absurd to me on its face. Do we have the same broad cultural values as the original tellers of Beowulf, which is only (heh) between 1k-1.3k years old? How different are our marital traditions, our family traditions, and even our language? We can, at best, make broad statements, and of inclusive necessity, those statements must be broad enough as to lose incredible amounts of specificity. In order to make definitive, specific statements, we must leave out large swaths of the people to whom this story, or any like it, was important.

To move away from the specific story brought up by the poster whose words spun this off, because it really isn't about that story in particular, let's use The Matter of Britain/Arthuriana as our framing for the rest of this discussion. If you ask a random nerd on Tumblr, they'd probably cite a handful of story elements as essential -- though of course which ones they find most essential undoubtedly vary from nerd to nerd -- from the concept that Camelot Always Falls to Gawain and the Green Knight, Percival and the grail, Lancelot and Guinevere...

... but Lancelot/Guinevere and Percival are from Chrétien de Troyes in the 12th century, some ~500 years after Taliesin's first verses. Lancelot doesn't appear as a main character at all before de Troyes, and we can only potentially link him to characters from an 11th century story (Culhwch and Olwen) for which we don't have any extant manuscripts before the 15th century. Gawain's various roles in his numerous appearances are... conflicting characterizations at best.

The point here is not just that 'the things you think are essential parts of the story are not necessarily original,' or that 'there are a lot of different versions of this story over the centuries,' but also 'what you think of as essential is going to come back to that first thesis statement above.' What you find important about The Matter of Britain, and which story elements you think can be altered, filed off or filled in, will depend on what that story needs to tell you about yourself and what's important to you.

Does creating a new incarnation of Arthur in which she is a diasporic lesbian in outer space ruin a story originally about Welsh national identity and chivalric love? Does that disrespect the original stories? How about if Arthur is a 13th century Italian Jew? Does it disrespect the original stories if the author draws deliberate parallels between the seduction of Igerne and the story of David and Bathsheba?

Well. That depends on what's important to you.

Insisting that the core elements of a myth -- whichever elements you believe those to be -- must remain static essentially means 'I want this myth to stagnate and die.' Maybe it's because I am Jewish, and we constantly re-evaluate every word in Torah, over and over again, every single year, or maybe it's because I spend way, way too much time thinking about what's valuable in stories specifically because I write words about these concepts for money, but I don't find these arguments compelling at all, especially not when it comes to core, 'mainstream' mythologies. These are tools in the common toolbox, and everybody has access to them.

More important to me than the idea that these core elements of any given story must remain constant is, to paraphrase Dolly Parton, that a story knows what it is and does it on purpose. Should authors present retellings or reimaginings of the Rape of Persephone or The Matter of Britain which significantly alter historically-known story elements as 'uncovered' myths or present them as 'the real and original' story? Absolutely not. If someone handed me a book in which the new Grail was a limited edition Macklemore Taco Bell Baja Blast cup and told me this comes directly from recently-discovered 6th century writings of Taliesin, I would bonk them on the head with my hardcover The Once & Future King. Of course that's not the case, right?

But the concept of canon, historically, in these foundational myths has not been anything like our concept of canon today. Canon should function like a properly-fitted corset, in that it should support, not constrict, the breath in the story's lungs. If it does otherwise, authors should feel free to discard it in part or in whole.

Concepts of familial duty and the obligation of marriage don't necessarily resonate with modern audiences the way that the concept of self-determination, subversion of unreasonable and unjustified authority, and consent do. That is not what we, as a general society, value now. If the latter values are the values important to the author -- the story that the author needs to tell in order to express who they are individually and culturally and what values are important to them* -- then of course they should retell the story with those changed values. That is the point of myths, and always has been.

Common threads remain -- many of us move away from family support regardless of the consent involved in our relationships, and life can be terrifying when you're suddenly out of the immediate reach and support of your family -- because no matter how different some values are, essential human elements remain in every story. It's scary to be away from your mother for the first time. It's scary to live with someone new, in a new place. It's intimidating to find out that other people think you have a Purpose in life that you need to fulfill. It's hard to negotiate between the needs of your birth family and your chosen family.

None of this, to be clear, is to say that any particular person should feel that they need to read, enjoy, or appreciate any particular retelling, or that it's cool, hip and groovy to misrepresent your reworking of a myth as a 'new secret truth which has always been there.' If you're reworking a myth, be truthful about it, and if somebody told you 'hey did you know that it really -- ' and you ran with that and find out later you were wrong, well, correct the record. It's okay to not want to read or to not enjoy a retelling in which Arthur, Lancelot and Guinevere negotiate a triad and live happily ever after; it's not really okay to say 'you can't do that because you changed a story element which I feel is non-negotiable.' It's okay to say 'I don't think this works because -- ' because part of writing a story is that people are going to have opinions on it. It's kind of weird to say 'you're only allowed to color inside these lines.'

That's not true, and it never has been. Greek myths are not from a closed culture. Roman myths are not sacrosanct. There are plenty of stories which outsiders should leave the hell alone, but Greek and Roman myths are simply not on that list. There is just no world in which you can make an argument that the stories of the Greek and Roman Empires are somehow not open season to the entire English-speaking world. They are the public-est of domain.

You don't have to like what people do with it, but that doesn't make people wrong for writing it, and they certainly don't have to color within the lines you or anyone else draws. Critique how they tell the story, but they haven't committed some sort of cultural treachery by telling the stories which are important to them rather than the stories important to someone 2500 years dead.

****

*These are not the only reasons to tell a story and I am not in any way saying that an author is only permitted to retell a story to express their own values. There are as many reasons to tell a story as there are stories, and I don't really think any reason to create fiction is more or less valid than any other. I am discussing, specifically, the concept of myths as conveyors of essential cultural truths.

[beaulesbian]

One Piece Live action season 1 + hints or similarities to future One Piece moments (specifically after East Blue saga) - part 1: episodes 1-3

This wasn't meant to be a comparison between the live action and the animanga, but more so seeing these added/modified scenes that differ from the manga, yet with some of the acting/writing includes clues and hints to different and future canon material, or even characterization that necessary doesn't fit East Blue yet, but fits well enough into later arcs.

Luffy not knowing his world directions both in Opla (ep 1) /// Skypiea arc, in anime ep 168. But it could be for honestly any other arc (Funny thing is, in Opla he rang the bell that unfortunately alerted Alvida's crew, and only when I was rewatching that scene it made me connect it with the great Luffy moment at the end of Skypiea.)

The matches that Zoro has on the Island of Sixis in Opla ep 1, possibly manufactured on Baldimore (?), with a name Beast of Baldimore. /// After Sabaody Archipelago Franky was sent to Baldimore by Kuma, finding Vegapunk's homeland and laboratory, and also developing more of his science projects, as well as causing funny incidents, such as the Burning Beast. (It has probably nothing to do with the matches, except for the 'tiger on fire' motif and the name of Baldimore, but the details of Opla are just so fun!)

Zoro's first meeting with Luffy in Opla episode 1 is really different but fun nonetheless, especially with wording of the line that he doesn't want to 'play pirates' with Luffy. It's such a great setup line for his development to truly be one of the very first to understand how much Luffy means everything he's doing /// Zoro in ep. 323 Post Enies Lobby arc, making sure both his crew and the audience know how seriously he takes being part of Luffy's crew and what it means for future arcs.

Opla ep 2, Luffy mentioning Shanks' way of thinking about fighting (or not fighting someone who's not worth it) /// ep. 146 Jaya arc, Luffy saying to Zoro not to fight Bellamy's crew, which was direct influence from Shanks not fighting the Mountain bandits in the first chapters of the manga. It's interesting that for both of these scenes both Zoro and Nami are there to hear this.

This is just a fun bit, but seeing Nami excited about having a bath was cute. Opla ep 3 /// anime ep. 326, just after they get Sunny and everyone was finding out what space there is for them.

Garp and Koby playing the game of Go, Opla ep 3 /// CP0 agents playing Go while discussing the outcome of Strawhats & Oden's crew's raid on Onigashima against Kaido. It seems like a game that maybe Marines play more/enjoy (?) & above, up to CP ranks.

Usopp 'retelling' a story about eating a dragon, Opla ep 3 /// Punk Hazard ep 580, Zoro killing the dragon and planning with Luffy what's the best way to cook and eat it. Lol. In next chapters Luffy was carrying a big chunk of it, seemingly ate a bit part of the dragon already.

This one is self explanatory. Zoro is so gone for Luffy in Opla it's insane. Every time I remember that I get emo. ep 3. /// One of the first really fond smiles that Zoro keeps smiling at Luffy, a mixture of proud and understanding how Luffy works. ep 63, but it's just so much better in the manga, just look at it. Smitten™ (ch. 104)

[yoonia]

Ever A Never After — story masterpost

⟶ Title | Ever a Never After (adaptation from Enchanted movie) ⟶ Summary | Growing up in the fairy tale land, your whole life seems to have been written perfectly in the books, with the picturesque life and the Prince Charming that you can see yourself having your happily ever after with. But your entire world turns upside down when you are suddenly sent into a whole new world, a different kind of universe where happily ever after doesn’t exist. Thrust into a new challenge and shown a new side of life, you find yourself standing in a crossroad. When the moment arises, would you find your way back home to your true love, or is the universe trying to show you that sometimes happy endings don’t have to be written so perfectly?

⟶ Pairings | Jungkook x female reader; Seokjin x female reader ⟶ Genre | Strangers to lovers!au, Fairy tale retelling!au, Angst, Smut ⟶ Ratings & Warnings | +18 / M for Mature; specific warnings will be added accordingly on each published chapters ⟶ Status / Current word count / Total word count | ONGOING; latest update: Ever A Never After: Act 2 - Part 1 (Sept 16th, 2024) - 35,098 words of n/a words  ⟶ Main Masterlist | Mailbox | Feedback | Ko-fi | Music companion ⟶ Cross-posted in AO3 and Wattpad

⟶ Special Taglist: Ever A Never After

⟶ Story Note | Written in 2nd person POV (in case you’re new to my writing, I don’t use ‘y/n’ coding as all of my lead characters are considered as OCs). In place of the coding, you’ll find a blank space as her name. Please also note that our main character/reader insert for this story has her own nickname that will be used in the scenes. While the story is adapted from the movie, Enchanted, with some characters and places that were mentioned in the movie added into this story, I will be adding changes in the story settings, characters’ names and background stories to fit the plot. That being said, as someone who has never set foot in the land of America, forgive me if there are some inaccuracies in the details that are being added here. I hope that doesn’t change your reading experience with the story.

⟶ Chapters

⇢ Act One. Andalasia, The Maiden, and The Dream Prince [“It’s you. The boy I saw in my dreams.” “It’s me. Your Prince Charming.” | Word count: 19,688 words | posted: May 21st, 2024 | Chapter Teaser]

⇢ Act Two. The Alter World and The Saviour [“I need to find my way back to the castle.” “What castle?” “Why, of course, I’m talking about Andalasia.” “Huh, right. Why don’t I just call you an Uber?” | Word count: — | Chapter Teaser]

— Part 1. Welcome to the Alter World [Word count: 15,410 words of n/a words - posted on: Sept 16th, 2024] — Part 2. The World Without Magic [Word count: — of n/a words - posted on: — ]

⇢ Act Three. Fairy Tales and Bittersweet Endings [“You forgot to say the part where you lived happily ever after.” “Happily ever after? That thing doesn’t exist, not in the real world.” | Word count: — | Chapter Teaser]

⇢ Act Four. The Ball for The Kings and Queens and Dragons [“There is a ball for the Queen and Kings at the start of spring. Shall we go together?” “As your Prince Charming, I’ll be happy to escort you.” | Word count: — | Chapter Teaser]

⇢ Act Five. Prince Charming and a Happily Never After [“Look at how the tables have turned, as now I have in my hand the Prince who is supposed to protect the princess.” “Come along now, dear. You wouldn’t want to miss the ending.” | Word count: — | Chapter Teaser]

⟶ Fic talk & references

⇢ image reference

⇢ readers feedback & discussions

⟶ Patreon specials

⇢ visual inspiration board

⇢ fic commentary (coming soon)

⟶ Author’s Note | Originally commissioned by @pinkbtsarmy | It’s finally here! I’m so sorry for taking so long with this one. Thank you so much for commissioning me and for your endless support. As mentioned in our last talk, there will be some changes from the original prompt/details that I’ve made to make the story work better, but I hope you’ll be able to enjoy it still. I have decided to release this one as a mini-series to present the timeline more appropriately and make the storyline work. Have fun reading!

— © Yoonia, all rights reserved. reposting/modifying of any kind is not allowed. unsolicited translations are not allowed.

[kamehamehamlet]

The Tumblr reblog sensation is returning. But like the Sayians or Shakespeare’s folios, it has the potential to develop in many forms.

Visit kamehamehamlet.com to be notified when we have more details.

Follow this blog for a peak behind the curtain.

And read on to learn more about the show, how we got here, and where we’re going.

Thank you for waiting just a little bit longer.

Revival Project FAQ

Who are you?

Hi! I’m Daniel Cole Mauleón (@writepictures), the writer of Kamehamehamlet. In 2015 I co-founded the theatre company Play-Dot Productions with KHH’s director Shalee Mae Cole Mauleón.

What is Kamehamehamlet?

Kamehamehamlet: Good Night Saiyan Prince, was an hour-long one act play, performed during the 2015 Minnesota Fringe Festival. It’s a staged retelling of Vegeta and Freeza’s battle on the planet Namek. Marketed as a Dragon Ball Z and Hamlet mash-up, the parody quickly shuffled off its weighted gi, revealing it was actually a Waiting for Godot spoof. After five performances, Vegeta hung up his helmet of spiky hair. Seven years later, K (@amokslime) wrote this incredibly gracious post on Tumblr, which inspired two people to reach out to me via Reddit to ask if I had a script or a recording of the performance.

I want to pause the semi-marketing voice and say a heartfelt thanks to K. Kamehamehamlet was brought to life by an incredible team of artists during a summer I’ll never forget. We got laughs at jokes, gasps at fight choreography, and we broke even on the budget (a Fringe miracle TBH). K’s post gave me the chance to revisit that show through someone else’s eyes. The mix of pride and humility it stirs up is truly indescribable.

If there is art which has changed you, and especially if the artist is still alive I encourage you to non-intrusively share that with the artist.

Is there a copy of the script?

Yes, I’ll speak more about that at below.

Is there a recording of the performance?

There was, but I genuinely lost the files. And that’s for the best, honestly. It was a last-second attempt, filmed from two cheap cameras (with different qualities and resolutions!), both at bad angles and with truly awful audio. Trust me. It’s better this way.

That said, I do have other archival footage from rehearsal's, tech, etc. that I look forward to sharing for those curious.

What’s next?

This is the question I’ve been asking myself over the past year and the reason it took so long to post anything. Especially since one thing I want to do differently this time is make sure that any artists involved are meaningfully compensated for their time and skill. However, I can’t plan without a better estimate of what kind of support we would have, and I didn’t want to share our intentions without concrete details. Right now, the best way you can support this project is by signing up for the announcement on kamehamehamlet.com and following us on Tumblr and YouTube!

The second best thing you can do is to share with others about this project, if I’ve learned anything reading through the comments on K’s post, it is that there’s a much bigger audience for KHH than I could have ever imagined, and you likely know at least one more person who would be interested.

And while I don’t want to promise anything I can’t deliver on, I will share that I’m planning on making the script available this year and I’ll be writing a separate post about that in near future.

Update 5/21/24: We've announced a staged reading for later this year! (Click to learn more) Update 6/11/24: We're going live on YouTube every Saturday through June to rally fans and talk about the project. This link will always take you to the upcoming stream. And this link will take you past recordings.

If you’ve read this far thank you so much.

Photography by Ann B. Erickson. Vegeta is played by McKenzie Shappell. Freeza is played by Cayla Marie Wolpers. Costumes by Sarah Noel Simon.

[marlshroom]

while combing through mob psycho to find clips for my amv i am making, i noticed a small difference in the way ritsu and mob remember what happened after the highschool bullies attacked them.

when we see mobs flashback, the story is a bit scattered, flashing through mostly static moments loosely pieced together from his hazy memory. the high schooler's faces are hard to make out. the color palette is very washed out, with the core colors being white and desaturated blues, with the red being the most vibrant color, because the key part of his memory is the blood.

[ID: Mob Psycho 100 screencaps showing flashbacks to Mob and Ritsu's childhood accident. The first four are Mob's POV, and they're colored in a glowy blue and white, with Ritsu's blood the darkest and only other spot of color in the scene. We see Mob trying to stop Ritsu from yelling at older kids, Ritsu lying on the ground with a pool of blood seeping from under his head, and Mob looking lost with blood on his cheek. End ID]

in contrast, ritsu has a very clear telling of what happened. the moments are not as static, he remembers what color shirts they were wearing that day, he knows what caused mob to black out, for ???% to wake. the color palette is much more saturated.

[ID: The next four are Ritsu's POV, and they're slightly hazy but in full color. We see Ritsu and Mob struggling while the older kids grapple them, followed by Mob hitting his head against a wall. Ritsu shouts with distress, and black energy and red light suddenly flares up from behind where the bully shoved Mob into the wall. End ID]

i think the contrast is very interesting, especially since both retelling of events happen in the same episode (season 1 episode 5 i believe, where teru is trying to fight mob). one of them has an extremely poor memory, mob can really only infer what happened, he even asks ritsu what he did when he was knocked unconscious. and while ritsu claims that he doesn't remember much of it, his mind is basically plagued from this memory, as much as he would probably like to forget. he thinks about this any time mob is faced with stress. i don't think this was a very groundbreaking discovery, i just love moments like this where i can see how hard people worked on this show and the amount of detail they put in,... they could have very easily just repeated the same flashbacks from mob and add some more contextual shots from ritsus perspective but they chose to make that distinction.... so awesome.

[imminent-danger-came]

One detail I've noticed is that Wukong's outfit is different before and after Tripitaka places the circlet on him (and Wukong was notably unwilling to be chained):

Which is distinctly different than every other iteration of this scene we've been shown:

Other retellings of this moment have Wukong kneeling in servitude...when the reality is he was kneeling after being subdued—continuing lmk's tradition of biased/false narratives (like what was done with the multiple explanations of the samadhi fire). I think it's interesting to see the ways in which Wukong's past was made easier to swallow as time went on (or if you were Azure and didn't want to believe that Wukong had been changed by his journey lol)