#and it’s that flaw i outlined of her thinking she can have the best of everything and putting too much pressure on herself to get it

[inamindfarfaraway]

The Phantomphase Girls

The Danny Phantom crossover AU of The Powerpuff Girls that nobody asked for but has taken over my mind.

The city of Townsville is home to the fantastically brilliant inventor Professor Utonium, who is working on his magnum opus, a portal to the Ghost Zone. Most believe ghosts and their home dimension to be nothing more than folklore, but the Professor knows they’re real and sees great potential to improve the world in the properties of ectoplasm and the technology it makes possible. Also, he believes in that scientific ideal of knowledge being valuable for the sake of it.

His fourteen-year-old adopted fraternal triplets Blossom, Buttercup and Bubbles (that’s their birth order, meaning that’s the order they go in) have lived with him since they were infants. They’re accustomed to his eccentric inventions and helping him out in the lab. Therefore when the ghost portal seems to be a dud, Buttercup thinks little of daring Bubbles to enter it. Bubbles is too nervous and agrees only if her sisters accompany her. Blossom, eagerly examining their father’s most ambitious construction, accidentally hits a backup activation switch. The girls are killed changed by the portal ripping open through them - an agonizing experience that each will blame themselves for. They discover upon waking that they’re half-ghost, ectoplasm bonded to their DNA giving them ghostly forms and superpowers; meanwhile, the portal’s opening has unleashed many malevolent members of the Ghost Zone into their city. Well, the Professor raised them to be kind, altruistic and responsible. They know what they have to do. They have to stop all the ghosts that are coming through! They’re here to fight for me and you! And so, Townsville’s days are to be saved… thanks to the Phantomphase Girls!

Like in their original show, the girls don’t bother having secret identities. Everyone in Townsville knows they’re the local superheroes, as they can’t control their powers at first and quickly attract attention. This removes a lot of secret-keeping drama and allows their dad, teachers, classmates and all others that they interact with to take into account that they hold very demanding unpaid jobs out of the goodness of their hearts, but of course villains sometimes target the Professor and their friends. The girls wear light pink/green/blue, their respective ghost energy colours, with black and even less white accents. Their ghost forms wear their civilian outfits with the main colour and black inverted and the white turned silver, and their hair is white. Robin Snyder, their best friend and biggest fan, later prints their official logo, a swirling heart-shaped ghost portal, onto each of their tops in black with pink/green/blue swirls while they’re human.

Blossom has an ice core. It manifests passively as detecting the paranormal chill of nearby ghosts. She’s keen to scientifically determine the exact nature and capabilities of her ghost form, sharing the Professor’s intellectual drive, and masters her active cryokinesis pretty early on. Her eyes are uniquely affected, turning from brown to pink and glowing blue when using her ice powers. The team leader, she prefers to observe and analyze situations (so the eye thing suits her symbolically) and thoroughly plan before doing field work. She also understands the Professor’s ghost energy-related technology designed to aid their crusade against the dangerous ghosts and exploration of the Ghost Zone the best of the triplets and uses it the most frequently and effectively. Her main flaws are overconfidence and overachieving - she sets herself lofty goals and high expectations in both her civilian and superhero lives, wanting to do it all and grow up too fast, then brittly snapping when things don’t go perfectly.

Buttercup has an earth core. It manifests passively as her ectoplasmic body being naturally hard and firm as solid rock. This increases her strength and makes her the team’s heaviest hitter, a role she likes just fine with her aggression and love of adrenaline. It takes her the longest to gain her active elemental power, geokinesis, because she simply doesn’t consider the complications it adds to her straightforward fighting style necessary, and it requires the cocky, impatient girl to acknowledge her immediate powers aren’t always sufficient, wait and think about how to use her environment. Ordinary life has been boring her for years. So she finds true purpose and fulfilment in being a superhero - improving herself and helping people through her own merits and endless challenge - at the cost of letting her struggling grades and social life slip even further. Relating to her peers has never been easy for her, unlike her sisters, and now she feels still more isolated.

Bubbles has an air core. It manifests passively as super hearing, due to detecting sound waves in the air within a large radius; from there she learns to actively amplify sound waves in a new power, the ghostly wail, during a crisis and subsequently unlocks proper aerokinesis. Her blue hair scrunchies are transformed into translucent, faintly luminous rings of blue ectoplasm. Her pigtails are constantly blown upward by her ‘inner wind’ that doesn’t affect anything else. When she pushes her command of air to the limit, this inner wind dissipates her hair ties (which reassemble once she’s done) and fiercely whips her loosened hair. She definitely isn’t unwilling to use violence, but prefers to resolve problems diplomatically and keeps trying to befriend their enemies. She can be immature for her age, naive and overly trusting, and weak-willed in that occasionally she would rather maintain an unhappy or unhealthy peace than upset and argue with people.

Dick Hardly plays the role of Vlad Masters. University ‘friend’ of the girls’ father grown into a ruthless, heartless CEO? Objectifies the girls and wants to possess them for selfish reasons to the point of cloning them? Captures and tortures them to extract a particular aspect of their biology that will enable him to continue his cloning? Light hair in a ponytail? Come on! He’s a fire core half-ghost like Vlad, having taken a blast from a prototype ghost portal he and the Professor (read: the Professor with him taking the credit) built in university.

Mojo Jojo, Sedusa, Fuzzy Lumpkins, the Gangreen Gang, etc. and the generic monsters of the week are ghosts, either dead human souls or conceptual constructs and fauna of the Ghost Zone.

HIM is the oldest such Ghost Zone native, a primordial embodiment of evil. He rules a dark realm full of malicious spirits. And these three upstart little halfas who repel his minions and beat his twisted games… interest him. Basically, imagine if Pariah Dark was conscious and free in the Ghost Zone from the beginning of Danny Phantom. Yeah. Just be glad he’s mainly content to be a villain indirectly.

Princess Morbucks is the richest kid in Townsville and the haughty, spoiled rotten queen bee at Townsville High School. She’s consumed with envy toward the sisters’ fame and admiration by everyone and in her debut episode “Stuck Up, Up, and Away” has her father’s employees provide her with flashy imitation ecto-tech to attempt to earn a place on their team. They reject her for her lack of powers, but more importantly her lack of moral principles. Enraged, she decides that if she can’t join them, she’ll beat them. She becomes a rival ghost fighter and recurring antagonist bent on upstaging them. It would be easy to leave her the static character she is in canon. However, I can envision a slow burn redemption arc because although it’s based in spite and her massive ego, this Princess actually does good deeds. Protecting citizens, saving lives, being praised and respected for her deeds rather than her heritage or material possessions… feel weirdly good, given time. Between that and the greater threats of Mojo Jojo and HIM forcing her to cooperate with the PPG, she remains vain and petulant but gradually acquires moral restraint and compassion and becomes an antihero.

Brick, Butch and Boomer are unstable prototype clones of the PPG Dick creates in the episode “Kindred Spirits” (they aren’t younger like Danielle is). The plot goes similarly to Danny and Danielle’s plot there. Bubbles is willing to put their mysterious origins aside to make them comfortable, Blossom wants to believe they’re trustworthy but prioritizes answers and Buttercup doesn’t trust them at all. After they betray the girls and yet earn their sympathy for having Dick Hardly as a father, the boys’ loyalty is torn. They believe Dick loves them and his desires are inherently right, but he orders them to hurt the first people to treat them like people. The girls urge them to see that Dick will kill them once he no longer needs them. Despite hesitation, the boys cannot accept that. Meanwhile, the Professor notices his daughters are missing and tracks them to Dick’s lab. In the climax Dick has the PPG in containment chambers so he can sample their mid-transformation DNA to stabilize his perfect clones - who the boys are wrongly informed are them - and Professor Utonium breaks in to rescue the girls. His care and concern show the boys what true fatherly love is. At last they side against Dick and work together with the girls to defeat Dick and destroy the lab. The exertion is tragically too much for their molecular instability and they explode à la Bunny Utonium, leaving the technically victorious girls mourning their new friends. The guilt this causes them haunts them afterward, though the Professor assures them it wasn’t their fault.

In “The Boys Are Back in Town” a few months later, it’s revealed that HIM has resurrected the brothers to be his tools. He’s not only stabilized them, but altered their personalities to make them more instinctively cruel and sadistic and their cores to contrast and counter the PPG’s. Now Brick has a fire core and red ghostly eyes and ghost energy; Butch has a metal core (earth and metal are separate elements in Chinese tradition!) and his ghost body the tensile strength of ductile steel, rendering Buttercup’s ‘brute force at the problem until it stops being a problem’ strategy useless and forcing her to finally get the hang of her geokinesis; and Boomer has an electric core and his previously smooth hair spiky with static. And they have a collective title: the Rowdyraze Boys. Their logo is a red/green/blue and black ghost portal like the girls’, but shaped like a skull. Blaming the PPG for not stabilizing them and lashing out due to all their unprocessed trauma, they enthusiastically battle the girls, threaten people, wreck property and carry out HIM’s plans. The girls are as horrified as you’d expect. They, Bubbles most persistently, repeatedly reach out in friendship. The boys slowly recognize that they’re ensnared in another abusive parental relationship and take a stand against HIM. Trusting the girls again is a big step they aren’t ready for, so they travel the world to experience total freedom and pin down their own identities. Two years later they return to Townsville in peace and Sara Bellum adopts them.

@people_able_and_willing_to_make_fanart_of_this_please

[subwaytostardew]

Subway to Stardew - Passenger Events - Saloon Part 2

This plays after you see the first saloon event (submas having lunch with Elliott!) and visit on a Friday after reaching 3 hearts with Elesa.

Commentary under the read-more!

Did you notice the sprites? No? Great! I finally stopped procrastinating and recolored their spritesheets so now they don't share the same brown outline and match vanilla style a bit more!

Sprite-wise... they're over 80. Emmet's in his 90's.

So many sprites.....

Also... Elesa's back! We have a basic outline for what would happen in Elesa's events, but we haven't written anything for her yet... She has plans though! She's rounding up all the artists for it. Meanwhile, submas are still struggling with passenger relations.

Elesa's storyline is going to be fun to plan out but one of her B plots is making sure Ingo and Emmet take their breaks!

Elesa's fun. She's a bit awkward herself (girl can NOT keep a secret for the life of her) but she's doing things. Nimbasa trio share a braincell and they pass it around throughout this event.

We wanted to show a little more insight into their life in the valley and how others feel about them. This time, you're catching them on a bad day. One of my favorite things about Stardew is how everyone is very much flawed in some way and everyone is an unreliable narrator. I love how it just presents life in a run-down town as is and it's up to you to interpret whatever glimpses you get.

Trying to merge the two different media's in terms of tone and seriousness is a bit complex. Pokémon - as a franchise - is at the end of a the day; kid friendly. Stardew Valley, while may look happy go lucky and cute touches upon some really heavy topics.

We are basically skirting the lines here and there with the themes and even trying to make it in character for the Pokémon characters as well.

Taking a kid friendly characters and just trying to touch upon tough subjects while also trying not to seem OOC or off - is tough. So creative liberties it is.

Not everyone gets along in Stardew. I tried to emphasize that in Sebastian's distaste for submas. He would hate being their neighbor. He's cranky because he can't sleep in until 10:00 AM anymore because they're already at work before it turns 6:00 in the morning. Extreme opposites with their problems.

Sebastian and Submas DO NOT get along... They may tolerate each other at the end of the story but they just do not mix well.

I also think that Sebastian would just project a lot of his personal problems onto them... He already does that with Maru. He's not the best taking out his frustrations in the right direction. Haven't finished Maru's passenger event yet (another battle event...) but submas would be decently close with her since she has an interest in Pokemon and Sebastian would take that as "siding" against him. They are also decently aquainted with Demetrius which isn't the best for Sebastian's dad issues. He's not fond of the invasive species they brought in but they do appreciate infodumping to each other about mechanics and such.

Oh, Demetrius... I'm going to have fun with world building info-dumps with him. Ya'll like world building? Well, talk to the villagers, they may have a glimpse into things.

I do headcanon Demetrius (pretty much painfully canon...), Maru, and Sebastian as autistic themselves just like the Nimbasa trio. Unfortunately, that does not necessarily mean that they'll always have solidarity. For one, Sebastian's sensitivity to loud noises puts him at odds with Ingo. Submas fare better with the more infodumpy types.

Sibling relations are a sore subject for all of them so submas are horrified at even the thought of splitting tracks and hating each other because they have codependency issues; Sebastian has an inferiority complex and hates how they make him feel like even more of a failure because he doesn't like Maru. Neither parties are exactly healthy, but you can pick between who you're going for! (I was curious as to what the deal was with Sebastian so he was the first bachelor I married... I think you can tell that I divorced him.)

Sebastian has his issues... He was also going to be my first bachelor but uhh, I went with Harvey. I still love Sebastian as a character tho, he is really complex especially family dynamic wise. I do feel bad for him....

He does. I do appreciate how messy his family dynamic is, but I'm a little biased against him since I appreciate Maru and Demetrius more (sorry). I really like how he doesn't handle his issues healthily (I mean... look at Emmet.) and it's interesting to compare him to the other characters.

Like Sam! Sam's a good kid (college age 20 something year old...) and actually really emotionally mature even if he's a bit childish at times. Abigail... isn't quite all there yet but she has a strong sense of what's right and wrong. She's less hesitant than Sam when it comes to things, but Sam serves a bit as damage control here. I headcanon Sam and Abigail to have ADHD so they kind of have an idea about submas being autistic and what that entails, but it's not at the forefront of their mind. It doesn't help that their autism manifests in verrrrry different ways and they don't really know them all that well in the first place. It's a bit awkward between them but they're okay with each other.

We had a bit of fun determining the heart point changes between each route. Personally, I think friendship decreases are hilarious. Also if you don't back up anyone in this situation then... 🤨

(1) Sebastian -

Ingo -100 | Emmet -250 | Sebastian +250 | Sam -5 | Abigail -15

(2) Ingo -

Ingo +40 | Emmet +5 | Sebastian -100 | Sam -20 | Abigail -25

(3) Emmet -

Ingo +25 | Emmet +30 | Sebastian -100 | Sam -5 | Abigail -5

(4) Sam and Abigail -

Ingo +20 | Emmet +5 | Sebastian -40 | Sam +50 | Abigail +50

(5) Nobody -

Ingo -50 | Emmet -200 | Sebastian -200 | Sam -50 | Abigail -50

I don't see friendship decreases as characters getting angry at you per se. It can always just be them feeling awkward and wanting to distance themselves from you for a bit. For example, if you reject Ingo in his 8 heart event, you get knocked down two hearts just so you can get more friendly-but-not-too-friendly dialogue before it stagnates again at 8 hearts.

The "true ending" is Sam and Abigail's route since they're fairly neutral picks. You should stand up for them! Sebastian would agree that him lashing out was wrong, but he just doesn't want to talk to you about it. Why would he? You would just lecture him or something.

Bad ending is not siding with anybody like a coward. Sebastian's being a bit of a bully here (mainly to a grown man a whole head taller than him, but still, his friends got caught in the crossfire) and if you're wishy-washy then that's just odd of you as the town's farmer and supposed protagonist that goes out of their way to befriend everyone. Not a good look.

Sebastian's route is a bit of a jab at how his romance plays out. A few people have mentioned Emmet and Sebastian being friends with each other under the reasoning that they're lonely autists (but mostly just being favorites, which I get) buuuut... Not sure why you would go for Sebastian when submas is right there. Pick one or the other. They're enemies here. I can't quite see them getting along past that surface-level analysis. Smoking alone is a hard No. from Emmet since birds are super sensitive to airborne toxins (so much so, you can't even have non-stick pans around them!) and he's protective over his defeatist of an Archeops.

Ingo's route is more for fun than anything. If you really want Ingo, you do get the most points with him for mentioning him, but he's confused as to why you're trying to win him over now of all times. He's concerned about Emmet first and foremost!

Emmet has trust issues so even the slightest red flag puts a quite a bit of distance between you. He has low point increases because it's hard to win his trust. In this situation, a point increase mostly just means you didn't do anything wrong. If you side with him, that's what you're supposed to do since he's the side against Sebastian. He may be getting picked on, but he's a bit of an instigator himself. His own route aside, Ingo would be most pleased to see you speak up for his brother. Ingo's route is only has the highest point increases for him because it's well, his.

As for the bar fight... It was a bit difficult to figure out how to make it play out believably and interestingly despite it being three New Yorkers against some grocery store owner. Ingo is more focused on defense, de-escalation, and protecting his passengers (in this case, the college kids). He can take a hit and doesn't want to resort to making any attacks unless absolutely necessary, so he was blocking for the most part. Had Ingo not been the designated grocery shopper, Pierre and Emmet probably would have already killed each other. Emmet doesn't have the patience to deal with Pierre. He thinks Reshiram will smite him for upcharging them and will take it upon himself to deliver the justice of truth. Emmet's swinging at Pierre. Unfortunately, he doesn't have the best defense nor balance when he's kicking and punching. Pierre's too drunk to talk about it, but even sober he suspects that submas are working with Joja because as far as he knows, he saw Morris walk away from the Railroad when they first arrived.

Ah yes. Joja stuff. *Realigns stacks of papers* Lets touch upon Joja here for a moment and Pierre's view of things. When Submas first came around. Pierre was already suspicious of them - more confused if anything - why are two major city boys who also- mind you- come from a foreign region and bring along Pokémon. Take interest in a small town? With an abandon railroad? Right off the bat he does not have a great view; he is worried about his store, his income, and family and this is stemmed all due to Joja Mart.

Now Pierre spots Morris heading towards the railroad - of course Pierre does not know what the interactions between Submas and Morris are. In his mind it's Submas making a deal to work with them or is already with them! Pierre already hates Morris as it is.

That is why he is so passive aggressive to Ingo and Emmet. Just this time around - Pierre is drunk... and Abigail's friend is being "annoyed" by them.

Well... outright agressive in this event haha. I don't quite remember how the idea was finalized, but we decided that they would get into a barfight when doing another "showing passenger relations at the Saloon" event.

As for Joja itself. I most definitely headcannon them in this whole crossover universe as the typical "bad guy" Pokémon team. However they have already won/succeeded (Pokémon are no longer in The Ferngill Republic....) However things are now being shaken up and changing.

I could go on and on about Joja and how I view them... but I think that will be a separate post (if people want to know)

The fight was a pain to debug. For one, Pierre kept running off into the void like a coward. Ingo's lines about staying behind the yellow line were made in the debugging phase because I got fed up with him for doing that.

Worse yet. 1.6 broke the Pokemon animations so now I have to go back into every event and redo everything (RIP green bean X-Scissor). The old method I was using no longer worked; before, I was using the addObject command. Now they show up as error signs because the sprites that were previously on the sheet called from were removed as they are not valid objects.

I ended up having to figure out the temporarySprites command to replace the "using a Pokeball" animation. There are no instances of it being used in vanilla. Nobody seemed to figure it out either, so I had to make a mini-event just to test its usage and figure it out.

I eventually did. Thanks to the help of my emotional support Emmet.

Ah yes... 1.6 has broken some events. Small things. (events are still playable) But we will definitely be revisiting some events to improve or make better. Or to just fix.

I have so much backtracking to do 😭😭😭😭😭 Oh well... I thought events were safe to work on since barely anything about them changed in 1.6... I was wrong.

The ending had quite a bit of revising for concision and tone. It was much more lighthearted in Kade's drafts, but I figured that Emmet is low on steam and probably would have gone nonverbal after everything. Too much passenger interaction for the day. He just wants to depart back to his home station.

Yeah there was a lot of dialog and exposition cut. (Hmm no wonder why it's only 13 minutes long. lol)

Only 13 minutes... Still a lot considering that most vanilla events are around the 1-3 minute mark...

Poor Emmet.. and Ingo. I won't lie, when first seeing the event I burst out laughing during the fistfight. Just somthing about Ingo suddenly collapsing due to Pierre. BUT THEY'RE OKAY - ISH.

It's a bit comical! I had fun ragdolling them. Emmet was going to be much more swingy in his attacks but I ended up not keeping it in since it just didn't look right when used as an animation frame.

We at least kept one of the rag-doll sprite as a "knock back" from Pierre. Which transitions well with his passed out sprite.

Until next time! Thank you for boarding!

[once-upon-an-animation]

If I could redo PJO and give each counselor and some minor characters an arc…

So one of the things a lot of PJO fans want to see done differently in the show is adding more depth to the side characters at Camp Half blood, particularly characters like the Stoll brothers, Silena Beauregard, Charles Beckendorf, etc. I’m not sure how much screen time these guys are really gonna get, but I keep fantasizing about each of them sort of having their own story, even if it would lead to a convoluted plot.

Therefore, in this post, I’m going to outline what kind of arc I would have given to each character/counselor in PJO if I had been the one writing the story. Some of these will be pretty close to what is already canon, some of these are a complete overhaul of the canon characterization, some will be inspired by canon but not obey it completely. I also can’t promise that they’re entirely original. Brace yourself, this is a VERY long post:

- Percy Jackson: Wouldn’t change much about his original arc. I would add the following things:

1) Make him more active in the resolution of the love triangle between him, Rachel, and Annabeth. Have him reflect more on what he likes about Annabeth over Rachel.

2) Have him hesitate more in his decision to give Luke that dagger. The hesitation can be caused by Percy remembering all the ways in which Luke has hurt people, including himself. Have him be angry and not want to give Luke the dagger; it would add more suspension to the choice and make it a more emotional one.

3) Have him train more.

4) The first thing that Percy told us in the book was that he didn’t want to be a half-blood. I think an awesome full-circle moment for him would be to have a moment where he fully accepts and embraces being a half-blood as a part of his identity, even if he doesn’t like it much. He doesn’t necessarily have to be proud of it, but I think it would be s cool character moment for him to make peace with it.

It could work best during his dip in the River Styx when he forgets who he is. When he initially grabs Annabeth’s hand, he not only remembers who he is just as a person, but he also remembers being a half-blood as a part of who he is. He accepts his fate and his life as a demigod for what it is, and makes a final decision to be brave and to take on the prophecy no matter how scared he is. In a way, he would also be accepting that Annabeth is also a demigod and can’t offer him an escape the way Rachel can, but that’s okay because he cares for Annabeth deeply, and they can work together to overcome their obstacles.

- Annabeth Chase: I’m going to be honest, I don’t think Annabeth had much of an arc l’in the original series. Her relationships with others definitely changed over time, but I personally feel that she didn’t change that much in terms of her core character traits or beliefs. She started the story as a prideful, aggressive, sentimental character and mostly ended the story that way (as evidenced by HoO). She ended up being right about Luke redeeming himself, so it’s not like she was forced to change her view on when to stop defending bad people. She’s also rarely called out on her flaws; Percy getting mad at her in BoTL is the closest we ever get.

So for Annabeth, I would enhance her arc by having her try to counter her hubris by actively working on her sense of humility. This can manifest in many ways:

1) Humility in the idea that she might be wrong about Luke and his ability to be redeemed. Humility in the idea that he is not a perfectly good person and that he’s hurt a lot of people.

2) Humility in the idea that she is not always right in general and she is capable of getting things wrong. More moments where someone other than Percy calls her out on her shortcomings could be a part of this.

3) Humility in the idea that she doesn’t own Percy and isn’t entitled to a relationship with him. If they’re going to end up together, she has to give him the room to choose that for himself just like she chose it for herself. Don’t get me wrong, I understand that Percy waffled around a bit and needed to be pushed/challenged a little. But like, he still has his own autonomy, you know? His relationships are still his choice. I just want to see Annabeth respect Percy’s autonomy more than she does in canon. It seems like when he doesn’t agree with her or do things her way, her usual move is to get mad at him or worse, hit him. I don’t like this and it doesn’t demonstrate a healthy relationship.

4) Humility in the idea that her plans don’t always work, and sometimes other people are better at things that she is weaker at. ie. Rachel knowing how to navigate the Labyrinth better than her.

- Grover Underwood: Wouldn’t really change anything, I would just reveal more of his quest to find Pan and what he sees/learns along the way, maybe by adding more interactions between Grover and nature deities that we haven’t seen yet. Grover’s arc and involvement with nature would also be a cool opportunity to involve Demeter in the story more and make her more than just a nagging mom character.

Perhaps she and Pan have a friendship of sorts, and Pan has asked her to help Grover subtly along his quest. Or maybe Demeter and Grover can connect over their sadness at the destruction of nature, and how Demeter sometimes worries if her own domain will fade someday as more and more human societies turn away from traditional farming and agriculture.

- Luke Castellan: Wouldn’t change anything about his core story. I would, however, change the way that Annabeth thinks of and responds to him in later parts of the story, and I would change the way that he and his sacrifice is viewed at the end of TLO. I would give the story a more balanced or nuanced view about Luke’s actions.

I would also make Luke’s motivations more cohesive and have his desire to help other demigods be the main motivation from the start. Lastly, I would remove that stuff about him developing a crush on Annabeth at the end of TLO *or* if we want to keep this, I would just age him down. I don’t think much would change if Luke was like, 2 years older than Annabeth as opposed to 6 or 7.

- Thalia Grace: The only thing I would add to Thalia’s arc is more emphasis on the transition between the end of SoM and the beginning of TTC. Thalia has been out of commission for 5 years and I’m sure a lot has changed in the world since. I would add moments where she feels behind with the way things have changed, aka her not being up to date with the latest tech, pop culture moments, slang, etc. that the other kids at her new school are using. On top of finding out that Luke is now a villain, this becomes a source of emotional stress for Thalia and Annabeth has to comfort her.

In addition, I feel like this gives Thalia an even stronger reason to join the Hunters. Not only does she want to write off love, but joining the Hunters allows her to withdraw from the modern world that she no longer feels a part of and stick with the type of life that she knows and feels comfortable with.

- Bianca Di Angelo: Wouldn’t change much; maybe add more nuance and hesitation to her decision to ditch Nico and join the Hunters.

- Nico Di Angelo: Wouldn’t change much within PJO, but I have a lot of thoughts on what happened with him in HoO. Let’s save that for another day.

- Clarisse LaRue: The inspiration for Clarisse’s arc comes from her deep fear of making Ares angry at her and not having the same respect he gives his sons, and her need for respect in TLO. In my mind, Clarisse’s arc would be about learning the right way to earn respect.

Picture this: she starts the series off as a daughter of Ares who feels disrespected by her father and is craving respect from elsewhere. She thinks about how Ares and the gods in general command respect by being intimidating and making people fear them, so she engages in bullying in an effort to make people respect her. However, throughout the course of the series, we learn that none of the campers really respect her or the other bullies in the Ares cabin, and Clarisse continues to struggle to feel respected.

Over the course of the series, Clarisse begins to realize that bullying does not inspire true respect, but she has a hard time unlearning this because it goes against what she’s always thought. She starts mellowing out a little, having some of her softer moments in SoM and BoTL, but she’s still struggling. In addition, every time she experiences disrespect, she reverts back to her old behavior.

This comes to a climax in TLO when the whole Ares/Apollo cabin beef happens and she initially sits the war out. The campers call her out for not being a good friend all these years and for not being able to put her grudge aside to help her fellow campers during their biggest challenge. They specifically tell her that the reason she and her cabin don’t get any respect is because they aren’t very nice. Clarisse tries to argue about Michael Yew and the chariot, but the Apollo campers inform her that Michael is dead. He died fighting beside his friends, making him someone worthy of respect…unlike Clarisse.

Clarisse is forced to think about what makes someone w worth respecting and what doesn’t, and realizes her most respectable moments was when she was being a good friend. She apologizes to the camp for all the bullying and for ditching them during the war, and fights fiercely by them for the remainder of it. Clarisse doesn’t necessarily become a sweetheart after this, but she certainly becomes a better friend and cools down on the bullying. She also encourages her siblings to do the same.

- The Stoll Brothers: The Stoll brothers are pranksters and thieves, always turning every moment into an opportunity to steal and loot…even during war. This implies to me that they’re not very good at taking important things seriously, so here is my arc for them.

We know that things in the Hermes cabin aren’t exactly the happiest. The cabin is overcrowded with unclaimed kids and minor god kids who are probably salty about not having a cabin. You also have the other Hermes kids who are witnessing all of this. I like to imagine that since CHB doesn’t have a therapist and Chiron is spread pretty thin, the campers usually turn to their counselors or older siblings for emotional support.

After Luke betrays everyone and leaves, a lot of the unclaimed kids and minor god kids start to think about joining Luke in overthrowing the gods as they feel he might be right. They turn to Connor and Travis for emotional support but since the Stoll brothers don’t take things seriously, they brush off their campers and prioritize their pranking and looting. This pisses of their campers, and after the battle of the Labyrinth occurs and they see a bunch of their friends die without much help from the gods, a bunch of them make the decision to leave CHB and fight for Kronos.

As they’re leaving, Connor and Travis question them and try to make them stay, but their campers aren’t convinced. They complain about the way things have been, and they call Connor and Travis out for being crappy counselors before they leave. Connor and Travis feel awful about this and vow to win back their campers.

During TLO, the Stoll brothers encounter their old campers on the battlefield and hesitate to fight them. They try over and over to apologize to them and convince them that fighting with Kronos is not the way. The old Hermes campers are not convinced that the Stoll brothers truly care about them. This changes when the monsters from Kronos’ army pull a trick that ends up endangering the demigods who are on Kronos’ side, and the demigods feel deceived. Connor and Travis risk their lives to save their old campers, which finally convinces them. The old campers defect from Kronos’ army and rejoin CHB.

After the war, Connor and Travis vow to be better counselors. They commit to cleaning up their cabin now that it’s less crowded, and doing a better job of listening to their campers concerns. They still prank and loot, but they make sure they take care of their campers first.

- Charles Beckendorf: Beckendorf’s arc is inspired by his sentiments in feeling that machines are easier to understand than people and him being the anchor for the entire camp.

Beckendorf starts the series out as a guy who is pretty introverted. He likes to stay in the forge with his inventions and stay away from all the drama and hullabaloo that goes on with other campers. As a result, no one really knows Beckendorf or how great of a guy he is. This changes in SoM. At some point prior or during the beginning of SoM, Silena and Beckendorf start interacting. I like to think it’s because Silena got her weapon damaged and Beckendorf is helping her fix it. Silena’s kind and charming personality leads to Beckendorf opening up to her a little, which helps her realize that Beckendorf is a really cool dude.

As the camp continues to struggle with monster attacks while Mr. D and Tantalus don’t help much, Silena asks Beckendorf to help her and the other counselors talk to Mr. D/Tantalus and help lead the camp defenses. Beckendorf hesitates because again, he doesn’t like dealing with other people and being at the front lines isn’t really his style. But he does care about his friends and knows he can make a difference. Silena convinces him to break out of his shell, and he sort of takes over while they wait on the Fleece to be brought back.

Through his leadership, the campers get to see what a great guy Beckendorf is and he becomes more popular around camp. This encourages Beckendorf to come out of the forge more often, and he begins making more friends and bonding with Silena a little bit more. Over time, he becomes the “anchor” for the camp: giving people advice, being a shoulder for people to lean on, making people laugh and smile, and just being a great guy all around. I like to imagine that he, Percy, the Stoll brothers, and a few other boys form a friend group where they regularly hang out together at camp.

- Silena Beaureguard: Silena’s arc would remain mostly same as her book arc. The only thing I would change are her motivations and the depth of Luke’s manipulations.

Silena’s arc would focus on courage to do the right thing. When Luke initially convinces Silena to help him, it’s less so because Silena thinks he’s cute and moreso because she genuinely thinks that Kronos cares about demigods more than the gods do. She lies to her friends and dances around them to keep up with her spying. However, over time, especially after the death of her friends and siblings in BoTL, Silena starts to realize that Kronos doesn’t care about demigods at all. She tries to quit spyings few times. Initially, Luke tries to convince her that she’s on the right side by telling her that the deaths can’t be helped; it’s the campers’ fault for fighting for the wrong side. Silena is not completely convinced, but after Luke threatens to tell, she becomes consumed by fear of how her friends would react, and moreso, what Charlie would think of her.

She becomes more and more anxious about getting caught, to the point where Charlie starts to suspect that something is going on. Silena also becomes more anxious about her friends dying, knowing that she might be contributing to it. When she tells Kronos about the stealth mission, she tries to beg for Percy and Charlie’s lives, but Kronos agrees to let only Charlie live. Silena feels bad about what might happen to Percy, and has a hard time facing Annabeth, Percy, and Charlie prior to the mission. Right before Charlie takes off for the mission, she expresses her fear of losing him and begs him to be safe. Charlie assumes that this is what has been bothering Silena and gives her some comforting affection before he leaves.

After Charlie’s death, Silena is angry as she was in the books. She’s also mad at herself. However, she continues to help Kronos not just because she’s mad, but because she is still terrified of being revealed as the spy. Many campers are still angry about Beckendorf’s death, and she knows they would never forgive her. However, the amount of injury and death she sees during the battle of Manhattan is too much for her (especially Annabeth). This inspires her to try and redeem herself secretly by getting the Ares cabin, and then she ends up dying after revealing her secret as she did in the books.

In the original books, everyone agreed to view Silena as a hero. But in my head, I find this unrealistic. Maybe not every camper was willing to say what they thought because they don’t want to speak ill of the dead, but in my mind, there are a lot of mixed feelings surrounding Silena after the war. Some campers think she was a hero and don’t blame her at all, some view her actions as heroic but believe that she messed up big time, and some actively refuse to see her as a hero. Notably, Beckendorf’s siblings and closest friends (think Jake Mason, Nyssa Barrera, etc.) have a particularly hard time viewing Silena as a hero, knowing that her actions cost Charlie his life. Drew also has a hard time with Silena’s betrayal, but I’ll discuss that later.

- Pollux/Castor: Pollux’s arc is inspired by his brother’s death in the books. His arc is about overcoming grief and desires for revenge.

Pollux and Castor don’t have much of a personality in the books, so here’s what I’m thinking. As sons of Dionysus, they are larger-than-life party boys. To them, life is one huge party and nothing can bring them down. They celebrate everything and find any excuse to throw a party. In addition, they have mixed feelings about their godly parent being present at camp. On one hand, it’s like being the children of the school principal; people don’t really like their dad and don’t want to get in trouble with him and Pollux snd Castor have to deal with all that weirdness. On the other hand, it’s cool having a godly parent who’s close by and not as absent as other godly parents.

As twins, Pollux and Castor are joined at the hip; they do EVERYTHING together (including quests!) and Pollux can’t imagine a world without his brother in it. However, Mr.D starts to wonder if they’re too dependent on each other. Mr. D makes this comment to Pollux but he brushes it off. It’s okay if they depend on each other because they’re brothers and Castor will always be there, right?

During BoTL, Pollux and Castor fight side by side. However, they get separated in the heat of battle and they have a hard time fighting enemy demigods because they’re not used to fighting without each other. Just as an enemy demigod is about to kill Pollux, Castor manages to find an push his brother out of the way, and takes the hit instead.

After Castor’s death, Pollux becomes consumed with grief and depression. He stops participating in camp activities and stays in his cabin most of the time; he also doesn’t throw parties anymore. Dionysus tries to talk to him, but Pollux doesn’t want to talk to him; his dad is a god who wouldn’t understand. Mr. D reminds Pollux that he was once a demigod who lost his mother, but while Pollux appreciates the comfort, he is still grieving. He also develops a deep hatred for enemy demigods, and doesn’t sympathize with them or act merciful towards them the way Percy does.

The year between BoTL and TLO, Pollux becomes more and more bitter, getting snappier with his friends.. He also becomes consumed with training, because he has struggled with fighting monsters without Castor at his side. His friends try to talk to him about his behavior and mental health, but he doesn’t want to hear it. All Pollux can think about is his anger and desire for revenge.

During TLO, Pollux is absolutely brutal towards the enemy demigods, despite the campers he is with reminding him that the enemy demigods deserve sympathy. Pollux brushes this off, as the enemy demigods had no sympathy for him or his brother. Pollux eventually runs into the enemy demigod that killed Castor. Pollux becomes consumed by revenge and actively tries to kill this demigod, even if it means not following the battle plan. As a result, he endangers both himself and his fellow campers. One of the campers, who is Pollux’s friends sacrifices themselves to save Pollux and the others, allowing Pollux to get away with just an injury.

As he’s escorted to Olympus to heal, Pollux feels so bad about the dead camper and how much he has let grief and revenge consume him. As he rests in Olympus, he thinks about how the camper and Castor sacrificed themselves for him because they wanted him to live. Grief and desire for revenge has stopped him from living, which he feels is not a great way to honor their memories. Pollux decides that it’s time for him to accept his brother’s death and move on.

Before the campers head back to CHB after the battle, Pollux finds out that the enemy demigod who killed his brother was killed in battle somehow. Pollux remembers the kid’s name and godly parent from when they fought, and ensures that he receives a shroud at the final funeral. Pollux also decides that he wants to move on from Camp Half Blood and enjoy the life that Castor and his camper friend sacrificed themselves for. This is why he disappears after TLO. But before he leaves, he decides to host one last CHB cabin party with the help of other campers to celebrate the camp’s victory over the titans.

- Katie Gardener: Katie’s arc is inspired by her maternal personality and Demeter’s distant nature from her children. In addition, it’s also inspired by the fact that Demeter kids are not seen as super combative or strong in the first series.

Like Pollux and Castor, Katie barely shows up in the book and has no known personality traits except for the fact that she is stern/maternal. So along with her maternal personality, I like to think that she is stern but kind and caring towards her friends, especially her siblings. She looks out for them the way a mom would, making sure everyone’s on track and well taken care of.

I also think Katie is protective, the way Demeter is protective of Persephone. She sees it as her duty to nurture and protect her fellow campers, especially her siblings. When she fails to live up to what she perceives to be her responsibility, she beats herself up. Katie is very passionate about family. She prioritizes being there for her friends and family as much as she can. She loves culinary arts, and regularly bakes, cooks, and adds to her recipe book in her spare time. I like to think that she and all the Demeter kids get along really well with the nymphs and satyrs moreso than any other cabin.

Lastly, Katie is very mature. She hardly ever pulls pranks or breaks rules. She’s also very wholesome and “vanilla”. Her sense of humor is very kid-friendly, and you won’t catch her doing things like making out in public or spending a night in the stables with a romantic partner, unlike another couple we know! 😉

As for an arc, here’s what I’m thinking. Demeter kids are less likely to encounter their godly parent than other cabins, because of how distant Demeter is. The kids all feel a little sad about this in various ways, especially Katie, whose father never remarried. Katie occasionally tries to reach out to her mom via prayer but Demeter never responds. Because she loves her siblings and prioritizes family, Katie takes it upon herself to be the “cabin mama”, and looks after her siblings in a similar way that a mother would. This leads to Katie also becoming very protective of them, especially on quests and in battle.

Now, Demeter kids don’t deal with monsters too much, so it doesn’t bother them to not be as skilled or strong in combat. But when battle/war with the Titan army becomes inevitable, they begin to worry that they might not be strong enough. Katie is especially worried prior to the BoTL, because she wants to protect her siblings and get them through the battle alive. She and her siblings do their best, but the Demeter cabin ends up losing the most campers during the invasion, for which Katie feels responsible.

After the battle, Katie becomes preoccupied on how to become stronger in battle so she can protect her siblings; she begins training more and more. In addition, she wants to increase her magical powers beyond growing fruits and cooking food. Unfortunately, Katie still struggles with insecurities about feeling weak, especially when she trains with stronger campers and loses in duels to them.

She becomes desperate and frustrated enough to pray Demeter for help. Katie admits to Demeter in her prayer that she has insecurities about being a child of Demeter. Not only is Demeter distant, but she feels like she’s not as strong as other campers. She begs Demeter for help, some kind of magic item or assistance that will make her stronger. Katie doesn’t think that the prayer will work as Demeter rarely responds, but she tries anyway, reminding Demeter that her kids are family and mothers should look out for their kids.

Demeter is initially silent, which angers Katie. Upon returning to her cabin one day, she finds bags of various seeds from her mother. which angers her even more. These seeds are not special; they are the same plants that Katie has always grown. Katie feels like her mother didn’t help at all, and declares Demeter to be an uncaring mother.

During the battle in TLO, Katie is very nervous about fighting and losing more siblings in battle, and she worries if her training will pay off. Unfortunately, when the battle first starts, the Demeter kids take a few losses. Katie finally snaps, and uses one of her seeds/plants in a way she’s never used it before to take down some monsters.

Surprised by this undiscovered power, Katie continues experimenting with her gifted seeds, and ends up discovering a bunch of new ways to use the plants in battle and protect her siblings. The Demeter kids take her cue and begin doing the same with their seeds, turning their assigned tunnel into a jungle and defeating the monsters.

Katie eventually realizes that Demeter gave her those seeds as a reminder that Demeter kids have always been strong and that they have to grow their own strength. Katie’s insecurities about being weak begin to fade away, and she and her siblings kick butt in the remainder of the battle.

Now, I don’t ship Tratie (Travis and Katie), but a cute Tratie moment would be if during one of the final skirmishes, Travis gets into trouble and is about to get killed, but Katie pulls off some awesome plant magic and protects him. Travis thanks Katie and is surprised that she’s looking out for him, and Katie tells him that even though he’s kind of immature and annoying, she still cares about all her friends and would never let him die on her watch.

- Lee Fletcher: Lee’s narrative is kind of hard because he has even less of a personality and lines of dialogue in the original books than Katie does. However, I am going to base his arc off the fact that he’s an Apollo kid and some of the things Apollo mentioned in ToA about not remembering his children.

Now, as far as counselors go, we already have an archery kid (Michael Yew) and a healer kid (Will Solace). We don’t really have a music, poetry, or prophecy kid who’s lead the cabin. However, I want to stick with archery for what I’m imagining with Will’s arc. However, since the kids can have multiple interests or powers, I think it’s okay for Lee to be a good archer AND a good something else. I’m leaning towards poetry because we’ve already seen a lot of music-related powers in ToA. So poetry-related skills would be a little different. Here we go!

So in my mind, Lee’s arc is all about trying to get his father’s attention. I imagine Lee’s backstory like this: he came to camp when he was pretty young, like maybe 8 or 9. However, it took a really long time for Apollo to claim him (think a year or two). Most of the campers suspected that he was an Apollo kid due to his good archery skills and interest in poetry, and saw his claiming as just a formality, but unfortunately, the claiming took a while to come. In fact, unclaimed Apollo kids who arrived at camp after Lee were claimed before him.

After he was claimed, Lee was excited to finally know where he belonged. However, he couldn’t help but feel like Apollo didn’t care about him or live him as much as his other kids. While other Apollo kids received quests, had their prayers answered by Apollo, or even got to meet him once or twice, Lee has never met Apollo or received any quests from him directly.

Lee missed the pre-TLT trip to Mount Olympus because he was helping another camper out with one of their quests. Lee decides to try and gain his father’s attention/respect by becoming the best he can be at his skills. He trains hard to become one of CHB’s best archers and his poetry is incredible; he has a special poetry book full of his best work. Lee’s siblings (and other friends at camp) love him and really look up to him, especially Michael Yew. I like to think that the two could be close, and regularly train at the archery range together. But while Lee appreciates his siblings’ love and attention, it doesn’t make up for Apollo’s absence.

If I remember correctly, Apollo drops Percy, Thalia, and the Hunters off at CHB before leaving in Titan’s Curse. Lee hears about this after the fact, and is so angry about him missing such a close chance to finally interact with his father in a meaningful way. As Apollo continues to ignore Lee, Lee grows more bitter over the years, despite his siblings and friends continuously trying to cheer him up. He even writes some sad poetry to express his feelings. When some of the campers start to talk about joining Kronos prior to BoTL, Lee genuinely considers going with them, as he wonders what makes the gods worth fighting for.

Just as he is deciding to leave, he has a heartfelt talk with some of the siblings in his cabin, including Michael Yew and Will Solace. Lee realizes how much he loves his siblings and friends at CHB and how much they’ve supported him. He decides that while the gods might not be worth fighting for, his friends and siblings certainly are. Lee enters BoTL, ready to defend the camp with his life, and that’s exactly what happens. He takes on more monsters than he can handle to protect his siblings, and ends up being taken down.

His siblings grieve him deeply and promise to never forget the hero he was. As an epilogue to Lee’s story, I know this didn’t explicitly happen in ToA, but I like to think that one of his siblings brought up Lee to Lester/Apollo while Lester was at CHB during The Hidden Oracle. Perhaps they even show Apollo Lee’s poetry book. As Apollo reads through the book, he’s very impressed, but notices that the poems get sadder and sadder, and are referring to Apollo not caring about Lee. Apollo notices the last page of the book is empty and asks what happened. The kids reveal to Apollo that Lee died in the BoTL before he could finish the book. It devastates Apollo to discover that Lee died believing that Apollo didn’t care about it; Apollo spends a long time feeling like an awful father.

At the end of ToA, Apollo honors some of his kids who have died recently, including Lee and Michael, by writing a heartfelt memorial poem on the last empty page of Lee’s poetry book. The end of the poem also honors the Apollo kids who are still alive, and Apollo ends the poem with a few lines where he promises to contact his children more. While Apollo’s affection came far too late, Apollo wants Lee to know that he was an awesome kid, and that Apollo is proud of him and all of his children.

- Michael Yew: Michael Yew is another hard one. While he definitely has more of a personality than Lee or Katie, it’s hard to think of an arc for him that matches his personality and the theme of his death. But here’s what I’m thinking (sorry if it’s not great!): Michael is known for being on the shorter side, but offering lots of attitude to compensate for his height. He also holds on to that chariot dearly, only letting it go when he realized that the battle was more important.

So here’s an arc: Michael dreams of being a great hero, the kind that people praise for their strength and wit during battle and talk about for years to come. However, when most people think of heroes, they think of big strong macho guys, not little guys like Michael. Michael is insecure about his stature and physique, so he tries to compensate through his personality and his battle skills. In addition to his attitude, Michael is slightly cocky and arrogant. He puts himself on a pedestal, tries to act like more than what he is. He can also be a little reckless in battle; he occasionally ignores the danger of a situation if it means getting to have his heroic moment.

Michael trains hard with Lee and becomes a great archer. He’s not quite as good as Lee, but he’s still pretty good. Now, Michael got claimed much faster than Lee did and he was on the pre-TLT trip to Olympus where he got to meet his dad, so Michael knows Apollo cares about him. However, while Michael has helped others on their quest, he’s never had a chance to lead his own. He dreams of this, as it would be a chance to show off his skills and his leadership.

After Lee’s death, Michael becomes the new leader of the Apollo cabin, a role he takes seriously as he continues to try and prove himself. However, Michael’s attitude and arrogance come into play again a little bit, always looking for a chance to shine. His siblings tell him that he’s doing a little too much, but Michael doesn’t listen.

When the summer of TLO comes and quests are thrown out the window in favour of the raids, Michael is actually excited, because the chance that he will get to lead raids like he’s always wanted is more likely. However, the leadership thing doesn’t really work out because other counselors who already have experience leading (Annabeth, Percy, Clarisse, etc.) usually take charge. However, in the quest with the Ares cabin, Michael finds his moment to shine and ends up being a major hero in the battle. As he finally gets his moment of glory, Michael feels that as the “hero” of the raid, the chariot is his to keep, but as we know, Clarisse disagrees. The argument plays out the same way it did in canon, while emphasizing Michael’s arrogance.

As the campers are getting ready to leave for Manhattan as per Percy’s request, some kids in the Apollo cabin suggest to Michael that he should give Clarisse the chariot. When Michael demands to know why, his siblings tell him that it’s critical for the Ares cabin to be there if they go into battle, and that the chariot and his personal glory as a hero is not worth their absence.

At first, Michael disagrees, but then he does some self-reflecting not only on the chariot, but also on the qualities of a true hero. He really doesn’t want to let it go because the chariot is like a symbol of personal glory to him. However, he realizes that trying to shine as a hero isn’t the most important thing in the world; what matters is all the campers coming together. He tries to make peace with Clarisse by the chariot, but as it happens in canon, Clarisse holds on to her grudge, and Michael gets mad at her.

The battle begins and Michael’s on the bridge with his siblings. Michael is trying his best to lead and takes on the bulk of the monsters, but they’re struggling a lot and a lot of his siblings are getting hurt, even killed. In that moment, Michael doesn’t feel like much of hero; he feels like he’s losing and that the battle is impossible. Thankfully, Percy and Annabeth show up and things play out as they did in the books, right up until the beginning of the bridge scene. Michael’s siblings are trying to get to safety on the Manhattan side of the bridge, and Michael knows that he should probably get down and join them. However, he notices that the bridge is weak and comes up with a brilliant plan. Michael realizes that if the plan works, they’ll earn a win over Kronos by stopping him and his army from crossing over. Not only will this save them, but it’ll be a plan that Michael came up with. It’s a heroic moment that Michael has trouble resisting, even after his self-reflection from earlier.

Percy tells Michael to go but Michael ignores the request and informs Percy about the bridge. While Percy considers the plan and then goes to execute it, Michael has a split second chance to get off the bridge. But he’s so caught up in seeing his plan work out and watching the bridge collapse, that he doesn’t notice the cables giving way underneath him. He falls and smacks his head on one of the metal rods on the bridge, which renders him unconscious so that he doesn’t scream when he falls silently into the water. He ends up drowning In the river.

When Michael Yew’s death is confirmed, his siblings honor him as a hero. However, when they give their euology, they emphasize that what made Michael a great hero wasn’t necessarily how cool he was in battle. It was his better moments, like comforting Lee, and giving up the chariot if it meant getting Clarisse to come. This is what he is remembered for.

Sorry, I know this arc is kind of lame. I also know that it implies Michael is to blame for his death. However, I just couldn’t think of a reason as to why Michael would stay on the bridge long enough for it to collapse and take his life. Even as he fell, he could have jumped or even resurfaced in the water and yelled for help. The logistics of his death are really sketchy, so I did what I could.

- Will Solace: So out of all the tertiary characters in PJO, Will is the most fleshed out due to his newfound importance within the Solangelo ship. However, I’m going to be honest: I do not like Will’s canon personality. Therefore, I’m going to deviate from canon big-time and cook up a different Will in this post.

When I envision a boy who’s into healing/medicine, I imagine a much softer and sweeter person who pushes people when they need to be pushed, but in a gentle loving way (so more therapeutic). I also envision Will as a slightly flirty guy who enjoys romance a lot, and fantasizes about his ideal relationship all the time. Lastly, given his role as a son of Apollo and his light-related powers, my imagined arc for Will is all about toxic positivity, and his challenges dealing with the darker sides of being a half-blood.

Additionally, this version of Will Solace is a fairly sheltered kid. He lives in a part of the country where there isn’t much monster activity and crime/tragedy etc. He grew up in a relatively happy family…no significant trauma, abuse, neglect, relationship issues, etc. As a result, Will is a pretty optimistic, happy-go-lucky person who’s almost never in a bad mood. He always looks for the bright side in everything.

However, while Will’s optimism is generally a good thing, he sometimes falls into the trap of toxic positivity, where he pushes away darker topics and serious conversations in favour of keeping things light. This initially makes him a hard person to have nuanced conversations with, as he tends to dodge the issue at hand. Will also does this with himself. Whenever he feels sad or dark feelings, he refuses to do emotional reflection. He just bottles up whatever he’s feeling and forces himself to be “happy”.

Will is forced to confront the darker aspects of demigod life and life in general when he arrives at CHB the first time. As he talks to new friends and siblings about their backgrounds and learns more about the gods and the Greek world, he realizes there’s a lot of dark conflicts going on around him. In addition, as a healer, demigods don’t just come for healing with physical injuries. They also tend to talk about their emotional scars as well.

As much as Will cares for his siblings and friends. he finds all of the trauma overwhelming, and pushes it away as much as possible with toxic positivity. To him, anything can be fixed by just choosing to be happy and focusing on positive things. His siblings try to point out this toxic positivity and ignorant bliss, but Will doesn’t understand at first. To him, there’s nothing wrong with choosing to focus on happy things instead of dwelling on difficult feelings.

However, as the conflict with Kronos progresses, more battles happen, and more and more demigods get injured and killed. Campers open up about their grief of losing friends to death or to Kronos’ army, and Will finds it harder and harder to keep acting like these issues aren’t happening. All the feelings he’s bottled up come spilling out in BoTL (a recurring theme in this post, as you’ve noticed). Following the battle, there are a lot of dead demigods to assess, and a lot of injured demigods to try and heal. The healers from the Apollo cabin are working overtime and are struggling to attend to everyone. Will tries his absolute best to save as many demigods as possible, but some of the injuries are just too grave to fix.

The worst is Lee Fletcher. Will is tasked with trying to save his older half-brother and Will overextends himself trying to fix Lee’s injury. Unfortunately, it was never going to work as Lee was already almost dead anyway. After watching his brother die, Will’s first reaction is to do what he’s always done: bottle up the bad feelings. His siblings notice this and tell Will that it’s okay to not be positive all the time, and sometimes the best healing comes from facing sad and dark feelings instead of running from them. Will finally breaks down and sobs, letting out all the fears and worries about the dark side of being a demigod that he has kept inside over the years. His siblings give him advice on how to handle and overcome these dark moments.

Between BoTL and TLO, Will starts to change. He doesn’t lose his optimistic outlook, but he stops running away from difficult topics and conversations. He slowly becomes one of the best healers at camp not just for physical injuries, but because he’s now able to talk to people about emotional stuff as well.

This comes in handy during TLO after Michael Yew dies and the Apollo cabin is an emotional mess after losing another counselor within a year. Will is very nervous about being the new counselor; he’s not a renowned archer like Lee Fletcher or Michael Yew and doesn’t think that he will be as useful in battle. However, Will finds his groove as the battle progresses. His archer siblings take care of the battle stuff while he focuses on healing, and using his newfound coping skills, he’s able to console his siblings and keep the cabin (and camp!) together emotionally until the war is won.

These coping skills that Will has learned within this arc complement his future relationship with Nico. Nico’s status as a child of Hades causes people to fear him because of the creepiness of Hades’ domain and Nico’s powers. However, Will is one of the few campers that has no issues with Nico because Will has gotten better and better with confronting uncomfortable things. In addition, his therapeutic skills come in handy when talking to Nico about his trauma and emotional hardships. Rather than the snappy/angry Will that we get in BoO, we have a softer Will who validates Nico’s feelings and experiences, but gently pushes him to see that he is cared for and that there are people who want to be his friend, especially Will.

- Jake Mason: Jake Mason’s arc is all about living in the shadow of Charles Beckendorf.

As the anchor of the camp, Charlie is not only loved by all the other campers, he’s loved by his siblings. People admire his personality, his engineering skills, his looks, everything. As a result, the Hephaestus kids start using Charlie as the standard to live up to, especially when they’re building inventions. “What would Beckendorf do?” quickly becomes the motto of the cabin.

Jake Mason has mixed feelings about this. On the one hand, Charlie is a great guy and totally deserves this kind of praise. And Jake really admires him too. On the other hand, as the next oldest sibling, Jake feels a lot of pressure to be just like Charlie and to do everything the way Charlie would do it. Jake has a hard time with this because he’s not as talented as Charlie and he has a different way of doing things.

This becomes a major issue in TLO after Beckendorf dies and Jake becomes the new cabin counselor. Not only is Jake grieving, but now he has to lead his cabin mates in war while they’re all grieving as well. Since everyone misses Charlie, Jake feels a TON of pressure to be Beckendorf 2.0, and he’s not very good at it. His siblings don’t mean to add to the pressure; they just really miss Charlie and are accidentally projecting that onto Jake. Things come to boil during the battle of Manhattan when Jake tries to build and use an invention that Charlie designed. Unfortunately, Jake did not build it correctly and the invention ends up failing, leading to the Hephaestus kids nearly losing the skirmish and needing to be rescued by other campers.

After this, Jake goes to sulk. Nyssa Barrera and Will come after him, and he talks to them about all the pressure he’s been feeling to be just like Charlie. Will tells Jake that he knows how he feels - Will has also worried about not being enough like Lee or Michael. Will also tells Jake that he can’t be anything other than himself, and that he should focus on what he is good at instead of what Charlie was good at, just like how Will focused on his healing. Nyssa apologizes to Jake on behalf of the cabin for putting so much pressure on him to be just like Charlie, and she tells Jake that they appreciate him exactly as he is. She also supports Will’s message of focusing on what he can do.

Jake takes this advice and builds his own invention his way, instead of the way Charlie would have done it. When it’s time for battle, the invention seems like it’s going to fail at first, but it ends up pulling through, and the Hephaestus kids win the skirmish. Jake grows a lot in confidence and leads the cabin through the rest of the battle using his own style of leadership instead of trying to copy Beckendorf.

- Drew Tanaka: So like many fans, Drew’s canon character disappoints me because I’m tired of all the girly girls in this franchise being depicted as mean or shallow with no additional depth. I’m okay with Drew starting out as mean/rude girl but I want there to be more to her character.

My arc for Drew is her struggle with Silena’s betrayal. Prior to Drew’s first arrival at camp, she struggled with making true friends. Most of her friendships were based on shallow things, like wanting to be pretty and popular. This changes when she comes to CHB and meets some of the nicer girls in the Aphrodite cabin, including Silena. Silena is incredibly sweet: she looks out for all the girls in the cabin, is always willing to give a helping hand, is always offering a shoulder to cry on, is always willing to give her siblings advice about beauty, fashion, romance, and is just a good friend in general.

Despite Drew’s more blunt personality, she enjoys spending time with Silena because Silena shares her interests but also offers her a friendship with kindness and love. Silena’s motto of “spreading love and beauty” makes Drew admire her a lot. Drew and Silena grow really close as they get older; they’re practically besties and hang out together when Silena isn’t with Beckendorf. They shop together, do each other’s makeup and hair, help each other pick out clothes, bedazzle their weapons together, etc. They talk about everything under the sun; light-hearted stuff like makeup and clothes, and deep stuff like their family backgrounds and the gods maybe not being so great. Lastly, there are these matching charm bracelets that the girls share. One of the charms on the bracelet is of two girls holding hands. Silena and Drew both have this matching charm as a symbol of their friendship.

Aside from Charlie, Drew is the only other camper to suspect weird behavior with Silena as the story progresses. During one of their more serious conversations, Silena says some things that make it sound like she’s siding with Luke and the Titan army. This is because Silena is feeling insecure about her spying and is secretly trying to seek validation for her actions. Drew finds this odd and shuts Silena down; as far as Drew is concerned, Kronos is evil and there’s no siding with him. Drew is surprised that Silena would even bring this up. After all, Kronos/Luke has harmed a lot of demigods and as a sweetheart, Silena should show more empathy about that. Silena feels bad about getting shut down and doesn’t bring up the topic again.

During Silena’s death in the canon story, Drew was not present. However, in this version of her arc, she is present when Silena dies. Drew is shell-shocked and heartbroken when Silena reveals that she is the spy; she can’t believe that her sister would betray everyone at camp like this, including her own siblings. When Clarisse insists that Silena is a hero, Drew is the is the first to openly push back against this narrative. She argues back and forth with Clarisse about the extent and the awfulness of what Silena has done, including the fact that the spying led to Charlie’s death and the harm of other campers. She vows that she will never view Silena as a hero, and runs away from the scene in tears.

When Silena’s shroud is being burned at the end of the battle, Drew hangs back and doesn’t follow her cabin to burn the shroud, a symbol of her refusal to forgive Silena. Clarisse tries to talk to her about it, but Drew shuts her down. When Drew becomes the new cabin counselor, she does everything in her power to get rid of Silena’s influence; she changes a bunch of cabin rules and traditions that Silena had implemented. This makes Drew’s siblings upset, but Drew doesn’t care. She doesn’t want to be reminded of Silena whatsoever and she doesn’t believe in honoring traitors.

At the end of the summer before she goes home, Drew is standing alone in the cabin. She looks at the friendship charm on her bracelet, and thinks about everything that happened with Silena that summer. She thinks about how much she valued Silena for her kindness and true friendship, only to find out that Silena was betraying her and the camp all along. Drew starts to cry and rips the charm off her bracelet in anger. She tosses it in the garbage and leaves camp for the summer.

Drew’s arc concludes in HoO when Piper comes along. In order to have Drew’s arc play out how I want it, some of Piper’s story has to change. However, I’m not interested in the HoO characters for this post, so I won’t go in depth on how Piper’s arc changes, but just know that this version of Piper is also a deviation from canon. In this version of the story, things are still messy in the Aphrodite cabin, with Drew having changed a lot of cabin rules. and with her personality souring a lot since last summer. Prior to Piper’s quest, things play out similarly to how they did in the books but this time, with more emphasis on how Drew’s heartbreak regarding Silena is influencing her behavior.

When Piper returns from the quest, rather than having that classic “new girl stands up to mean girl moment”, Piper insists on figuring out why Drew acts the way she does. A heated argument occurs between the two girls until Piper says the phrase “spreading love and beauty”. This reminds Drew of Silena and Drew breaks down in tears. She reveals to Piper that Silena used to say something similar, and finally opens up about her heartbreak regarding Silena. Drew specifically mentions that she brought back the heartbreaking tradition because Silena’s betrayal made her very pessimistic about things like true love. Piper, Drew and the Aphrodite siblings have a heartfelt conversation about love, heartbreak, and why Silena might have done what she did. After the convo, Drew is not quite ready to call Silena a hero, but she has a lot more empathy towards Silena than she did before.

Drew’s arc ends with some of the Aphrodite kids revealing that they saw the charm that she tossed out last summer and decided to hang on to it. Drew accepts the charm back, symbolizing her finally making peace with Silena’s actions and death, and forgiving Silena to some extent. She peacefully offers the counselor position to Piper, stating that she (Drew) could use a break, and that Piper would make a great counselor. In addition, Drew helps Piper reinstate some of Silena’s cabin traditions.

- Malcolm Pace: Malcolm’s arc is inspired by the idea that he is a good battle strategist and the fact that kids who academically excel often struggle with perfectionism.

Like most Athena kids, Malcolm is pretty good with all academic subjects, but his favorites are modern history, especially warfare and military conflicts. In particular, he likes to study the battle strategies used during those conflicts. Malcolm’s goal is to become one of the best battle strategists at Camp Half Blood. While his siblings are good at coming up with plans for smaller monster encounters, Malcolm focuses more on large-scale battles. He studies formations, battlefield weapons, military strategies, and other things.

Malcolm’s personality is the following; he’s generally a kind person, but he can be a little snooty at times, like most Athena kids. He doesn’t make fun of anyone for being uneducated, but he does get annoyed when he hears dumb ideas. He’s also very passionate about academia, and his idea of fun is always book or learning-related, like study dates, exploring libraries, watching history movies, etc. Malcolm is also incredibly studious; while other campers are pulling pranks or riding canoes, he’s analyzing battle elements.

Malcolm’s desire to be a top strategist stems from two things:

1) He really wants to impress his mother. Malcolm has never met her, and he wants her to be proud and impressed by him the first time she meets him. Malcolm knows how much Athena admires wisdom and good planning, and him leading the camp to victory in an epic battle using good strategy would be the perfect way to stand out to Athena. He would be a hero not just in terms of strength and prowess, but also in terms of being smart and clever.

2) With the arising conflict with Kronos, battle is becoming more and more likely. Malcolm knows the camp will need help with preparing for battle, and he wants to be the one to do it. Yes, a big part of it is pride and impressing his mom, but he does genuinely care about the camp and wants to protect them.

As the story progresses, Malcolm gets a couple of chances to show off his knowledge starting in SoM against the monsters invading camp; he does pretty well and his plans help the campers take down the monsters. Malcolm is proud of himself, but in his eyes, these are just small conflicts. He wants to prove himself in a real major battle.

He gets his chance when BoTL rolls around and the campers learn of a possible invasion. While Malcolm is of course afraid for the camp, he knows that this is his major chance to prove himself as a strategist by outwitting the Titan army. While Percy and co. are on the quest, Malcolm is planning like crazy. He’s scouting the area around Zeus’ fist, he’s analyzing the strengths and weaknesses of each cabin, he’s looking at the placement for canons and other battlefield weapons, he’s mapping out offensive and defensive strategies.

The day of the invasion arrives, and Malcolm believes that he’s ready and that his plans will lead to victory. Unfortunately, Malcolm misses a few details in his planning due to stress and overworking himself. In addition, he has not planned for certain things with the Titan army, such as Kampe. As a result, Malcolm’s plan starts to fall apart partway through the battle. He tries his best to salvage it, but it doesn’t work out, and this leads to the deaths of a few campers.

After the battle, Malcolm is devastated and feels that he failed big time. However, because of pride, he is too ashamed to acknowledge what went wrong and refuses to talk to anyone about his plan falling apart. He decides to just ignore the whole thing and pretend that it never happened.

Unfortunately, Malcolm is forced to confront his failure when Athena chooses to visit him for the first time at the end of the summer when everyone has gone home. Athena is visiting Malcolm out of concern for his mistakes made during the invasion. Athena feels that these mistakes were very avoidable and were a big oversight on Malcolm’s part. She is even moreso disappointed that Malcolm has chosen to ignore the whole thing. She tells Malcolm that she has high expectations for him and wants to him to wisen up, as more battles will come and Malcolm will need to get it together. After Athena vanishes, Malcolm cries; he imagined his first meeting with Athena being a much happier one, but all she did was express disappointment, which makes Malcolm feel like a huge failure.

Over the next year, Malcolm’s perfectionism kicks in and he goes overboard with the studying and analyzing; he refuses to do almost anything else, not even sleep. In addition, he becomes hypercritical of himself, beating himself up for every mistake, even the little ones. His siblings, especially Annabeth, become concerned, but he doesn’t listen. He refuses to fail again, and will do anything to show Athena that he can do this. Unfortunately, this lack of balance isn’t good long term, and Malcolm starts to slip. During the raids in the summer of TLO, he has a hard time focusing in battle and starts making more and more mistakes, which he beats himself up for.

This vicious cycle comes to a boil during the battle of Manhattan. When the campers realize that they’re going to engage in another big battle to defend Manhattan all by themselves, Malcolm realizes how important strategy is going to be and how this will be a second chance for him. In addition, Annabeth will be staying with Percy for the battle, so it’s up to Malcolm to lead the cabin. However, Malcolm isn’t feeling very confident. His strategist skills have felt weak for some time, and he isn’t sure if he can lead the cabin to victory.

When the fighting initially starts, he does okay but is feeling very stressed. During one of the skirmishes midway through the battle, another one of Malcolm’s plans fail, causing him to finally snap and cry out of frustration. When his siblings try to comfort him, he reveals to them that Athena visited him last summer to express disappointment about his failures and he hasn’t had faith in his plans since. His siblings reassure him by sharing some of their own failures with him and reminding him that failure/mistakes are a normal part of gaining wisdom. They tell him that no matter how many mistakes he makes, he is still a smart guy and an awesome strategist.

Malcolm feels very comforted by his siblings, and regains a bit of confidence again. Instead of running away from his failures this time, he sits down and thinks about what is causing his plans to fail, analyzing what went wrong and what went right. He comes up with a new series of plans for the rest of the battle that end up working really well, and Malcolm becomes happy again as he feels he has gained back his mojo.

At the end of the battle, Annabeth congratulates Malcolm and says that he did a fantastic job. At the end of the summer, he gets another visit from Athena, who expresses pride in him for his work during the battle. She reiterates how important it is to not run from one’s mistakes and to keep learning from them, she reiterates that this is wisdom. Malcolm is happy to finally hear his mom say that she’s proud, and goes on to become an excellent strategist.

- Butch Walker/Lou Ellen Blackstone/Clovis: (different minor god kid perspectives)

These mini-arcs are based on different perspectives and experiences the minor god kids could have. We already had Ethan, who joined Kronos army immediately after learning who his godly parent was.

Butch: Butch can be an example of a minor god kid who came to Camp Half Blood and decided to support the gods in the war. This was not an easy decision because the demigods use Iris’ domain for communication all the time, but don’t see fit to give her cabin, something Butch finds disappointing. However, he’s made a lot of good friends at camp and couldn’t imagine siding against them. In addition, rainbows are often a sign of peace, so the idea of carrying out a war doesn’t sit well with him.

Lou Ellen: Lou can be an example of a minor god kid who is initially at CHB, but decides to switch sides. Lou feels that despite being a powerful goddess, Hecate doesn’t get enough respect. When Hecate switches sides, she calls out to Lou to join her and Lou does. However, Lou is one of the campers that Connor and Travis talk to about how Kronos doesn’t really care for them. When Lou realizes this, she questions fighting for Kronos and decides to switch back to CHB, much to Hecate’s frustration. After the war, Lou and Hecate speak about what happened and reconcile.

Clovis: Clovis can be an example of a minor god kid who has known his demigod parent for some time and has always sided with Kronos from the start. When he’s not sleeping, he’s very busy with doing favours for Kronos/Morpheus including helping them recruit demigods by sending messages in people’s dreams or putting enemies to sleep in battle (similar/identical to what happens in one of my favourite PJO fanfics, Daughter of Wisdom. I can’t remember the author’s name at this time but it should come up if you Google it).

In line with the idea that Kronos doesn’t truly care about demigods, Clovis starts being overworked at some point, which exhausts him more and more. He asks for breaks and rest time, but the army doesn’t care; he has work to do. Clovis grows more annoyed with the army over time, even debating quitting. When the titans lose the war but minor kids are welcomed to camp, Clovis feels a sense of relief, as he can now rest and feel safe/welcome.

Aaaaaaaand that’s it! If you read all the way to the end, thank you! I know this was a very long post 😂 Anyhow, I really enjoyed this creative exercise and coming up with story arcs for these characters. If you liked any of the ideas, please let me know. I like writing and want to write my own story someday, so feedback on which arcs were good would be helpful. Thanks!

[pinkandpurple360]

Trash Anon here:

I kind of feel bad for Stella's voice actor because how she describes Stella long before season 2 was announced that Stella had her own baggage and being a complex character in her own right only for that not to happen. Though this made me think of something:

Was Stella originally supposed to be completely different from the one we have now? Was there an outline for season 2 that was planned before Viv threw it away because it didn't fit her 'idea' of the show going forward and the reason Brandon stepped back from writing due to knowing that his idea of the show was pushed aside for this Wattpad fanfiction bullshit.

I'm only pounding none of this could not be true but now I wish we lived in a world where Brandon was the show runner and not Viv.

Absolutely, she rewrote season two, and probably the rest of the entire story, for her newfound otp. And the best she can do to sell it as romance is to have them abuse each other comedically and reference the stolitz non canon Instagrams via the horse hoody and blitzo saying “he comments on my photos”

They don’t deserve Georgie Leahy she’s just a doll. I guarantee whatever character they had planned before Viv came up with the stolas show was great. She’s an extremely talented LA showgirl, a VA, comedian, not to mention sweetheart to all the Stella fans. Only for her character to be reduced to the hate sink of the entire fandom. And you know how some stans go so far that they can’t separate a VA from a character, she’s probably received at least one nasty comment or message towards her, which makes me so sad for her. Little known fact that she and Brandon have done countless comic skits together and are friends. So…that’s weird. And it’s making me really excited for a Stella and Blitzo interaction. Ironically, the two characters are very similar.

It was around when Viv claims Brandon “handed (her) the reins” that the shows writing went from dark comedy with an occasional sad moment, to absolute utter “stolas is an uwu baby victim who is always correct and right and perfect” crap. And she started projecting onto him heavily, even though she really doesn’t seem like him.

They had to retcon everything, practically every single character, to make way for Stolas’ sob story. Stella is cardboard, Octavia is just impulsive and needs to cut her dad slack, fizz and Loona shill stolas constantly, Moxxie oh god Moxxie completely serves and revered stolas, and acts as his obedient minion always saying “yes your highness, of course your highness” Millie is there too I guess.

It’s clear as day, in LooLoo Land we have a heartbroken enraged woman. Her feelings aren’t invalidated, Stolas is too callous and spineless to even apologise properly, which is his flaw, and Octavia is more on her mothers side than his. As anyone would be.

In Stolas’ apology, he tried to say that he hasn’t been honest, that they weren’t in love, that she has always been (some type of quality that he doesn’t like). And it was always a two sided bickering between two people who aren’t afraid of each other, and didn’t always hate each other. Outside of the balcony scene in s2e1 this dynamic is the same. Only every word stolas says is taken as gospel.

Now he says “I’d be sorry if I’d hurt you but we both know I didn’t do that” which is gaslighting plain as day. When she hires an assassin, she says she wants the “cheating prick” dead. And in Western Energy it’s proven that this was an act of blind rage. She wasn’t thinking about the imp, or the money, only the betrayal and embarrassment. But having her throw a silly party (big fucking deal) and trying to slap him (bad thing she did, but isn’t it funny how stolas almost being slapped is awful with a full orchestral soundtrack, but moxxie and Millie almost dying trying to cover stolas’ ass is no biggie?) and stolas violating women, abusing and murdering imps, isn’t his fault. They brought it on themselves right?

[addictedtostorytelling]

hi aj! still on my rewatch (slowly but surely) and i reached 9.01. i noticed that when grissom hears on the police radio that warrick was shot he was actually buying a traveller magazine and wonder if he had been thinking of joining sara then. do you think that he would have reached that point even if they hadn’t lost warrick? i feel like his death is the first trigger to grissom deciding to retire. thanks so much for all your patience in answering these! have a great week 🤍

hi, rewatch anon!

good to hear from you again!

so i have a much longer, more detailed post outlining what i think grissom's state of mind re: following sara is between s8 and s9 which you can read here, if you're interested.

but the tl; dr version is that i think while the grissom of episode 09x01 "for warrick" may well have sara on the brain when he picks up the traveller magazine—he may be thinking of her travels and/or be considering going to visit her wherever she is and/or be mulling going on a vacation with her—for my money, he is not yet consciously considering leaving vegas to be with her (or at least not on a permanent basis) for two main reasons.

the first reason why he isn't ready to follow sara during s8 is because he feels that maybe her having some time away from him is "for the best."

as i talk about in this post,

remember: [in s8,] sara has just walked out on him, and for as much as her reasons for doing so have everything to do with her mental health and nothing to do with a lack of love for or desire to hurt him, the bottom line is that her decision isn’t one made in a vacuum; regardless of her intentions, her leaving (and especially so abruptly) does cause him pain and stoke his fears that he doesn’t fulfill her needs. he is left wondering if she could have stayed were he a better partner to her—more attentive, more experienced in love, less “in his own head.” those emotional wounds and self-doubts carry with him the whole time she’s gone, and they definitely figure in to why he doesn’t immediately go chasing after her.

his (flawed) inference is that if he had been providing sara with everything she needed from him emotionally, she wouldn't ever have left las vegas to begin with, so maybe it's best if he—and all of his emotional obtuseness—steer clear of her for the time being while she figures things out and seeks the support she needs elsewhere.

the last thing he wants in the world is to get in the way of her recovery, you know?

his second reason also ties in with the first:

he isn't prepared to follow sara yet because he is somewhat hopeful there ultimately is no need for him to do so.

because he and sara are still in regular phone contact at that time (see episodes 08x08 "you kill me" and 08x12 "grissom's divine comedy"), he has some sense that sara is not completely cut off from him and their life together in vegas; he feels as if that door is still open, at least a crack, and he is as optimistic as a realist/pessimist like him can be that she will eventually walk through it and return to him, once she has sufficiently recovered her mental health.

his plan is to honor her wishes by staying in vegas himself, giving her the time and space she needs to pursue healing, patiently waiting until she is ready to finally return home to him.

though of course he does have fears that maybe she might decide to stay away permanently—after all, it wouldn't be grissom if he didn't struggle to believe in his own lovability—between his own fears regarding his "unworthiness" and his cautious hopes that sara just needs to recalibrate before she is ready to come back to him, he remains firmly planted in vegas for the six months she is away (between november '07 and may '08).

the way i see things, it isn't until after sara's second departure from vegas in s9 that he really starts to consider following her into "the great unknown," not only because he has a sense that, at that point, her absence from sin city is more permanent but also because, as you mention, by then he is himself becoming burnt out on his job and bears some deep wounds from warrick's death which also contribute to his readiness to leave.

as i talk about here,

[by s9,] grissom is a man on the brink.  ever since sara left vegas in s8, grissom has missed her terribly and been struggling with depression. the lab, which was once his safe place, his “well-ordered kingdom” in an otherwise chaotic world, has become increasingly strange and unwelcoming to him, and particularly as the team has changed, with sara’s departure (which sparked the beginning of the end), warrick’s death (which has been, in itself, another huge and devastating blow), and riley’s addition (which has proven to grissom that things will never be the same again as they were before).   add in the extra heartbreak of sara returning briefly to vegas for warrick’s funeral, spending four months in town, and then suddenly leaving again without even saying goodbye—plus the fact that grissom feels as if he may have truly lost her this time around, given his unwillingness to follow her into the unknown—and you’ve got a grissom who is one step away from completely falling apart.  whereas he once took satisfaction and even comfort in his job, nowadays the cases he investigates horrify and disturb him. he’s lost his appetite. he’s having nightmares. he can barely sleep. barely think. one of the worst parts to all of this is that he is without his usual support system: normally, when he needs comfort, encouragement, and understanding, he turns to sara, but he can’t do that now, not with her gone. what’s more: he is almost haunted by sara’s absence. she was at the heart of both his work and his home life. she was his partner, his right hand, his roommate, his confidante, his support system,his best friend, his lover, his spouse, and his whole world. every place he goes reminds him of her in some way, from their condo (which now feels impossibly empty in her absence), to the lab, to different places around the city where they’ve investigated crimes. hell, he can’t even sleep without dreaming about her—about how he’s lost her. she’s everywhere to him and yet nowhere, and he can’t seem to focus on anything aside from the terrible ache in his chest from missing her so much. that’s the mental space that grissom is in going into episode 09x05 “leave out all the rest”—and then the episode starts with sara finally contacting him, after so many months of radio silence, only to break up with him via video email, telling him not to worry about her anymore and acting like what they’ve had is ~over, even though, for him, it very much isn’t. that is the final blow—the thing that pushes him to the absolute brink of his ability to cope.

so, ultimately, it isn't just one factor that brings grissom to the point where he is ready to leave town but rather a concatenation of them.

outside of missing sara, he is also becoming increasingly horrified by the human depravity he witnesses night in and night out on his job (see, for example, his reaction to the case in episode 09x06 "say uncle") and increasingly unsatisfied with the changes to his work life and team (including the losses of both sara and warrick and the addition of riley adams to the graveyard shift).

warrick's death likewise weighs on him.

heavily.

as i talk about here,

obviously, when warrick dies, it’s devastating for grissom, not only because he holds warrick in his arms as it happens but because he loved warrick so deeply. for as much as grissom’s s9 depression is a product of him missing and being heartbroken over sara, it also is a product of his grief over warrick—and i honestly think that had warrick not died at that time, grissom probably would have taken longer to decide to leave the lab than he does in canon; warrick’s death just shuts the door on that chapter of his life in a very final kind of way. he never truly gets over it.

between all of the above stressors, grissom eventually finds that not only is he willing to leave las vegas but he's ready to.

in the past, clinging to his job had always been "enough" for him, but now he finds he does not take the same pleasure in his work as he formerly did and he needs more—a change of scene and venue, new endeavors in which to invest himself, and, most importantly, human connection; specifically, with the love of his life, sara.

as stated above, i do think that had warrick not died at the start of s9, grissom may have taken longer to eventually reach that breaking point, not only because then sara would not have returned to vegas at the start of s9 only to leave again, shattering grissom's illusions that she might eventually come home for good in the process, but also because he wouldn't have been half as miserable at the lab in that case as he ultimately became in canon.

had warrick still been around, he could have probably mollified himself for somewhat longer; kept convincing himself, "i don't need to come to her. she'll eventually come back to me. everything'll be fine. i just need to keep my head down and do my work in the meanwhile—"

that said, i do believe that grissom still would have ultimately arrived at a point where the center could not hold—where it became apparent to him that he just couldn't be satisfied living his life without sara (even for the sake of his work).

even before grissom was ready to follow her in s8, he was still uncomfortable in her absence and longed to be near her again, and that discomfort and longing only would have grown the longer that she stayed away.

though i can't say exactly when, i am sure there would have someday (probably sooner rather than later) come a time when grissom couldn't stand to live apart from his one true love anymore, even if warrick hadn't died.

so if she hadn't been willing to come home to him*, then he would have eventually gone out to her.

* and who knows? maybe if warrick hadn't died, sara might have eventually come back to vegas of her own volition (to stay) once she was ready. after all, she does eventually move back there and even resume working at the lab come s10, so obviously that development isn't outside of the realm of possibility for her.

anyway.

those are my takes.

thanks for the questions! please feel welcome to send more any time.

[compacflt]

I have an anecdote about when I worked for a company and a co-worker left to work in a different state on military aircraft. He had to get a TS clearance and because we had worked for several years together he asked if I would be okay with being interviewed for his clearance. I said sure and an interviewer w the gov, arranged to come to my place of work and conduct the interview there. I was asked questions about him like how well did I know him, and whatever answer I gave led to more specific questions like if I answered a question about knowing his wife, they would ask if I thought his marriage sounded secure etc.

This memory of that experience was on my mind while I read your story and I wondered who Iceman would choose for his TS clearance interviews (and who the gov would choose for him) and what would they say? I feel like their "secret" would be uncovered in even a low level clearance (years later I had to submit names for a low level Public Trust clearance for my job) It was so embarrassing because I did not have many friends I was comfortable submitting for that as I kept my work and home life very separate.

Anyway, that is my "cool story, bro"

Thank you for such a great and well researched story!

this is indeed a cool story bro and touches on what is literally my story’s fatal flaw, which is: Yeah, a shitload of people would’ve known about it. I am going to hijack your question to talk about that, so my apologies, though i will get around to your question by the end. This is gonna be a really long post. I have a lot to say and a lot of ground to cover.

So I wanna start out by talking about the structure of this story and its core conflict, because while I’d like to say this story is rooted in an accurate depiction of the US military, obviously that’s not true; it’s rooted in the dynamic of the story that i wanted to tell, which is the story of a guy coming to realize the truth behind a Big Lie—him passing as straight. And that’s a pretty universal story, but it’s made more specific by the fact that a) the guy canonically wants to be the best in an institution that enforces the Big Lie and b) the guy canonically is so successful because he follows the rules/orders of that institution. So, for character growth, to put it simply, the guy (Ice) has to come to the conclusion that the Big Lie is a lie by himself. He can’t be told/ordered that the Big Lie is a lie, otherwise he hasn’t grown out of “just following orders.” (I’ll get to the Big Lie in a second. I made charts and story structure graphs below.)

The only other story about a Big Lie I can think of off the top of my head right now is Passing (1929) by Nella Larsen, which is about a Black woman in Chicago trying to pass as both white and straight. It’s a great book and I’ll try not to spoil it, you should really read it for yourself, but the terminology I’m going to use in this post comes from an analysis of it, so just to bring you up to speed—Clare, the woman trying to pass as white, is recognized by a friend, another Black-but-passing woman, Irene, who is shocked that Clare has abandoned her heritage (the truth of her, that is) and married a hyper-racist white man who doesn’t even know that she’s Black. So the book sets up a dynamic of the Big Lie that I’ve outlined here (hopefully it makes sense):

I built on this dynamic for my fic. Ice is both a “dupe” and a “passing figure,” in that he believes the lie that he is straight and also passes for straight—but it’s also more complicated than that because he’s not actually straight (getting to that). Mav is an “in-group clairvoyant” and can recognize Ice as passing because he is also straight-passing. The Navy are a bunch of “dupes.” But…what is Slider, for instance, or your question’s hypothetical government official who, yes, will 100% find out because people always find out?

In comes my ginormous-and-overly-wordy WWGATTAI Plot and Character Dynamic Summary Graph. You don’t really have to read it all, the only important bits for this discussion are the leftmost column (“plot”) and the green quadrant (“out-group clairvoyants”).

To summarize—people who know the truth can’t actually act on it, because for Ice’s character growth to make sense, he has to come to the truth himself. This forecloses the possibility of any outwardly homophobic action (by which I mean someone like a govt official or one of my lame OCs actually challenging him on his illegal relationship) in the plot, because for 90% of the story Ice is so fragile that he would probably just cave immediately and double down on the internalized homophobia. So, for plot purposes, everyone—including Mav, as it happens—has to sort of tiptoe around Ice’s obvious not-straightness and give him an unreasonable amount of grace so he can figure it out for himself. 

And therein lies the fatal flaw of this story. It is, like, not conceptually viable. Of course people would find out, of course the government would interrogate him about it, of course he’d have to confront the truth much sooner than TWENTY-FIVE years after he first starts messing around with Mav.  Which literally breaks my heart because I didn’t realize it was a fundamentally busted story until long after I had finished writing the base plot & couldn’t fix the overarching problems 😭 The thing is, it had to be this way, because there is at least a thirty-year gap between TG86 and TGM22, and TGM is obviously the emotional climax of the series and my story had to match that. So—fanfic and its canon constraints, everyone. 

But also… I can explain away these logical inconsistencies with story structure & character dynamic graphs to make the story make sense, sure, but it doesn’t change the truth of the matter, which is that… I hadn’t ever really thought about things like security clearances, and therefore wrote around them because I didn’t even know to consider them. And I know there are a bunch of other details in this story that betray my immaturity (anytime I talk about alcohol, for instance—I still am not legal to drink in this stupid country & have only cheap bad experiences to draw on; THE HOUSE—if i could rewrite this story from the beginning they would not have bought a fucking house together, what was I thinking???) and the lack of thought about the real-life logistics and consequences of secrecy is one of them. 

And it’s exactly what I mean when I say “I look at this story and all I see are its flaws,” which is why I wanted to write this post & get it on record. I have just enough life experience to read my own writing and know that it’s fundamentally unconvincing, and not enough life experience to know how to fix it. :(

But, to answer your original question, you’ve got me brainstorming a scene where Ice is asking Slider to be his character witness & Slider’s like “Look bro do you want me to lie to the federal government under oath for you because I will” and Ice has to be like “Legally I cannot ask that of you but”

[ambrossart]

Hi, I know I've said it a lot of times, but I really love your writing. It seems like watching a movie because while reading I can actually picture it in my head.

I wanted to ask you how you plan your characters or stories. I mean, do you immediately get an idea and start working on it or you have to think and rethink about it until you find the right inspiration?

like you mentioned in a previous ask about how you created Vic, and you said you were flexible because he wasn't really described in the novel, but still he had to fit in some image. But what about implementing new characters to an existing universe? I'm thinking about dwm reader, Scottie, Evelyn, Hannah-Beth etc, they all feel like they belong there and I'm wondering how you decided to create them the way they are.

Also, if I think about DWM everything is falling into the right place and when I read a knew part of the story I'm like "oh this was hinted chapters ago" and I think it really is amazing or also the little references here and there, I think it shows how much effort you put in that story. And..I'm curious to know...are the reader and Jason actually friends? He had some kind gestures towards her, but were they out of kindness or because she is his girlfriend's bff?

Regarding the future fics... I'm kinda loving all of your ideas, I'm looking forward to read the one where he gets jealous, or when she gets high because I strongly believe it's going to be hilarious and super cute, and you know everything involving Scottie or Gareth and the other guys.

I always write too much, so I get it if you want to skip this one 😂

Hi! First of all, I would never skip one of your asks (or anyone else's for that matter). If someone takes the time to write me a question, they deserve a well-thought-out response. Always.

Anyway, regarding how I approach my stories, I usually get an idea (or a random scene pops into my head) and I build off that one idea. With DWM, for instance, it was the image of Eddie hanging out in the bathroom with a girl at prom, and I just built the rest of the story around that. "Who is this girl?" "Why is she here?" "Why is Eddie here?" etc. I always have a general outline before I start writing, but it's not rigid because I always come up with new ideas and directions for the story as I write. For example, I was always planning on having the reader have a little crush on Eddie, but it wasn't supposed to be as deep as it ended up being (certainly not one she was harboring for 6 years 😂). That changed while I was writing Pt. 3 and then by Pt. 4, I had their relationship and history completely figured out, and that ultimately changed the entire direction of the story.

I have a similar approach to characters. With DWM, I knew instantly that I wanted the reader to be Chrissy's best friend who's kinda stuck living in her shadow. I think she plays up her sarcastic, snarky persona in an attempt to stand out from Chrissy. She wants to be the sour to Chrissy's sweet; otherwise, she would be even more invisible than she already is. I also gave her a lot of my own qualities and flaws, and most of her personal anecdotes are taken directly from my life. Yeah, DWM is completely self-indulgent. I basically created a fictionalized version of myself and had her date Eddie, and I'm not ashamed to admit it.

With Paper Men, most of those characters were born out of necessity. I needed a main character to guide us through the story, and Richie already had a sister (who doesn't appear) in the movie, so that was an easy starting point. I just created my vision of his sister, taking a lot of his qualities and twisting them around to suit her. Since I decided to make Evelyn a very friendly and outgoing person, I needed to give her friends, so I made Hannah, the shy Christian girl who's obsessed with trashy romance novels and lives vicariously through Evelyn (I love her so much), and Paul, the professional slacker who's always sabotaging her grand plans with his laziness. Because most of the story takes place at school and Evelyn is so involved in school, I needed the school to feel real, so I created a bunch of students to populate it. Gradually, a lot of them developed their own unique identities, and I let them go crazy.

Another thing I like to do is create a lot of shared history between the characters. I think that's an easy way to make all the characters feel like they exist in the same world. That's why both DWM and Paper Men make so many references to the past.

Speaking of references, I'm glad you appreciate all my foreshadowing and callbacks to earlier stories/scenes in DWM because that's one of my favorite things to do when I write. Whenever I'm working on a new story, I always try to think about how it relates to what's already happened and how it will affect future works. For instance, the most recent fic "Out of the Loop" has set the foundation for a lot of future fics. The reader is definitely going to find out about Claire Dunnock, the girl who Eddie absolutely slept with 😬. Claire said she had a class with Eddie last year, well... guess who else was in that class? The reader and she saw them flirting. I don't have it on the list, but it'll be a story. The reader has already expressed discomfort about Eddie's previous sexual experiences, and this will only make that worse.

Finally moving on!

To speak about Jason and the reader's relationship. They are truly friends and not just because of Chrissy (although that is a huge factor). They've known each other since elementary school. They weren't "hang out outside of school" friends, but they were friends. I've mentioned this before, but the reader used to have a crush on Jason back in elementary school, but once she found out he liked Chrissy, she had to let that crush go. She can't compete with Chrissy. Nobody would ever choose her over Chrissy. So she had no choice but to step back and surrender. She doesn't have romantic feelings for him anymore, but she still admires his good qualities (and Jason does have really great qualities). That being said, Jason does truly care about her as a person, which is why he bought her a corsage and danced with her at prom. It wasn't just because he felt sorry for her or because he felt obligated to do it. He genuinely cares about her, and he thinks she can do a lot better than Eddie.

Lastly, regarding future fics, the one where the reader finally gets to high school is going to be funny (because Scottie's in it and he knows that Eddie has been pining for the reader for the last two years) but it's also going to be really sad. They're both so excited to see each other and are secretly hoping to jump back into their friendship again, but as we know from the main story, that doesn't happen. They don't talk to each other. Nobody apologizes. They just fall into their expected roles and go back to being strangers. It's almost as if that summer never even happened. It's really sad and Eddie takes it very hard.

Holy crap, I wrote too much. Gold star to anyone who finished this! ⭐️

[soleilnomoon]

† all the devils are here: modern au & arranged/contract marriage au feat. hayakawa aki x reader.

† setting: modern day, year xx23, spring

† starring: hayakawa aki, first son of the main hayakawa family (25) & y/n, the bride-to-be (23)

† feat. cameo appearances from: mr. hayakawa (aki’s father), mrs. hayakawa (aki’s mother), hayakawa taiyo (aki’s younger brother), & others .

† summary (of sorts): y/n has always been in her sister’s shadow her entire life, and she plays the meek, unassuming, naive younger sister role incredibly well. too well, if anything. aki, in comparison, has always had the spotlight shining brightly on him; his arrogance isn’t a flaw or misplaced, it’s well-earned — there’s a difference. and, according to him, it can’t be considered nepotism if he’s the best at what he does. the hayakawa family has had their hands in finance (private & public sector) over the past decade and are currently moving into politics — the main branch is run by its austere matriarch (aki’s grandmother), and she is highly selective  of who marries into their family. aki knows not to fuel his grandmother’s wrath, but a large part of him absolutely detests having someone else plan his entire life without his input. both y/n and aki are incredibly ill-suited for one another, but they’ll need one another’s help to get what they want — for y/n it’s freedom from the path of mediocrity and unattainable dreams; for aki, it’s freedom from the rigid society he’s grown to hate.

† word count: currently at 3k.

† contains: fem reader, nsfw (18+ mdni), blood money, corrupt politics, arranged marriage where both parties have their hands tied (figuratively), dry humping publicly (the scandal of it all), idk cute stuff like getting caught while masturbating, public sex (probably), fwb shet, jealousy (idk what to tell u), alcohol consumption, smoking, blackmail, degradation/humiliation (i’m not sorry), aki’s family is the worst™ (but so is y/n’ lbr), enough angst to drown in 10x, enough smut to make even me blush (u know the vibez), betrayal bc i don’t love myself, reluctant enemies to lovers (not exactly enemies, but aki’s a brat as u know), maybe a bit of magical realism, plot twists on top of plot twists, & probably some kind of violence (we’ll see tho).

† chapter 01 — occlude — (complete)

† chapter 02 — ephemeral — (in progress)

† chapter 03 — corazón — (in process)

† last updated: 02/05/23

† hiii! ʚ₍ᐢ. .ᐢ₎ɞ thanks for taking the time to read through everything, & i do hope you enjoy the story i’m tinkering away at. not sure how long this fic will be (story of my life), it’s smth ambitious (ofc it is), but i def will try to update as consistently as i can (we’ll see tho lmao). as i write, i’ll update the warnings list.† if you want to be added to the taglist then you can drop a comment or send me a message and i’ll add you!

† as previously stated, this is a modern au/ arranged | contract marriage au fic; i’ll try to keep as close to canon as possible with characterizations — and trying to incorporate elements from csm into a modern world setting is a little tricky, but i’m making it work i think, who knows atp.

† i have an idea of how i want this to end (unsurprising), and i don’t always stick to outlines so we’re all going to be in for a wild ride, u already know what time it is w.  me; just know that it’s a dark romance w. a lot of drama, there might actually be a happy ending yk, we’ll see.

† taglist: @strawhatsoraya

[inkwell-intrigues]

Writer's Log: Characterizing a Legendary Hero

It’s another writer’s log!! I didn’t forget about you guys- I swear!

I just got my wisdom teeth pulled and then a week later I had a medical emergency and was in the hospital for a bit (I’m okay now, it just sucked while it was happening).

Anyway, I’ve still been chipping away at the rewrite bit by bit. I want to use the Save the Cat story structure to help with pacing and such, so I think I’ll need to restructure the story slightly, BUT my main focus for today is on the 3rd member of the Cuphead Trio: Ms. Chalice.

In my work, I find I’m best at writing children and messed-up villains. So- that’s got Cuphead, Mugman, and the Devil covered, but then there’s Chalice.

She’s one of the most complex characters in TSTS (with the Devil being the other). Chalice in some ways is still a child, in different ways, she acts like an adult: A child soldier who was forced to grow up, tasked with a divine mission, and stuck in purgatory as a spirit on Earth until her mission is completed.

A character like that is HARD to write at all, and even harder to write correctly. About 99% of my characters are based on people I know and last time I checked- I don’t know the holy ghost of a child soldier.

So, in my first draft of TSTS, I ended up not really giving her enough “screen time”. Like, she’s important in the first draft, but I didn’t give her enough quality time/chapters to develop her. This would’ve come back to haunt me in the climax of the novel where Chalice will play a MAJOR role.

In this rewrite, I’m going to change that.

First off- I want her much more involved. She is going to play a HUGE role in the story and the amount of time/care I put into her character should reflect that. For instance, my current plan is to put her in the first chapter (which will be VERY different from the original) and to be there when the brothers are kidnapped. Now, of course, I’m going to need to figure out how Chalice doesn’t just kill all the imps and save the brothers, but I think I have some good ideas for that. :)

Basically, I want her to have just as much “screen time” as the brothers in a separate but interconnected plotline. Everything Chalice does should affect the brothers in some way and vice versa.

To start, I need to iron out her personality: When I write, I plot out my characters by giving them a few “keywords” to define their personality as well as a “Character Archetype”. (I usually do 2 positive character traits, one character flaw, and then their deadly sin and heavenly virtue.) Originally I was going to take the Myer’s Brigg test “in character” for each main character, but that takes WAYYY too much time.

With all that being said, here’s my character personality outline for Chalice:

Ms. Chalice

The undying spirit of a prophesized warrior who hails from an ancient order of the Calix Animi. She is one of the novel's three protagonists and Cuphead+Mugman’s best friend.

Personality Traits

Loyal: Chalice is a true friend, loyal even to the point of death. Despite her sometimes oversized ego, Chalice has her friends' best interests at heart and will do anything for those she loves and cares for.

Clever: Chalice is quick-witted, resourceful, and knows how to stay on people's good side. Thanks to her quick wits, Chalice was an exemplary general in the Calix Animi, and nowadays she uses her wits to get those around her to like her/listen to her.

Arrogant: With how much Chalice was worshipped by her fellow Calix Animi warriors starting from a very young age, Chalice's arrogance was practically guaranteed. Chalice thinks very highly of herself and can become agitated when others don't respect her as much as she thinks they should.

Deadly Sin: Pride

From a very young age, Chalice was constantly hailed as “The Chosen One” leading to her having an incredibly inflated ego/self-image, and being incredibly prideful. Chalice's pride ultimately led to her death and the collapse of the Calix Animi. The Devil is very well aware of her pride and heavily enjoys using it to manipulate her.

Heavenly Virtue: Diligence

Chalice may struggle with her inflated ego, but no one works harder than her to get things done. Even when discouraged, Chalice pulls herself up by her bootstraps and keeps working till the job gets done.

Character Archetype: The Magician

“The Magician is most commonly a visionary, usually oozing with charisma and inspiration. They use their imagination to evoke change and find win-win solutions. Their cleverness helps them envision possibilities and invent means to desired outcomes in situations where others would dare not.”

https://www.dabblewriter.com/articles/the-magician-archetype

http://charactertherapist.blogspot.com/2013/06/character-archetypes-101-magician.html

Character Inspirations (there’s probably more I can’t remember at the moment)

Matthias from Redwall

Scythe Anastasia from The Scythe Chronicles

A mix of Zelda and Link from The Legend of Zelda

Character-Inspired Songs

Jericho - Iniko

Deathly Loneliness Attacks - Mafumafu

Now, my step would be to plan out her character arc over the course of the plot -but I still need to actually outline my plot. Oops. xD

I should probably do that next. I'll try and do a writer's log on that, but I'll need to censor a lot of spoilers LOL.

Well, until next time,

Ink (Also thank you for all the kind words and comments. I know I'm pretty inactive but they mean a LOT to me. <3)

[neotriobrainrot-reborn]

I kinda wanna talk a little about how Epithet Erased sort of helped me at least start my journey towards finding out what kind of writer I am

I think, or at least hope, that I'm slowly understanding myself as a writer and realizing what type I am.

I'm not a complete Gardener, or at least one that falls extremely onto a gardening writing method

When I used to write, I had no worries or issues with writing characters when I first started writing(well I did, but the characters were the LEAST worst thing about my old writing), but the plot fell apart after a few chapters when it came to anything I tried to write

[Example: When I tried to write "Everything's (not) okay", I set the chapter count as 20 and started writing. But two chapters in, I realized that I literally couldn't write 20 chapters on a story where I don't even have it structured.

#2: I tried again with AmphibiaErasedNeo, but then I realized I've written myself into a corner as early as the first chapter, because Trixie & Phoenica would have every reason to grill Molly the second they saw her again and the cat would be out of the bag in terms of her involvement with the music box to them a lot sonner than I'd like for the two. I underestimated just how impactful & important the scenario was that lead the Calamity Trios to Amphibia, and I met a massive wall when trying to bull rush scenes that were subtly affected by that.

Another smaller example is an TOH x Epithet Erased fic idea I had Scrapped that fell apart at "what would stop Phoenica from just leaving as soon as she met up with Luz again?"

Say to say, I kinda sucked at writing. Well, I still do kind of suck and have a lot to improve on, but I suck significantly less now than I did about a year ago, give or take.

And this isn't to say this was because of the gardener method, not even slightly. All of these flaws I found with my writing were a combination of my lack of foresight for how scenes affected other scenes & poor revisioning. The gardening method isn't bad. It's just not something that completely applies to me. The same can be said for the architect method. I can't just go into it without any foundation since that just leads to me barely doing anything, but if I go too far into outlining & try to plan every ounce of how everything will happen through each line in the story, I won't even get halfway before I lose the motivation to even write the thing.

Hides away my docs of unfinished stuff

All in all, I feel like I'm more of a hybrid(or in other terms, a plantser), but at the same time. I still don't know completely. I know I'm not a gardener or Architect, but I still got some distance to figure out what kind of Writer I am and what stuff fits me, but what's important is that I'm at least a little bit closer to figuring out myself not just in terms of writing, but getting a leap closer to becoming the best version of myself, even if I'm nowhere near there yet.

And I have Epithet Erased to thank for that

[slasher-smasher]

Cassidy Bishops Info Sheet

Thank you @sehtoast for letting me use the outline for the sheet! I didn't use all the questions.

Cassidy Bishop

Link to google doc of more detailed version

Face claim: Alexandra Daddario

Age

Looks 37 (real age is 117, I tried making her age accurate so that she was in her late 30s in 1943, but the wiki for The Boys is wacky for timelines)

Nationality

British

Current residence

Manhattan (Apartment)

Occupation

Medical Doctor

Talents and skills

Fast Learner, Expert Surgeon, Art Sketching

Parent (describe relationship)

Her father was one of the top geneticist for the British government and worked along with Fredrick Vought when he defected to the Allied Powers. He is a strict man that loves his country and Queen (rip) to the extent that he would sacrifice his only daughter in the name of science and the benefit to Britain.

Significant others (describe relationship)

Ian Quinn - Journalist that covers wars and corruption. He met Cassidy when she moved back to England after she left Vought and tried to move on from her past.

Homelander/John- It's complicated. He is obsessed with her. She tries to keep him at arms length as just friends.

Relationship skills

Empathy, Patience

Height

5'8"

Weight

140lbs

Hair color

Brown with blonde highlights

Eye color

Lavender (Light Blue before Compound V)

Glasses or contact lenses?

Wears blue contacts when at work.

Skin color

Pale

Dress style

Casual mostly, but wears blouses and dress pants when at the hospital

Mannerisms

Even though she is a 117 year old doctor that has been through some shit, she is socially awkward when it comes to social situations.

Hobbies

Sketching, reading medical journals, listening to music while at the park, baking.

Favorite sayings/quote

"I have no special talent. I am only passionately curious." - Albert Einstein

Style

Comfortable

Greatest flaw

Her empathy. She allows people Homelander to manipulate her when she feels guilty.

Best quality

Kindness, strong ethics

Introvert or extrovert?

Introvert

Educational background

Many many MD degrees over the years and masters in psychology

Mental health

A bit traumatized by her injection of V by Vought and her father.

Short-term goals

Keep up D-grade supe status cover, save lives in the hospital,

Long-term goals

Bring Vought's corruption to light but not willing to join Billy's team and go to his extremes. Have a normal loving relationship, maybe a family.

How emotional is your character?

One would think being through 4 wars she would learn to hide away her feelings but Cassidy wears her heart on her sleeve. She gets super passionate about things.

How logical is your character?

Even though she is emotional her professional ethics are strong and is used during emergencies.

What would most embarrass your character?

She is subconscious about her age. Even though she is basically immortal, she hates the fact that she is twice peoples age. Being in the spot light.

How does the character deal with conflict?

Often uses logic.

How does the character deal with sadness?

Sketches, cuddle times with her Rottweiler.

What does the character want out of life?

A normal non supe life

What would the character like to change in his or her life?

Being a supe. Saving Homelander as a child from the lab.

What motivates this character?

To be opposite of her father. Help heal people without the cost of others.

What frightens this character?

Being taken to be experimented on. Letting people down. Not being able to heal people.

What makes this character happy?

Friends, her dog, baking, lots of tea (no it's not a British joke, I just LOVE tea)

Is the character judgmental of others?

Homelander is mainly the exception due to their history but yes when it comes to people like Stormfront and Vought higher employees in general. She HATES greed and manipulations.

Is the character generous or stingy?

Generous

Is the character generally polite or rude?

Polite but can be sarcastic.

Is religion or spirituality a part of this character’s life?

No.

What is this character’s role in the story?

Protagonist

Describe the scene where this character first appears

Cassidy was a nurse during WW2 that was forced to be injected with compound V. She worked with Solider Boys team for a bit and reluctantly stayed with Vought.

Consider this character’s relationship with other characters.

Homelander- almost motherly when he was a child, cared about him until he started to become more obsessed and sexually attracted to her when he hit his teens which made her leave due to ethical reasons. As an adult, awkward budding friendship with some sexual tension mixed in much later Maeve- acquaintances Starlight- later becomes friends

How does this character change over the course of your story?

She tries to be a moral and ethical person but her feelings towards Homelander that she starts to accept much later makes her bend her code a bit. She knows he is a monster but her guilt prevents her for seeing him as that completely.

Superpowers:

Longevity/ fast regeneration, super strength but she doesn't use it much.

[thewardenofwinter]

𝕿𝖍𝖊 𝕽𝖊𝖘𝖚𝖗𝖗𝖊𝖈𝖙𝖎𝖔𝖓𝖊𝖗𝖘 | WIP Intro

"PULVIS SUMUS ET IN PULVEREM REVERTEMUR".

We are dust and we shall return to dust.

Content warning: Discussions of s**cide and s**cidal idealization in detail. Mentions of death, murder, gore, blood, mentions of past abuse (including child abuse), explicit language and sexual content.

Genre: dark fantasy, paranormal fantasy

Status: outlining/first draft, 16k words

Conception:

The Resurrectioners has been a project that's been ruminating in the deepest pits of my sun-bleached skull that I keep on my desk for quite some time now. The Resurrectioners follows both a larger ensemble cast and an overarching plot, both of which are quite out of my comfort zone as someone who usually focuses on three to four core characters in my stories. Furthermore, this book is much more plot-centred than most of my other works, which are all character-driven for the most part (or vibe driven, depending on who you ask.)

Vibes:

music playing loudly from the next room over, dimly lit subway stations, old gunshot holes in a wall, leather trenchcoats, thick overcast in autumn, headphones resting on an ancient book, band t-shirts with moth holes, calf-high combat boots with water damage, broken glass on a bloody bathroom floor, the smell of over-brewed tea and cigarettes

Synopsis:

After a successful suicide attempt, a young woman is brought back to life in a strange, isolated estate filled with even stranger individuals where learns she has a debt for her second chance at life, one she must pay for in blood.

Characters:

All of the main characters in this book are people who committed s**cide for one reason or another or sacrificed their lives for someone else and thus have lots of trauma related to both the act itself and their life prior to the decision. Some are much farther into their recovery than others.

I might make a separate post detailing character development, fancasts and thus forth but I'll decide on that later.

Samara 'Mara' Dombroski

Our main POV character, resident ex-metalhead and the newest edition to the resurrectioners. 27 years old.

Samara is a character who is quite easy for me to write for and very difficult at the same time. She is sort of an 'alternate reality version' of a person who I am very close to had they gone down another path in life. Also, my favourite characters in dark academia-esq media are the fishes out of water that have no idea what's going on and are hanging on for dear life among pretentious intellectuals, which is exactly who Mara is.

Nazriya 'Naz' Akkineni

Hot bitchy mean girl and outcast chill goth girl solidarity at its finest. ~23 years old.

Otherworldly beautiful and astronomically intelligent and will not let you forget either of those things. She is very toxic and self-serving, the type of girl who will push your buttons until you snap and then blame you for having a negative reaction. Though, under her veil of self-confidence and narcissism lies a deeply distrusting girl who just wants someone to see right through her defences and love her and her flaws without having to change who she is as a person.

Naz is currently my favourite character because toxic lesbians have me in a chokehold 24/7.

Zakiah 'Kiah' Rush

Intellectual soft girl. Think white flowy dresses, Jane Austen and Bronte sisters, and flower fields. ~25 years old.

The epitome of 'I suffered, and I'll do my best to help people because of it.' She's everything sweet and soft, but she can be quite crass and funny when she gets to know someone.

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Tag: #The Resurrectioners

[ninjastormhawkkat]

The Real Steven Boxleitner AU - Part 1

Here is an outline of what happened after Becky finds the newsclippings.

-Becky shows her friends because she has to tell someone it is driving her crazy.

-All her friends find it bizarre and strange but Scoops and Rose, to Becky's sorrow, that the newspaper clippings are authentic but the photos are blurry so no one can see who "Steven Boxleitner" looks like.

-Scoops comments that he notices how the package that was sent to Becky has no travel stamps. Rose and Violet both agree and they explain that from their experience of getting packages from letters who lived far away, there is always a travel stamp on them.

-Scoops and Rose theorize that it musth be from someone who lives in Fair City if they did not have to give a sender address (note: this is not true for real mail, but I think with Fair City's lax laws, people can get away with forwarding stuff without having to include a return to sender address.)

-At the library after a while, Becky decides to search up the name and the college where the death was mentioned. No photos were included in the obituaries online (nothing significant - it was a simple technical error on someone's part and it was just forgotten about.), but Becky did find names of the deceased's family, including one sister named Jessica Boxleitner, now Jessica Brownstone, who has recently moved to Fair City and established herself in a business firm. Having the address for the business, Becky and Bob go visit the woman for answers.

-When they meet Jessica for the first time, she is more surprised to see them here then they are to see her. She takes them to a private area and apologizes for bringing Becky into this mess. She is new to Fair City and 1. had no idea Becky's dad goes by Dr. Two Brains because she originally tried to send the package to him but the mail office couldn't send it out because Dr. Two Brains changed his name on his home's address and it did not match old records. Also due to Fair City's flawed system, the mail office didn't inform her about the name change either. 2. When Jessica found out about Becky Boxleitner, she thought "Steven" changed his name again to hide himself or that Becky was an adult accomplice or just part of his facade (again, Jessica was fairly new to Fair City so she had no clue Becky was a real person and most people now days associate Becky being Dr. Two Brains' daughter rather than Steven Boxleitner's.). Jessica was surprised that the man that took her dead brother's name adopted and raised an actual child who had no idea.

-Jessica explained that she wanted answers about who Becky's dad really was and why he took her brother's dead name. She found about Steven's existence from finding his book "Superheroes and You: A Practical Guide." In the local bookstore one day. She thought sending those news clippings would draw him out and make him finally confront her in secret because she thought she would look like a loon confronting someone emotionally in their own home. Jessica also shows Becky a picture of the real Steven Boxleitner and Becky is just shocked and crushed at how this Steven has blond hair, different nose shape, and green eyes, nothing like her dad's brown hair and blue eyes. This photo now confirms one truth while raising more questions.

-Jessica apologizes to Becky that she didn't mean to bring her into this mess. Her brother's death really hurt her family emotionally and she wanted to know why someone would use her brother's name like that. She gently explains while she has beef with her dad, she didn't mean to scar Becky like this and understands that despite what Two Brains did, he sounds like he is truly caring and loving towards Becky and is remorseful for messing things up because of her own agenda. Becky forgives the woman and says she understands why she did it and that she was in the right to feel negativity towards her dad. Becky tells her she will talk to her dad about this and give Jessica some closure the best she can. Jessica wants Becky to just stay out of this and try to forget it, she felt she messed up an innocent life to get her justice for her brother, but she relents and agrees with Becky's plan. Jessica gives Becky her card number to chat later after she talks to her dad and appreciates her forgiving her even though she did all of this.

-So it is late when Becky heads home and the poor girl is really an emotional state when she runs into Dr. Two Brains who is upset and agitated because Becky stayed out late pass dinner and the guy was worried about where his child was.

Dr. Two Brains: I had no idea where you were. I was worried something awful happened to you. Please Becky, the next time your going to be out this late at least tell me beforehand. You know you and I can be honest with each other about family matters."

-Oh boy that broke the dam of emotions. Becky yells at her dad at this point. She calls him a hypocrite over his words and runs to and back from her room where she shows him the clippings.

Becky: YOU TALK ABOUT BEING HONEST WITH EACH OTHER BUT HOW DO YOU EXPLAIN THESE! ALSO FOR THE RECORD I HAD A CHAT WITH THE DECEASED'S SISTER WHO EXPLAINED THAT SHE WAS THE ONE WHO SENT THEM HERE TO ME AND APOLOGIZED BECAUSE SHE HAD NO IDEA I WAS ALSO BLIND TO THE TRUTH! SHE ALSO SHOWED ME A PICTURE OF HER DEAD BROTHER WHO IS APPARENTLY THE REAL STEVEN ANDREW BOXLEITNER. IS THIS THE REAL REASON I HAVE NEVER MET ANY OF MY EXTENDED FAMILY AND NOT BECAUSE OF THE EXCUSE OF THEY LIVE SO FAR AWAY OR THEY DID NOT WANT TO ASSOCIATE WITH A VILLAIN! SO IF THE REAL STEVEN BOXLEITNER DIED YEARS AGO THEN WHO ARE YOU! WHO IS THE IDENTITY OF THE REAL MAN THAT RAISED ME FOR ABOUT 12 YEARS? WHAT THE HECK IS MY ACTUAL LAST NAME? WHY DID YOU LIE ABOUT SOMETHING THIS IMPORTANT TO YOUR OWN DAUGHTER AND TO OTHERS FOR SO LONG?!

-Two Brains is shocked that Becky knows about "Steven" and feels awful about hurting her like this. He never meant to lie to her, but the real truth was more difficult and darker to explain. Two Brains sighs before facing his agitated and upset pinky with a solemn expression. He decides to tell her the truth finally.

(the truth will be in part 2).

@melodythebunny

@drtwobrainsstuff

[welcometogrouchland]

luz noceda for the ask game

Anon you caught me right before I was Abt to go to sleep but I can't not do this. It's for my girl (feel free to send me more while I sleep btw these r fun)

favorite thing about them: LITERALLY WHERE DO I EVEN START. She's one of my top ten protagonists of all times. I love the lessons she learns, the way she learns them, I love watching her grow and struggle and thrive. I love her so so so much. To keep things simple(ish) I will say that my favorite thing about Luz (which I've mentioned once or twonce before) is that she's an objectively cringey, very ND coded kid who's still given the utmost love and respect from the narrative. She gets to be objectively fucking uncool and this story still loves her. And it's nice it makes me feel loved by proxy

least favorite thing about them: I mean, I'd say in season 1 it's the tendency to flatten the boiling isles and it's people into 2 dimensional tropes for easily comprehension, but that's also one of my favorite flaws of Luz and the narrative always makes an interesting point out of this attitude. Maybe it's the suicidal ideation bc it really scared me the first time I watched thanks to them. I knew nothing bad was gonna happen (within reason), this is Disney, but I was like DAMN THEY'RE GOING THERE!!!

favorite line: okay I actually cannot in good conscious choose one bc my friend once informed me that me and Luz just. Talk the same. Same silly idioms and phrases same whimsical expressions and syntax same humour, etc etc. It's a chicken egg situation and do not know who started it but I know that it's frighteningly accurate. So I'll just go for the safe classic "the only thing I've ever really wanted was to be understood" bc. Y'know. Best moment in the whole show and everything

brOTP: LUZ AND HUNTER DREAM TEAM I LOVE THEM SO SO MUCH!!!! OH MY GOD. Close second is Willow tho

OTP: you guys already know I'm here for lumity but I will let you guys in on the fact that when I first watched the show and was still on the early episodes of season 1 where Amity is a dick I was firmly on team willuz. I still love them <3

nOTP: Luz and Hunter. It's just really not for me, even if I can see why it appeals to others. I'm too attached to the familial reading of their dynamic and the doors that opens up analysis wise. Also my irl brother is a hunter kinnie and I just outlined my credentials for being a Luz kinnie so /j

random headcanon: she played guitar when she was younger! The one in the basement belonged to Manny and he'd sit her on his lap and show her simple chords and riffs. She got a ukulele so she could practice. Then when Manny died she fell off playing it bc it felt wrong doing it without him, even though she still played uke sometimes. She picks it back up though during the season 3 timeskip and post canon! Also she was born in New York and lived there til she was 2/3, at which point she moved around a few states until landing in Connecticut at the age we see in the thanks to them video diaries (I wanna say 7 or 8?)

unpopular opinion: I also think Luz gets characterized as more bitter/vengeful/surly than she really is, especially in fics set around season 3. She wants to be happy, to have fun with her friends, she just feels like doesn't deserve it. Also I low-key think Luz is like. A genius. Just in an unconventional way. She rediscovered a lost form of magic and then taught herself it all on her own. She probably struggles with long division but I mean it when I say she is literally a genius imo

song i associate with them: TOO MANY TO NAME MAN!!!! LITERALLY!!!!! The ones on my brain rn are sweet hibiscus tea by penelope scott, underground and life on mars by david bowie, people pleaser by yet to bloom, towards crescent park by bad moves and fine, great by modern baseball

favorite picture of them

Tie between the iconic "to be understood" frame (boarded by Emmie Cicierga) or like. Literally any Dana art of her but specifically the "see you in 2023" gif cycling through all of luzs most iconic fits. I love both of those sm

[pastafossa]

how much ahead do you write for TRT? would you recommend writing as you go or finishing a few chapters (or even the whole thing!) before posting

also my middle name is hind so it's almost flattering to see the shipnames and such :)

love your work!!!!!!!!!!

So me personally, I don't write ahead, but I do outline ahead! I've got everything charted out, what needs to happen, how the arcs need to unroll, clues to leave, etc. This is what allows me to write the chapter every week - in my natural environment, I'm a pantser and I tend to wing it (which works fine for a one-shot but less so for an epically long fic like TRT). I'm also an extrovert - I need external feedback or, at the very least, some form of interaction to feed my creative drive. If I don't have that, if I wait to post a chapter until I'm done with everything, I'll essentially run out of energy and coast to a stop. By posting a chapter each week that I've written, I get that feedback and can keep going! There are flaws to my method - sometimes it's impossible to tell how a chapter's going to go until you write it, or you suddenly get a good idea about some event that should, in reality, have caused clues and foreshadowing to appear three chapters ago. But that's where the outline comes in! It gives you a north star to drive towards even if you choose to take a side road on the way there.

But note that this is me. Most of the other writers I know are introverts and can write just fine by being left alone with their own internal feedback for encouragement, and I also have a few friends who absolutely hate the idea of writing like I do. They absolutely need to have it all done before posting, and the sheer chaos of writing a new chapter into existence every week isn't something they'd enjoy, just like I'd hate being confined to their method. So everyone's different. I'd say the low-risk, high-patience, safest option is having it all written ahead of time, if you're introverted enough or can charge your own battery. The high-risk, high-reward option is writing as you go, favored by those who need to interact in order to create. And the neutral ground is getting ahead by three or four chapters before beginning to post, finding a safe middle balance between the two. So the real question is, which would work best for you? Do you have the patience and inner drive to get it all done first? Do you need interaction to keep yourself going (hi it's me)? Do you land somewhere in the middle? I will say, my writing absolutely suffered when I tried, desperately, to be what I wasn't. People will tell you to write for yourself, to get it all done before posting because it should be for you anyway, and while that works for a lot of fic writers, for some of us, writing in isolation for only ourselves is where our creativity goes to die. I think figuring out where your creativity graveyard is, and going in the opposite direction, is a huge benefit to you once you figure it out, even if you need to experiment a little to figure it out.

Also YESSS I'm so happy to hear from a Hind! I always love hearing about people with the same name. It also strikes me as funny because I never actually meant to name her Jane Hind. It was originally just a placeholder I used while writing and in notes, a joke about a Jane Doe reader insert, the one we can't trace back, and only after I'd used it long enough in notes and the first chapter that I went... 'actually this kinda works, because she is a Jane Doe, with a real name I can't ever use'. And admittedly it would make me pretty happy too to see my own name for a ship like this LOL.

Thank you so, so much anon for coming to say hi!

[runawaymun]

10, 58, 71 for the fanfic writer asks! ❤️

10. Cltr+f "blinks" on your WIP & copy paste the first sentence/paragraph that comes up

This taught me that my characters almost never blink lmao. Here is the first instance of "blink/blinked/blinks" I could find, which is from my Celrond Arranged Marriage AU WIP:

Elrond hummed and adjusted in his saddle, the dappled light sifting down painting his hair into a latticework of red and black (she hadn’t realized he had red in his hair, but now in this light she could see his was not black so much as it was a multitude of different shades of brown— he had braided a set of blue ribbons in his hair. She wondered how long that had taken).  She was staring. Celebrían blinked and looked away, feeling her face heat, and reached down again to stroke her mare’s neck. 

58. What part of the writing process do you enjoy the most? (Brainstorming, outlining, writing, editing, etc) 

Brainstorming gets a slight edge when I am working with most writing partners except @the-commonplace-book - in which I place both brainstorming and writing directly equal to each other purely because we write in an almost 'improv' sort of way in the first draft, so her parts of the story come as a complete surprise to me, which I then get to bounce off of! And we've been writing/brainstorming with each other for so long that brainstorming is just as fun -- because we reach this sort of synergistic state where the idea just flow.

But when I'm by myself I prefer the first draft stage. Brainstorming can often just kind of feel like I'm either daydreaming or knocking my head against a wall, depending on how well it's going. But it's not until I'm actually putting pen to paper/fingers to keyboard that things actually start to happen, and often characters will just make choices that take things in a completely different direction than I had planned. On the best days, it's just really fun, like I'm watching it all happen outside of myself and writing it down. It all feels fresh and brand new and like pure play to me.

71. When it comes to more complicated narratives, how do you keep track of outlines, characters, development, timeline, ect.?

Oh, buckle up lmao. This could get long.

I tend to use the classic five part story structure if I must outline, starting with the inciting incident, the rising action (usually choices or actions the MCs are taking to respond to the inciting incident), the consequence - usually leading to rock bottom, a climax/confrontation, and then the resolution. It really helps me visualize things on a large scale. I like to actually sketch out a plot timeline with a mountain/chevron shape to it, label it with the story structure and plot points, and then usually in a separate color I will label out individual characters' arcs within the big five part structure. My trusty five part structure hasn't failed me yet tbh and it tends to work no matter the genre.

I also like to think not only of the actual plot beats, but about where characters start at the beginning of the story and where they end emotionally. Like, I sit down and go 'okay, I have a character who has THESE flaws, fears, misconceptions, etc. What do I, the writer, need to do to get them to a place of healing or enlightenment?" -- because this is going to look very different for each MC. Sometimes characters need help and you have to bring in outside forces, but sometimes bringing in outside forces wouldn't be helpful at all. Stuff like that. And that's something that I have to develop hand-in-hand with the plot to make sure that the emotional journey is going to line up with everything else going on.

And there always comes a time (usually when I am halfway through a rough draft) where I go "ah shit, I'm getting all of these loose ends and I DO NOT want to forget about them!" so I wind up having to angrily sit down in front of a blank document and type out all of my little chekov's guns and loose threads and make definitive decisions about how I am going to resolve them, because otherwise I will 100% forget to do that. And then I have to rework my entire ACT II or ACT III outline. Sigh.

If I'm dealing with a very large cast, I've found it helpful in the past to keep folders for POVs. So all of Character A's chapters will go in one folder, and all of Character B's chapters will go into another folder, etc. etc. I then like to read through their chapters and make sure that their arcs make sense on their own and feel complete. For editing purposes I've found it helpful to color code character POV chapters on my outline (blue for character A, green for character B, etc) to make sure at a glance that nobody is getting left out or given too much page time!

This is not something I've had to do too much with fanfic yet. It's stuff that I learned while writing my original novels. Especially with fanfic I'm very touchy-feely with my pacing lol. I tend to go 'huh, I feel like we need to spend more time here, or that it's time to move on'. Stars was written by the seat of my pants (and it shows, considering there are whole ass characters that get introduced and then promptly dumped). But for Boundless Sky, these techniques have been part of the process, and I'm also employing them with Partake. Like, with Partake I sat down and worked out a five act structure specifically for the Lindon arc, because I'm very concerned with getting it right lol. If the Lindon arc bombs then I've ruined the whole fic, y'know? 😅 That would be a disaster.

I also love using pinterest and world anvil for getting general ~vibes~ and keeping track of character "casting", photos of sets to use when describing, and for keeping track of worldbuilding. It's super helpful! If I'm feeling especially lazy (which is often), though, what should go on World Anvil languishes in some monstrous frankendocument on drive which I then have to ctrl+f my notes on any given topic, like, constantly.

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