#but using my book example as a jumping off point

[thelaurenshippen]

this is a genuine question not at all meant as a rude gotcha, but I feel like I've seen lots of people cite the relatively low barrier of entry as a huge advantage of podcasts as a medium, "if you have access to decent audio tech you can make a podcast" etc etc. So where does the need to sell a script come in? Is it a financial thing, and IP thing, something else?

this doesn't read like a rude gotcha at all, it's a really good question! there is a much lower barrier to entry when it comes to podcasts compared to tv, film, theater, etc. (though not as low as writing a book if we're talking about hard resources - you can technically write a book with just a laptop and a dream and then self publish! though as a writer who has written a lot of scripts and four books (3 published) writing a book is a much bigger psychological burden imo lol).

the need to sell a script, for me, is entirely a financial thing. if I had the money to produce podcasts at the level I want to entirely independently, I would! I know how to do it! but, unfortunately, I really only have the funds to produce something like @breakerwhiskey - a single narrator daily podcast that I make entirely on my own.

and that show is actually a great example of just how low the barrier is: I actually record the whole thing on a CB radio I got off of ebay for 30 bucks, my editing software is $50/month (I do a lot of editing, so this is an expense that isn't just for that show) and there are no hosting costs for it. the only thing it truly costs me is time and effort.

not every show I want to make is single narrator. a lot of the shows I've made involve large casts, full sound design, other writers, studio recording, scoring, and sometimes full cast albums (my first show, The Bright Sessions had all of those). I've worked on shows that have had budgets of 100 dollars and worked on shows that cost nearly half a million dollars. if anyone is curious about the nitty gritty of budgets, I made a huge amount of public, free resources about making audio drama earlier this year that has example budgets in these ranges!

back in the beginning of my career, I asked actors to work for free or sound designers to work for a tiny fee, because I was doing it all for free and we were all starting out. I don't like doing that anymore. so even if I'm making a show with only a few actors and a single sound designer...well, if you want an experienced sound designer and to pay everyone fairly (which I do!), it's going to cost you at least a few thousand dollars. when you're already writing something for free, it can be hard to justify spending that kind of money. I've sound designed in the past - and will be doing so again in the near future for another indie show of mine - but I'm not very good at it. that's usually the biggest expense that I want to have covered by an outside budget.

but if I'm being really honest, I want to be paid to write! while I do a lot of things - direct, produce, act, consult, etc. - writing is my main love and I want it to be the majority of my income. I'm really fortunate to be a full-time creative and I still do a lot of work independently for no money, but when I have a show that would be too expensive to produce on my own, ideally I want someone else footing the bill and paying me to write the scripts.

I love that audio fiction has the low barrier to entry it does, because I think hobbyists are incredible - it is a beautiful and generous thing to provide your labor freely to something creative and then share it with the world - but the barrier to being a professional audio drama writer is certainly higher. I'm very lucky to already be there, but, as every creative will tell you, even after you've had several successes and established yourself in the field, it can still be hard to make a living!

anyway, I hope this answers your question! I love talking about this stuff, so if anyone else is curious about this kind of thing, please ask away.

[peaceblank]

Man, it's so annoying how recently there has been several things that really emphasize just how much it takes for some people to accept a character is jewish.

Be it from heavily coded in the text with an added word of god, to literally shown or out right stated in the text. Somehow, people will still crawl out of the woodwork to say, "well that doesn't mean they're jewish".

Meanwhile, in almost every piece of media a character could do absolutely nothing in regards to any religion and everyone will immediately just assume they're some flavor of christian. It is treated as the default and not something that has to be revealed. You do not need to dig and sift through the characters entire existence to justify having them celebrate christmas, but god forbid you have the briefest hint of giving them some other religion. People will come out of nowhere asking you why you would do this, demanding you cite your sources for why you would dare sully this character like that.

[ineffable-suffering]

Why Aziraphale is an unreliable narrator

Part 1: The Story of Job

I'm absolutely not the first one to talk about this on here and I probably shan't be the last either. Alas, here's my take on why all of the minisodes in Season 2 should be enjoyed with great care – and taken with a grain of angelic salt.

I'm gonna split this into 3 parts, aka the three minisodes we are shown, since I tend to get a bit waffley in my posts and want to still be able to include all the little details. Once I've written them, I'll link Part 2 & Part 3 here as well!

Alright, let's get into it under the cut of doom.

Episode 2 opens with the Story of Job. Right off the bat, I noticed that it sort of looks like an old film playing. At first I didn't read that much into it, but once we see the cut-away to Aziraphale at the bookshop, currently reading that part of the Bible (presumably), I immediately thought: "Oh! It's because it's his memory. He's remembering how it went down and therefore it plays like a figurative film in his head."

This, I then came to realize, is a very crucial difference to all the flashbacks of S1, which were exclusively told and narrated by God. May her intensions be as ineffable as they are: She did tell us all of these stories from an objective outsider's point of view. Now, however, it's Aziraphale who's re-telling those stories to us from memory.

And if there's one thing that's for certain, it's that a memory is something entirely different to an objective narration of a story. Just think about how you yourself remember things. Especially things that happened years, maybe even decades (or, in an angel's case, millenia) ago. What is it, that you really remember? Can you know for sure, that a conversation was held with those exact words? Are you 100% certain that the clothes someone wore weren't different? Had it really been snowing or would that make very little sense given what you're remembering happened in May? And did it even happen in May? Or does that just happen to be your favourite month, the current weather, your preferred style of clothing and what it was that you would imagine someone would have said to you?

What I'm trying to say is: The further away it is that something happened, the more your brain has to fill in the gaps. This is why, for example, your parents will remember the family summer holiday entirely different when you ask them about it 20 years later.

"No, it was Sarah who puked on the car ride home!" "Nonsense, Sarah never puked as a child. Bobby had that gone-off pizza, he's the one that was sick the whole ride long!"

We've all been there. Bobby made it out alive. Don't buy gas station pizza.

Alright, back to the plot: Naturally, Aziraphale is not actually human, so it is a pure assumption on my part that the way his memory works is similar to ours. However, the whole topic of "memory" is actually quite a recurring one on Good Omens.

Crowley seems to have lost his in the Fall, yet somehow managed to get most of it back. Not all of it, though, he clearly has some major gaps ("You used to jump on me back, little monkey in the waistcoat!"). Beelzebub helps Gabriel store all his memories in their little fly container before they get wiped entirely too, by the Metatron and/or Saraqael. Crowley and Aziraphale (and possibly Jimbriel) perform a miracle together that makes everyone in Heaven and Hell forget who Garbiel is or what he looks like. And we know that the Book of Life apparently has the ability to completely erase someone from existence – ergo also erasing them from everyone's memory and making it is as though the person had never been in them at all.

So, clearly, angels and demons being able to remember, forget, reconstruct and, if you're the Metadork, wipe memories, is very much canon. Apart from that very last one, it does make them quite human-like in a way. We too can forget or (wrongfully and incompletely) reconstruct memories, due to things like trauma, illness or simply a lot of time having passed.

So, just like Crowley remembers going into battle but doesn't remember Furfur being there, or just like Jimbriel has entierly forgotten who he is but still remembers the tune and lyrics to Buddy Holly's song Everyday, and just like archangel Michael was miraculously made to forget Gabriel and yet says "Don't I know you?" when seeing him again – just like that, Aziraphale's memories of the story of Job, the story of wee Morag and the story of the magic show in 1941, might not actually be the whole truth.

So, time to look at where the furniture isn't.

Now, it could very well be that the costume designers of S2 thought: "Fuck it, let's go crazy" – but given that this show has a track record of meticulously making sure to stick to accurate and cohesive character design, doesn't it strike you as odd that Crowley would go from this look at the Flood in Mesopotamia, 3004 BC:

... to the (very iconic, don't get me wrong) Bildad the Shuhuite drip in 2500 BC:

... back to this at the crucifixion of Jesus Christ in 33 AD:

I mean ... I mean– come on, that seems like a bit of a far stretch, even for someone as enthusiastically experimental with fashion as Crowley.

And it's not just that: Where did the sunglasses come from, all of a sudden? And why do they look like some sort of obscure, ancient optometrist's device? It's a known historical fact that the Romans were the ones to have invented sunglasses, somewhere around 50-ish AD. Which actually matches perfectly with when Crowley and Aziraphale meet again in Rome 8 years after the crucifixion (51 AD).

So, where do the weird spectacles come from, over 2000 years too early? Maybe from Aziraphale's brain filling in some gaps? Hasn't Crowley always worn those ridiculous sunglasses? Was it Rome? Or Golgotha? Wessex? Oh, blimey, what does it matter!

And it's not just Crowley: Aziraphale's own clothes, as well as the other angels', seem to be very different from the rather plain linen we see him wear before and after the story of Job.

They're laced with golden embroidery along the neckline and sleeves. The remind almost of the clothes angels are depicted wearing in biblical and historical drawings. Ornate and decadent. Not at all like we see Aziraphale in the other flashbacks of S1.

Even Bildad the Shuhite's hair within the minisode keeps changing, going from all pouffy and voluminous to rather deflated and straight-looking:

The costume department either had to fix up two seperate wigs or manually straighten out the volume of the one again to give it a more sleek look. I'm not a professional in this field, but if there's anything I've learned from watching hours of behind-the-scenes material of movies and shows, it's that very little about costume, character, prop and set design is purely coincidental.

You know what it could be, though? An accurate representation of how memories aren't linear, historically correct and objective representations of a certain event, but rather an ever-changing, jumbled mess of impressions, emotions and exaggerations.

More specifically: Aziraphale's impression, emotions and exaggerations.

Like "remembering" Crowley with sunglasses because he's been wearing them for so long.

Like "remembering" himself wearing more luxurious, angelic clothes because that's how he thinks of the difference between Heaven and Hell.

Like "remembering" the permit as a ridiculously long scroll that folded out over an entire valley.

Like "remembering" Job's children to be weirdly sassy in an almost Aziraphale-esque way (Enon: "Don't be silly!") for the fact that Job would have probably taught them to be more humble and obedient in the presence of a literal angel.

Like "remembering" eating an entire fucking Ox after having just one bite of it while Crowley watched him lustfully, sipping on his wine.

Like "remembering" Crowley calling him 'angel', despite them having barely known each other back then.

There's a reason why the flashbacks in S2 seem so much more alive, quirky and, at many points, confusing and all over the place. Because they're not objective stories being told by a third party. They're Aziraphale's. So much of his own thoughts and feelings at the time get projected onto them because that's simply how memory works!

It's subjective. It's unrealiable.

It's not that I'm calling Aziraphale a liar. He's no more a liar than your parents are, mixing up Sarah and Bobby. Or you, remembering snow instead of sunshine. Memories aren't lies. They can simply be faulty, focus on things that you thought were more important and leaving out or changing things that weren't, to you.

The real challenge in all of this, is trying to filter through Aziraphale's stories to see what it actually is they're telling us. Where it is that the furniture isn't. And I think in this case, that's 6 main things (eff you, God, I know you like sevens, but I don't care):

God and Satan (still) talk to each other We see that Aziraphale is quite surprised when Muriel mentions that the whole Job thing is God's bet with Satan. But clearly, despite having made him and the rest fall, God still converses with Her number one traitor about whether or not the humans simply love Her because she gives them nice things or because they truly believe in Her.

God and Satan (and Heaven and Hell) can and do collaborate with each other when they feel like it So much for choosing sides, huh? Truthfully, this is not the first time this is shown to us, but still. It's another piece of evidence on the growing pile.

Aziraphale understands the World and humans way better than any of the other angels "Well, you see ... Citis is 58 ..."

Aziraphale, despite having troubles voicing it, absolutely disagrees and even condemns God's plan of destroying Job's children (and goats and camels and––)

Aziraphale is willing to lie and thwart the will of God Also not the first time we're being shown this but again, piiiile of evidence.

Angels don't automatically Fall simply by doing the above To me, this is one of the most important take aways. It's already hinted in S1 as well that 'Falling' seems to have been a one time even back when the first war broke out in Heaven. And I actually believe that ever since then, no other angels have Fallen again. Aziraphale is the best example for this. He has gone against God's plan numerous times and even lied to her very face (voice?) about it. And yet, nothing ever happened to him. Why exactly that is the case remains a topic for another meta (that I might or might not be working on already, teehee).

Alright, that concludes this first look at the Job minisode! If there's anything I missed, feel free to share it with me. I'll try and add Part 2 (the story of wee Morag) and Part 3 (the magic show of 1941) soon.

Update: Part 2 and Part 3 have officially been written, you can find it them right here:

Part 2: The Story of wee Morag

Part 3: The Story of the Magic Show in 1941

Hugs and kisses, (God)!

[juliasgoodusername]

Sometimes a girl has to go a little crazy. Sometimes a girl has to make a book-accurate floorplan for 300 Fox Way. These things just happen, sometimes.

Obsessive annotations under the cut ✨ but be warned, there's a LOT

Exterior

Okay first of all, I'm no architect, and my only knowledge comes from work experience in the real estate industry + a lot of Sims. The style is sort of neo-rural French colonial. I didn't set out to adhere to that standard so much as I made an amalgamation of homes in Blue Ridge Mountains-adjacent towns in Virginia. Specifically, my headcanon Henrietta template is Orange, VA (I'll save that explanation for another post) so I took inspiration from real estate listings from there.

Alright alright I know there is supposed to be one bathroom, but I simply can't tolerate that in a house with 6+ residents. I can't. There was a possible contradiction in the descriptions of "the single shared bathroom" that I used as an excuse to add a 3/4 bath, and I threw in a powder room for free. Because technically there is still only one full bathroom! But seriously with that many women over 30 most of them probably have IBS or chronic constipation and I'm not making them all share a toilet.

Officially we only have 4 bedrooms listed in text: Blue's, Persephone's, Maura's, and Calla and Jimi's shared one. Everyone else gets rooms that don't qualify as bedrooms via Virginia residential building codes (such as the attic, obviously, which falls below the combined ceiling height and square footage requirements). That really just leaves Orla unaccounted for but I'll get to that later. Other aunts and friends seem to visit during the day and live somewhere else, because in The Raven King only Jimi and Orla were described as needing to move out of the house during the demon stuff.

I designed the entire interior floorplan before I even touched the exterior, so there's a few issues, like how I'm totally missing shutters on the windows that functionally need them most. 🫶 I didn't feel like making the windows smaller to fit them, and I could have added faux-shutters but I think those are stupid. 😘

First floor

"This house is lovely. So many walls. So, so many walls," Malory said as Blue entered the living room a little later.

- Blue Lily, Lily Blue, Chapter 30

Right off the bat, we have an insane number of doors and walls. Old colonial houses are pretty much the opposite of open concept. Functionally I believe that's because it's easier to control heat with closed off rooms, but Virginia is not particularly cold so idk. As for the number of doors, I mean....😤😤😤 I prefer archways/doorless frames in small high-traffic spaces, but every time I thought I could get away with it Maggie would specifically describe doors opening and closing (For example BL,LB Ch 41 gives the reading room double doors, and even the living room gets one in Ch 11. What kind of living room needs a door???). I'm actually missing one of the doorways described in canon, but if you know which one I'm talking about I DARE you to find a place to put that thing!! But I digress.

“Mom," she said as she jumped down the crooked stairs.

- The Raven Boys, Chapter 3

I'm liberally using "crooked" to establish the corner turn stairs. Blue steadies herself on the stair railing when she identifies Gansey for the first time (TRB Ch 15), so I wanted the stairs to have good visual access to visitors. It also sort of has a feng shui-ish effect of separating the public and private energy zones in the house. If that statement made zero sense, I think one of us doesn't know enough about feng shui 👀 and it might be me.

I'm also using that quote to establish Maura's room downstairs, if Blue generally expects to find her mother there, but mostly because everything else was upstairs and it was getting hard to fit. Granted, at one point Blue leads the boys "up the stairs to Maura's bedroom" (TDT Epilogue) but since they were just arriving at 300 Fox Way those stairs could easily be the outdoor ones. There's a handful of little things to support me here, such as Adam grabbing a scrying bowl from Maura's room to use in the reading room (BL,LB Ch 41) implying that her room was the closest place to find one. And speaking of Maura's room-

Calla was overwhelmed by how much shit Maura had in her room at 300 Fox Way, and she told Blue this.

... The mess was taking years from her life. ... Maura liked chaos.

... The psychic hotline rang in the room next door. Calla's concentration fluttered away.

- Blue Lily, Lily Blue, Prologue

Maura is my favorite hypocrite. She claims to detest clutter (TRB Ch 34) and yet her room is literally described as chaos. She probably treats her room like a college student and moves the furniture every time she gets bored/stressed. Thus, I gave her the most insane furniture configuration I could think of while still matching all the contents described.

The phone ringing next door might imply that she neighbors the phone/sewing/cat room, but that area is pretty well described and Maura's room is never mentioned there in any other instance. That leaves us with the kitchen phone (TRB Ch 27) which I put in the hallway with kitchen access as a compromise so it would technically still be in a room next to Maura's.

In the reading room, the man looked around with clinical interest. His gaze passed over the candles, the potted plants, the incense burners, the elaborate dining room chandelier, the rustic table that dominated the room, the lace curtains, and finally landed on a framed photograph of Steve Martin.

- The Raven Boys, Chapter 13

There are so many quotes about the reading room that I just don't feel like citing them, but other details include the mismatched chairs, the shelves, doors etc. It's also described specifically as Maura's "front room" (TRB Prologue) so it's one of the cornerstones that I designed the rest of the layout around. Because of the plants, it makes sense that this room would be south-facing too. (Although idk how much light they get with the wraparound porch awning in the way. Oops lol!)

The outside suddenly seemed vivid in comparison to the dim kitchen. The April-bright trees pressed against the windows of the breakfast area, ...

- The Raven Boys, Chapter 3

Blue Stormed into 300 Fox Way's kitchen and began a one-sided interrogation with Artemus, who was still hidden behind the closed storage closet door.

- The Raven King, Chapter 9

Likewise, I'm using the particularly dim kitchen to place it on the north side, where we also know there's trees in the backyard.

I'll say the kitchen layout is weirder than it strictly needed to be because in the Virginia homes I referenced I adored all the strange kitchens, especially with old timey 'servants area' vibes where laundry kitchen and pantry are all connected. Instead of a kitchen island, they get one of those rolling kitchen carts which I doubled as a bar cart for the drinks they have in the living room.

The kitchen has a doorway to the hall (TRB Ch 13) and the living room is within view when Blue's on the kitchen phone (Ch 27).

Speaking of chapter 27, that's when we get the description "The morning light through the windows turned the drinks a brilliant, translucent yellow." So I put the living room on the east side of the house, where the rising sun would cast really strong light like that.

Second Floor

When she woke up, her normally morning-bright room had the breath-held dimness of afternoon. In the next room over, Orla was talking to either her boyfriend or to one of the psychic hotline callers.

- The Raven Boys, Chapter 3

Blue headed toward the red-painted door at the end of the hall. On her way, she had to pass the frenzy of activity in the Phone/Sewing/Cat Room and the furious battle for the bathroom. The room behind the red door belonged to Persephone, ...

- The Raven Boys, Chapter 11

Blue's room and the Phone/Sewing/Cat room are our cornerstones for this floor. In several examples we know that the Phone/Sewing/Cat room faces the street and has a window (TRB Ch 15, BL,LB Ch 4). While Blue's room is "morning-bright," we also get descriptions of guests at the front door "backlit by the evening sun," (TRB Ch 15) so once again we're probably talking about south windows if it's sunlit at both times of day.

Adam sat awkwardly on the edge of Blue's bed. It felt strange to have so easily gained access to a girl's bed- room. If you knew Blue at all, the room was unsurprising - canvas silhouettes of trees stuck to the walls, leaves hanging in chains from the ceiling fan, a bird with a talk bubble reading WORMS FOR ALL painted above a shelf cluttered with buttons and about nine different pairs of scissors. Against the wall, Blue self-consciously taped up the drooping branch on one of the trees.

- The Dream Thieves, Chapter 49

We get some great descriptions of Blue's room (especially TRB Ch 43), although the above one is my favorite (#wormsforall). Every piece of furniture is accounted for exactly as described except the desk which I added because it seemed practical, and Blue is nothing if not practical™.

Persephone's room is also very well-described, all the way down to the furniture and lighting placement (BL,LB Ch 4 and TRB Ch 11) and it's surprisingly similar to Blue's room, if not a bit smaller. Her room gets strong afternoon sunlight, so I put it on the south too (BL,LB Ch 43).

Calla and Jimi share a room that's also upstairs (TRK Ch 16). Because they are the only two who have to share a room, I have justified that it must be the "master bedroom" (sorry for using that term) and is far bigger than the other bedrooms. I managed to fit two queen beds in there, but some scholars [me] would argue that Jimi and Calla might also share a bed because they are in love. Can you prove me wrong? No, you can't.

As for the bathroom, remember when I mentioned a possible contradiction? Famously, Maura draws the ley line symbol in the steamed up shower door (TRB Ch 1). However, much later we get Maura, Orla, Calla and Jimi all sitting in the bathtub for some kind of ritual (TRK Ch 9). No matter how I picture it, I can't put 4 full grown women in a bathtub together without someone partially sitting on/spilling over the side. But that would be impossible in a combo bath/shower enclosed by glass doors!! Thus, I gave The Bathroom a nice tub and put a small shower in the en suite of Jimi and Calla's room. I know this is a stretch but I don't really care.

Attic

Blue had never been a big fan of the attic, even before Neeve moved in. Numerous slanting roof lines provided dozens of opportunities to hit your head on a sloping ceiling. Unfinished wood floorboards and areas patched with prickly plywood were unfriendly to bare feet. Summer turned the attic into an inferno.

... In one of the narrow dormers, two full-length, footed mirrors faced each other, reflecting mirrored images back and forth at each other in perpetuum.

- The Raven Boys, Chapter 34

Trying to fit the attic access in after everything in the second floor was my biggest challenge, because stairs normally take up a lot of space and you have to be careful about head room. I'm the end, I decided it was one of those fold out attic doors that you have to reach from the ceiling of the hallway. We might get a lot of instances of the attic door being opened (😤 seriously, Maggie... 😤) but technically a trap door in the ceiling is still a door!

Dormers pretty much cemented the French colonial style for me. And you know the drill by now: a hot room probably means a lot of sun, which means I give it a south facing window!

Mud Room/Cellar/Basement

This cellar has absolutely zero mention in the text, but my justification is based in the architecture. So far we've got a funky old colonial house, built without a garage, lots of walls etc. Especially in a low-income/semi-rural area, it's not crazy to assume that 300 Fox Way was built before most residents had refrigerators (1930s-40s). Besides iceboxes, a major way to keep food fresh was root cellars. Modern renovations for old homes convert these to concrete basements, but that's why the basement is so small and connects to the kitchen.

My headcanon is that Orla originally shared a room. Pick whoever you want: Maura, Blue or Persephone, any of them would easily be such a chaotic roommate that Orla snapped and in a fit of teen girl rage moved herself down to the crummy dark basement. Over time, she made efforts to glamorize it, such as a vintage dressing screen to hide the flood drainage pump. The privacy also allows her to bring boyfriends over, even sneaking them through the mud room.

This is really just my artistic license, but I swear it makes a surprising amount of sense in context. There's cases of Orla sneaking into the kitchen (easier if she has a back entrance) and she's almost always using the phone upstairs or in the kitchen (because a basement would get bad reception) even though her calls get kinda ~intimate.

Aaaaaand I think that's everything. Sorry it doesn't look like the photo from the wiki at all, but I couldn't find a source for it and Victorian style wasn't super common in the areas I researched. Let me know if I missed anything major! I'll probably cry myself to sleep if so.

[writingwithfolklore]

Following a Trail of Clues

                Lots of plots have at least some aspect of figuring out a mystery or uncovering some hidden truth. While it may not be a traditional murder mystery, writing a plot that revolves around the gathering of information and uncovering of clues can be written using a lot of the same techniques.

1. You should probably plan it

If you’re strictly a pantser, give it a shot, but I have never been able to pants mysteries like this. I would recommend planning it from the beginning and saving yourself a lot of time and headaches trying to piece it together later.

2. Start with the beginning and end

When planning a mystery, I start with the beginning, and then skip to the point that they uncover the truth or figure it out and work backwards to fill out the middle. What is the last hint they need to uncover the full truth, then, what leads to that hint, rinse and repeat until we get back to that beginning you created.

                For example, say the MC is trying to find their missing friend. The last point would be ‘they find their friend’, so that’s where we begin. Maybe right before that, they’re told the location, to get their location, they’ve kidnapped one of the bad guys who knows it, to get to him, they need to break into the evil lair, to find the lair, they need to spy on the organization, and so on.

3. Diversify the hints

I talk about this a bit in my post about written elements (here), but essentially, you’ll want to diversify how your characters get their hints. It will seem cheap if they find everything they need to know on conveniently spaced notes or journal entries (unless you can really justify that), or it’s all told to them by someone who happens to know it all (such as the ‘wise man’ trope).

                Maybe they find the last clue written down, but the one before was told to them from a key character, and the one before was puzzled out through a riddle, etc. etc. Here are some places to find clues:

Someone else knows something

This could be either an ally or an enemy. Family members, friends they weren’t aware of, a hidden partner, seemingly a stranger who knows more than they’re letting on. If they are an ally, there should be a reason they haven’t come forward yet, or justification for why their testimony is where it is in a story. Maybe they are somewhat accidentally guilty in the mystery, maybe they are afraid to be involved, maybe they aren’t aware anything has happened at all.

If they’re an enemy, maybe your protagonists need to corner them, best them in a battle, talk to them away from their boss, kidnap them, etc. Consider why this person would betray their ‘side’ to provide a clue to the protagonists.

Journal entries, notes, letters, ledgers, or otherwise written down

Physical evidence—footprints, pieces of clothing left behind, an object, photos, drawings

Biological evidence--fingerprints, DNA, hair, etc. If your character already has access to the equipment for this, great! If not, consider how they could find this out.

A prophetic dream or vision (use in cases in which it would make sense for your character to have this, obviously)

A riddle, poem, or song, if you can justify it.

An educated guess (for small jumps)

Timing—if they can figure out a timeline, they may be able to figure out something else

Something is missing or off place. That’s odd, character always leaves their book on the bedside table, so why isn’t it there?

Any other ways to get hints or clues to your characters?

[yazthebookish]

I loved all of what Sarah highlighted in her interview today and I'll elaborate a bit especially on the romance part:

In Maas’ fantasy worlds, love interests often exist as fated “mates,” with invisible strings between them that are powerful and often poetic. Readers can see the literary metaphors, like complementary powers between two characters. But other times, there are no metaphors, with their connection initially seeming random.

She's too attached to the mate trope and I like that she gives us different cases and scenarios for it, otherwise it'll be boring.

“Sometimes, I will write a scene with two characters that I’ve planned for them to get together, and then they have no …” She shakes her head slightly at me. “It’s like holding two dolls and being like, now kiss! And they won’t. … And then sometimes a different character will walk in and they will just” — she snaps.

I yelled at this part because it's as if she plucked the scene from Azriel's bonus chapter and used it as an example. Those parallels between Elain and Gwyn are intentional. It doesn't mean Elain is bad it's just their dynamic doesn't work as a couple and it was obvious to the author. I know she didn't specify who this was about but like, come on, who tried to kiss and which character showed up in a bonus chapter after that depressing scene and gave a glimmer of hope?

“It feels like magic in a way where, as much as I tried to plot out things years in advance, I let my characters guide a story. And they usually wind up with the people that they need to be with and who offer them the most growth and joy.”

I love this so much and allow me to speak about my favorite ship and its because the snippets we saw of Az and Gwyn together especially in the bonus chapter brought out a lighter version of Az. His scenes with Gwyn were light-hearted and the bonus chapter ends on a hopeful note for them. It's hard to deny that connection between them whether you theorize she's luring him or they're mates, those theories wouldn't exist if she had no ties to him (she's in his own chapter like come on).

I go the philosophical route with my next question: We’re talking about fate here, but at what point is a character the agent of their own fate? What happens if someone rejects their mate? (Listen, if I were Fae and I didn’t like my mate, whatever God chose for me is not my business.)

People are jumping the gun and assume this example is set to be Elucien but... we have Helion and Lady of Autumn likely being an example of a tragic rejected mates story (if you read ACOWAR and their history it's obvious they're mates). Maybe it's Mor and Eris and that's the secret that ties them to each other. We have other characters from other series too.

For a convincing mate rejection story in my opinion, it needs more than one book or it's a case that we see with side characters where we can see their history and the long-term implications of a rejected bond.

It's too easy of a story to have one person's central conflict be the words "no I reject you" and they're done. Again, this is not exclusive to ACOTAR but also her other series.

“That’s something I find to be very interesting,” she replies. “What if the forces that be put you with the wrong person? Or what if you just decide, eh, I’m not interested. … There’s a lot to explore within the concept of mates and your agency about it.

The concept of agency is something many readers in the fandom discussed especially when it comes to mating bonds and there were arguments on (would Rhys fell for Feyre if she wasn't his mate or would have Cassian fell for Nesta if she wasn't his mate). We know that some mates don't work out but stay together because their dynamic is unhealthy (Rhys's and Tamlin's parents). We got examples of a loveless mating bond already.

We also saw that Nesta didn't immediately accept the term "mate" because it would mean cutting off her last tether with humanity. It's not a matter of "you're my mate" "yes I'll be with you", the dynamic between the mated couple is important to explore.

“I’m not going to say if I am exploring it in future books or not,” she continues, “but it definitely offers a wealth of things to explore with this concept of freewill and what is true love. Is it something that’s destined? Or is it something that you make? Is it both?”

This part aligns with what I think about Elucien. We never had a mated pairing who knew they were mates but are not in love with each other. Every mated couple found out they're mates when they were already in love.

Can a destined love turn into true love? Or do you settle for a destined love without love being in the equation. Love wasn't in the equation for Rhys's parents, but love was the equation for Feysand and Nessian. Elucien was left unexplored for a reason and both Elain and Lucien view each other by label "mate", they didn't have a chance to get to know each other. So it's going to be very interesting to see them navigate their feelings for each other despite the mating bond.

I didn't expect her to elaborate a lot on this but I love that she did and I hope in future interviews she gives us more good bits about her writing and examples of the decisions she took for some characters and couples.

Didn't expect this post to be long but happy reading! I'm still reeling from HOFAS 🥲

[theaudacitytowrite]

Stay Awake! - Part 1

Materlist

Dean Winchester x Fem!Reader

A/N: An attempt at a spooky fic:) This is based on a creepy story my siblings used to tell me when we were little and back then it scared the shit out of me. Whether it really is scary is debatable^^

Time wise it starts a day before Halloween.

Also, since I only started watching SPN (on S4 currently) I'm quite sure this might be a bit off timeline wise. For example I needed an animal for the story but I have no idea when/how long Mircale is around in the series.

warnings: dolls, cursing, implied smut, bad horror (Season 1-esque storyline), Canon? What's that?

Golden divider = new day

black dividers = new setting/some time has passed

word count: 5.891

Dean’s feet lazily dragged over the ground. He groaned and huffed, sometimes a yawn would leave his throat.

„Come on, big boy. Let’s try it here.” you dragged him behind you while holding his hand so he would actually follow you.

You stepped up to the bed and breakfast, a rustic little single-family house. Dean and you were in desperate need of a place to stay the night. You had just finished a gruelling hunt and were beyond exhausted. But so far you hadn’t had any luck. All the motels in the area were booked.

“We can just sleep in Baby,” Dean muttered groggily.

“So you can whine about your sore back for the next couple of days?” you looked over your shoulder to look at him with a raised brow, “No thanks.”

"I wanna go home! My feet hurt, my back aches already and I'm tired! We've been on our feet the past 3 days!" he whined, pouting like a little overtired child.

“I know, my feet hurt just as bad and I’ve been awake just as long as you, you little baby.” you teased, “And I want to go home, too, but I don’t think it would be a good idea to drive another 5 hours to get home, while you nor I can keep our eyes open.” Dean grumbled but seemed to follow you more willingly now as he heard your reasoning.

When you entered the B&B a foul smell made its way to your nose immediately. It was sweet yet sour at the same time. You were surrounded by weird-looking paintings, figurines, and a collection of creepy dolls. It was quite dusty and weirdly gloomy in the house, and something just didn't feel right.

"Since when are bed and breakfasts worse than motels?" Dean muttered into your ear as he tried to not touch anything while walking through the small, crammed foyer to head to the unoccupied front desk.

"I don't know. We rarely visit bed and breakfasts." you shrugged as you let your gaze wander through the odd room. Dean scrunched his nose and almost pressed himself against you as he followed you like a shadow.

"Something wrong?" you glanced at him with an amused look.

"Nah." he shook his head and took a step back, "Just hurry up and ring the bell, so we can leave again."

“Leave again? You don’t think they have any vacant rooms?” you chuckled, “You’re so pessimistic.”

“I hope they have no free rooms.” Dean huffed.

"We have to tell Sam about this cosy little B&B. He'll love it here!" you snickered as your eyes roamed over the décor.

"He sure would…" Dean pressed his lips together, trying to breathe as little as possible. He bumped into you when you suddenly halted your steps, your gaze fixed on the fireplace in the next room.

"Do you see that doll?" you pointed in the direction of the fireplace. On top of it sat a little wooden doll with a rancid-looking dress. What caught your attention was, besides her size of an actual baby, her fluent movements. The doll seemed to wave in your direction, a wide grin plastered on her face.

"You mean that spawn of hell that creepily waves at us?" Dean dryly asked.

“Mhm… unnerving.” you hummed, completely focused on the doll.

„Good evening!“ the warm voice of an elderly woman suddenly chimed up, making you and Dean jump. “Oh dear, I didn’t mean to scare the two of you.”

“All good.” you chuckled, clutching your heart.

“How can I help the two of you?” the woman smiled endearingly.

“We were wondering if you still have a room available for one night. We tried every motel and hotel, but they’re all booked.”

“Yes, my dear. We still have enough rooms.” the woman quickly looked through her little notebook, “We got two with single beds and another free one with a double.”

“I wonder why…” Dean muttered next to you, earning a swift nudge from your elbow into his ribs.

“We would love to take the one with the double bed.” you smiled sweetly at the woman.

After checking in the old woman led you to your room. To your relief, the room itself was much brighter and less smelly than the foyer. And even the number of dolls was drastically lower and the décor was much more modern.

“Heh… weird.” Dean chuckled as he looked through the room.

“What?” you hummed as you rummaged through your bag.

“Isn’t that the doll that sat on the fireplace downstairs?” Dean inclined his head as he approached the doll that sat on an old commode.

“Maybe she got two?” you shrugged, heading into the bathroom to take a shower.

"Mhm." was Dean's only response as he inspected the doll. It seemed like there were no mechanics at all. Still, her motions were so fluent and lively. Dean carefully picked her up to not break her. He pulled away the crunchy feeling fabric as he searched for the battery pocket but couldn't find one, no matter where he looked.

"Must be some kind of solar thing," he murmured to himself and shrugged. He plucked down the little dress the doll was wearing when an idea popped into his mind, a mischievous grin spreading on his lips.

As you returned from the shower half an hour later and opened the door without suspecting anything bad, you jumped immediately.

“For fucks sake, Dean!” you growled as the doll sat in front of the bathroom door, smiling sympathetically at you as she waved. Dean meanwhile was giggling while lying on the bed, elated that he had scared you successfully.

“Got you!” he cackled triumphantly, making you roll your eyes at him.

“You're lucky I love you.” you grumbled.

“I know.” he smiled sweetly, before heading for a shower himself, pecking your cheek swiftly as he passed you. "Shouldn't have let your guard down..."

The two of you soon settled down in bed, overripe for a good night’s sleep. Dean was out almost immediately as his head hit the pillow. You on the other hand seemed not so lucky.

You lay wide awake in the bed, not knowing why. All you wanted to do was sleep. Maybe it was the unfamiliar surroundings, maybe it was the rest of the adrenaline from the hunt that still ran through your veins. And it didn’t help that Dean was felling trees right next to you. One day you’d smother him if he wouldn’t get that snore checked out.

You jumped slightly when there was a soft thud echoing through the room. You glanced at the clock that stood on the bedside table. A few minutes past 3a.m. You glanced at Dean who was still fast asleep, completely unbothered by the sound. He really was exhausted.

You sat up in the bed and scanned the room. You chuckled when you realised that your duffle bag had fallen from a chair onto the ground. You lay back down and sigh, trying to give sleep another try. You nuzzled against Dean who quickly encased you in a hug, pulling you against his chest. You hummed contently and finally managed to drift off to sleep.

The next morning you and Dean woke up early, quickly throwing everything into your bags before you zipped them up and quickly checked out.

The old woman wasn’t too thrilled that you declined her breakfast buffet which consisted of off-colour sausages and weirdly looking eggs. She was appeased when Dean and you at least took a bread roll each before saying your goodbyes and hurrying out of the smelly B&B.

As soon as Baby rounded the corner, you threw out the stale bread rolls in favour of stopping at a drive-in to get a quick breakfast that wouldn’t get stuck in your throat and take you out.

It was around noon when Dean and you finally arrived back at the bunker, and you quickly started to get your bags out of the car and restock the ammunition and the rest of your weapon arsenal. You'd had a lot to get done, unpacking your dirty clothes to get them washed and repacking the bags for the next hunt as soon as possible. This had been all you've been doing lately, hurrying from one case to another without getting a real break.

When you wandered into the bedroom and opened your duffle bag you almost fainted.

“DEAN! What the fuck!?” you screamed enraged.

“What?” Dean looked at you innocently as he entered your shared room.

“Don’t look at me all innocent!” you scolded him, “You know exactly what you did!”

“As much as I want to take the praise for it, …I don’t.” Dean dryly replied, smiling at you tight-lipped.

“Then please enlighten me how else this freakish thing appeared in my bag!” you pointed into your bag in which the doll from the B&B laid neatly on top of your belongings.

“Dunno.” Dean shrugged, “I swear, Y/N. I didn’t put it in there. It must’ve fallen over when we packed. I mean, I didn’t even touch your bag until you gave it to me to put it in the trunk.”

“Sure.” you glare at him, not believing a single word.

“I swear.” he chuckles, trying to get your good grace back by hugging you tightly from behind, peppering your cheeks with kisses.

“Don’t suck up now.” you giggle.

“But I gotta cheer you up.” he murmured.

“Then be a dear and throw it out. I’m not gonna touch that thing.” you muttered, looking at the doll in disdain.

“Sure thing, my love.” he gave you another peck on your cheek before unravelling his arms from your waist. He picked up the doll, holding it in front of his face. “Bye-bye, Y/N.” he tried to mimic a creepy voice as he walked backwards out of the room.

“You’re such a dork.” you chuckled, shaking your head and continuing to unpack.

It didn’t take long when you heard another shriek resound through the bunker. You quickly hurried to the source of the turmoil, coming to a halt in front of Sam’s room. You were met by Dean who was toppled over in laughter while Sam was sitting on the floor, chest heaving while the doll was sitting on his bed, smiling endearingly as she never ceased to wave.

“Dean, you’re an idiot.” you can’t help but giggle a little.

“I had to, darling.” Dean wipes away a tear he had shed from laughing so hard.

“Did you?!” Sam snarled, scrambling to get back to his feet.

“Oh come on, Sammy. T’was just a joke.” Dean grins triumphantly, shrugging innocently before patting his brother's back teasingly.

“You good, Sam?” you tried so hard to bite back a grin yourself. Sam cleared his throat and nodded.

“Now that I got the two of you here, we could talk about the agenda of the coming days.” Sam changed the topic, earning a groan from Dean.

“How about you let us come back and settle in first.” Dean huffed annoyed.

“Bobby called me repeatedly already. He needs us down at his house. He got a pressing case for us and told me to come down as soon as you two came back.”

“Can we at least have one more day?” Dean bargained, letting his head fall back, “I still need to wash my clothes, else I’ll have to wear my boxers inside out.”

“Gross.” you grimaced.

“If you wanna take the blame for the delay.” Sam hummed, raising his arms in surrender.

“I’ll handle that.” Dean scrunched his nose, “Then it’s settled, we’re going for drinks tonight.” Dean proclaimed with a cheeky grin.

“What? What about your laundry?” Sam narrowed his eyes at Dean.

“What ‘what?’?! Can’t do much while it's in the washer, now can I? Might as well grab a drink then.” Dean smirked smugly. “And I know exactly where we’ll go!” Dean waved a piece of paper around. You swiftly grabbed it from his hand. Sam peeked over your shoulder to get a glance as you read over the flyer.

“ ’Come dressed up - get a free shot’ …?” Sam read out, raising his brow sceptically “Really, Dean?”

“Admit it, you just want to dress up.” you hummed as your eyes drifted from the flyer to Dean. You almost snorted when you saw his eyes sparkle gleefully. He definitely already knew what he’d wear.

“Nonsense.” he protested nonetheless, “I just think a free shot would be neat.”

“Sure, Dean…” Sam shot him an incredulous glance and shook his head.

As you and Dean walked back to your room you could tell that he wanted you to guess what he'd wear. He stared at you expectantly, not watching where he was going.

“Let me guess…” you hummed amused, trying to hold back a laugh. “Cowboy?”

“Cowboy.” he grins giddily, nodding enthusiastically. “What’s your pick?”

“I dunno… I’m not that big on costumes.” you shrugged.

“You can’t tell me you don’t have any costumes.” Dean gasped almost offended, closing the bedroom door behind him.

“Welp… I don’t.” you shrugged, "Unless you count our disguises as a costume."

“And you’re supposed to be my girlfriend…” he tsked and shook his head in feigned disappointment. Suddenly a mischievous grin tugged on the corners of his lips. “I got an idea for the perfect costume though… and we could probably modify some of your clothes for it…”

„If you say sexy nurse, I’ll hit you,” you warn him, shooting him an unamused glare.

“Ok, no sexy nurse then…” he raises his palms in defeat, “But… I’m sure it would suit you perfectly.”

"Of course, you’d think that…“ you shake your head, rolling your eyes at him.

"I‘m being truthful.” he grins, pulling you closer by your waist. “You‘d look irresistible… but then again you look irresistible in everything." Dean purred into your ear.

"Nice try Romeo.“ you push him away gently but firmly, “I will wear something a little less cliché.”

"Was worth the try…" he shrugged, pecking your lips before letting you go to get ready.

The night at the bar was just what you needed. Dean, Sam and you drank together, bellowing to the music in the bar and indulging in old memories.

Around 3 am Dean and you came back completely hammered. Sam had opted to go home with a girl in a devil costume.

As Dean and you barged into the bunker, you were leaning on each other heavily as you giggled together. You barely made it to your bed when you fell onto the mattress. Dean immediately hugged you close to him, nuzzling into your neck as he took a deep breath. He lazily pressed a few kisses along your neck, making you squirm against him, but his lips stopped just as quickly as they had started. Soft snores resounded from him, his warm breath hitting your skin. But you couldn’t bother, you were already drifting off as well when Miracle suddenly started to growl lowly.

“Mira’ shut up.” you slurred annoyed, but Miracle wouldn’t stop. “Miracle!” you groaned, searching for a pillow around you and throwing it into the darkness.

You heard a dull sound and Miracle fell silent. You could hear him sniff around but soon darkness encased you fully as your drunken mind fell asleep.

"Y/N?" Dean called through the bunker hoarsely when he had finally fallen out of bed.

"I'm in the library," you replied, cradling your pounding head between your hands as you sat at the table. Even the smell of your coffee in front of you made you slightly nauseous. You regretted the last three shots from last night.

There was a moment of silence in which you could hear him waddle towards the library.

"Did you put that creepy doll in the kitchen?! You scared the shit out of me!" Dean’s face was still pale as he entered the library in his bathrobe. You weren’t sure if it was from the hangover or the shock. “Was that your revenge for yesterday? I swear I didn’t put it in your bag!

"I didn't.“ you mumbled slurred, not even bothering to look at Dean as your eyes were closed, „I wouldn’t have touched that thing for a lame revenge like that. Probably was Sam.” you shrugged, “He came back like an hour ago… probably wanted to pay you back.”

"Sammy!" Dean bellowed, already taking off to Sam’s room. You winced at his loud voice and groaned when you heard the brothers start to bicker.

After an agonizing hangover that lasted till late in the evening, you finally felt good enough to help Dean pack for the next morning when he'd leave with Sam. You felt extra clingy tonight even though you knew that they would probably be back in two or three days.

But as the tradition dictated, Dean and you cuddled in bed together before going to sleep.

"When do you have to leave again tomorrow?" you murmured against Dean’s skin as you lay on his chest, listening to his heartbeat.

"We gonna leave at… like 7.30-ish?" Dean hummed, his hand lazily running up and down your spine.

“That early?” you whined to which Dean chuckled. He softly kissed your forehead, wrapping his arms tighter around you and holding you close.

“The earlier we leave, the earlier we get back,” he mumbled against your neck.

“And how long will you be gone?” you huffed against him.

“A day, maybe two?” Dean hummed, “So you only have a single night without your handsome and wonderful man.” he grinned against your skin, making you chuckle.

“Now that I’m thinking about it, I can probably survive a night without you.” you retorted in feigned annoyance.

“Oh really?” he smirked, starting to tickle your sides.

“Hey! No! Stop!” you started to squirm against him, trying to wriggle away from his attack. Dean grinned triumphantly as he continued to tickle you for a moment before stopping.

“Still think you gonna be fine without me?” he looked at you challengingly.

“More than ever.” you grinned cheekily, biting your lip.

“Don’t be mean now…” Dean murmured, leaning down to capture your lips in a tender kiss.

“Mhm… ok… maybe that’s something I’m gonna miss…” you smiled against his lips.

“Is that so?” Dean smirked smugly, giving you a passionate kiss, “I can remind you of a few more things you gonna miss.” he grinned, swiftly flipping you to lay on the mattress. You yelped in surprise as he towered over you, trailing hungry kisses down your skin, making you gasp in delight.

You groaned softly when you woke up in the middle of the night without seemingly any reason. At first, you thought it was thanks to Dean’s snoring. As you glanced at your alarm clock it was shortly after 3am… again.

It seemed to become a daily occurrence for you to wake up around that time, you just couldn’t understand why. Your thoughts were interrupted when you heard a soft shuffling around your bed. You tensed for a moment, glancing around the room. Your eyes landed on the slightly ajar door that you were sure had been closed when Dean and you went to bed.

You rolled your eyes amused at yourself for being scared for a moment when Miracle had probably just pushed open the door to get to his sleeping spot at the foot of your bed.

You nuzzled back into your pillow, closing your eyes to go back to sleep when there suddenly resounded what could only be described as a giggle. Your eyes widened immediately, and your hands tightened on your blanket.

You swallowed hard as you listened into the darkness.

"Dean!" you whispered. No response. You began to shake him slightly, "Dean, wake up!" you whisper-yelled panicked.

"Hmm… what's wrong." Dean groaned sleepily as he began to stir awake.

"Did you hear that?"

"Hear what?"

"That giggle!" the fear in your voice was apparent.

"Giggle? Go back to sleep Y/N, your imagination is playing tricks on you."

The floorboards softly creaked making you jump.

"Did you hear that!" you almost shouted.

"Yes, I did. It's just the wood settling, telling you to get some sleep. Nothing more." Dean mumbled, pulling you closer to him before he fell right back to sleep. You rolled your eyes at him.

"Thanks, douchebag…" you muttered, pulling your covers up to your nose and staying alert.

Every creak and crack made you scoot even closer to Dean until you were pressed against him completely. You battled with falling asleep as exhaustion seeped into your bones but once the clock struck 6am the bunker fell silent apart from Dean’s snores. Your eyelids became just too heavy to keep open and soon you were fast asleep.

"Outch!" you cried out, clutching your hip. You were still half asleep when you pottered around in the kitchen. When you had turned around your hip crashed into the open standing cutlery drawer, "For god’s sake Dean! How often do I have to tell you to close these damn drawers!" you hissed in pain at Dean who sat on the table, nursing his coffee. He looked up, startled for a moment.

"I wasn't even near that drawer," he replied groggily, his hand rubbing over his cheek.

"Sure." you grumbled, “That seems to be your standard excuse.”

"No, for real! I only got my coffee. Don’t need cutlery for that." he defended himself and held up his cup. You narrowed your eyes at him.

"Don't give me that look Y/N!" Dean warned you jokingly, "I swear, I'm telling the truth. Maybe you opened it in your delirium and forgot about it."

"Maybe." you grumbled as you took a spoon out of the drawer and closed it, "But you can't blame me. I slept awful."

"Why? Didn’t I tire you out enough?” Dean smirked into his mug, “You seemed really exhausted when we fell asleep…”

“Sometimes I wanna smack your pretty face…” you sighed, shooting Dean an unamused glare, "I woke up in the middle of the night because I thought that I had heard somebody or something shuffling through the house. There was creaking and giggling the whole night."

"Giggling?" Dean drawled amused, raising a brow at you.

" I know it sounds weird but I know what I’ve heard.”

“Maybe it was just the whistling of the wind or something like that." Dean shrugged dismissively, “Maybe Miracle whined in his sleep."

"Cause I can’t tell the difference between a dog whine and a giggling sound?" you scoffed, “Miracle wasn’t even in our room last night cause of certain activities…”

“Maybe you were making up things in your post-blissful haze.” Dean grinned cheekily, immediately receiving a hit against his shoulder, “Ow!” he chuckled, “Why are you being so mean to me lately?”

“I’m not mean! You’re just a dick at the moment.”

“Am not!” Dean protested amused, rubbing his arm, “You’ve been on my case ever since we returned from our hunt.”

“Because you started the war with the doll!”

“I didn’t do that!” Dean laughed, “But maybe that’s why you’re so jumpy. Your subconsciousness still tries to get over that little scare.”

"I’m a hunter, Dean. Spooky shit is my daily bread, so I doubt that a little doll could scare me into hallucinating sounds at night.” you scoffed, “And it's not like I was dreaming. I was wide awake!"

"So, you wanna tell me some creature scampered through the bunker last night?” Dean looked at you sceptically, “I would’ve heard it as well. I mean, I was right next to you… Wait a minute… is that why you tried to wake me up last night? It feels like we talked about this already."

"Yeah… and you jackass fell right back asleep.” you huffed, “You wouldn’t have heard a fire alarm over your snoring!”

“I don’t snore!” Dean scoffed offended.

“Oh trust me, you do.” you huffed dramatically, “And yes, I know, there wasn't anybody scampering around… I just. I don't know, ok? Something just felt… off."

"It was probably the wood settling over the night. The nights are getting colder now, the wood draws together.” Dean reasoned, gently rubbing your arm up and down in a soothing motion.

"Presumably…" you mumbled unconvinced.

"And the most plausible," Dean added with a shit-eating grin.

"Bite me!" you quipped, glaring at him as you shrugged off his hand.

"You know, only in our bedroom!" he called after you with a cheeky grin as you walked out of the kitchen, flipping him off.

When the boys left the bunker to drive down to Bobby, you left with them through the garage, saying your goodbye to them before heading in the other direction towards the town to get some groceries so you wouldn’t have to get takeout yet again. Sam, Dean, and you had been almost exclusively on the road for the last couple of months, so the pantry looked quite meagre while other chores had piled up around the bunker. You would have to get to them as soon as you came back from grocery shopping and running a few errands as well.

Around noon you finally found yourself back at the bunker, the trunk of your car filled with multiple bags and the dry cleaning you had picked up on your way. Dean and Sam had the bad habit of wearing their suits until they started to reek and would bring almost every suit they owned to the dry cleaning at once. Usually, you refused to bring or pick up the clothes since it was hard to carry the 10+ suits back and forth but you actually had to pick up a coat of your own, so you tried to be a doting girlfriend and friend for once and picked all of the clothes up.

Just as you killed the engine and tried to figure out how you could carry everything inside without having to take too many trips, your phone began to ring.

"Perfect timing, Mister Winchester." you chuckled as you accepted the call.

"Just came home?" his raspy voice resounded from the speakers. He sounded tired.

"Yup, had a busy day already. How’s the trip going? Taking a break?”

"Sammy had to stretch out his freakishly long legs.” Dean hummed and you could hear a muffled ‘Hey!’ in the background.

“But traffic’s ok?”

“So far, it’s been a breeze. We almost passed the halfway mark, we should get to Bobby around 6pm if we’re lucky.” Dean hummed.

“Where are you right now?” you asked curiously, getting out of the car to walk around to the back.

“Somewhere in the middle of Missouri… I think.”

“How’s it there? Any better than in Kansas?” you tried to keep Dean talking, already missing his voice. You pinned your phone between your ear and your shoulder as you opened the trunk and got the first few bags out of it, walking towards the bunker's main entrance.

“Slightly better weather-wise but I'd much rather be with you right now," Dean murmured into your ear.

"Aw, you're sweet. I'd love that too… then I wouldn't have to carry in all these suits that I picked up at the dry-cleaner's and all these groceries on my own." Dean only snickered on the other end of the line, “We really have to get them cleaned in more reasonable batches instead of every single suit you guys have been wearing till they smell.”

"So, what do you have planned for tonight?" Dean tried to change the subject.

"Not much," you said while fishing for your keys in your coat pocket while balancing the grocery bags on your leg, "Maybe do some of my laundry.”

Dean could hear you unlock the front door and suddenly you screamed and there was a thud.

"Y/N?" Dean asked concerned, his brows furrowing as he listened attentively for any sounds.

"Dean what the heck! Was that necessary?" you panted into the speaker as you picked up your phone from the ground.

"Was what necessary?" he asked confused.

"Don't act so innocent. You have to stop with those pranks!" you laughed, your heart still racing, "You scared the shit out of me. Again. Congratulations!"

"…and with what exactly?" Dean chuckled bemused.

"The doll you sat directly behind the door?"

"Ahh… erm… yeah. Got you!" he forced a laugh. Hadn’t he thrown that weird thing out before they went to the bar 2 days ago? Maybe Miracle had found it in the trash outside and dragged it back inside.

"Ok?" you raised an eyebrow and kicked the doll out of your way, "Moving on. Please remember to tell Cas that he has to come by the next couple of days for the translation of the Enochian we found." you carried the bags towards the kitchen.

“Why me?” Dean grumbled.

“Cause Cas only answers your calls…” you hummed amused. Dean sighed exasperated.

"Yes, sweetheart, I will." he groaned.

The rest of the day you busied yourself with the chores. You started a load of your and Dean’s sheets while tidying your shared room, vacuuming, and dusting off every surface. Afterwards, you busied yourself with restocking the pantry and cleaning out the fridge from unidentifiable containers of what arguably had been food at some point in time.

After cooking yourself a late dinner you let yourself fall into a recliner in the Dean cave. Miracle joined you, getting a few bites of your pasta dish as the two of you watched a movie. In the middle of the movie, your phone vibrated, notifying you of a goodnight text from Dean and the info that he and Sam were on their way back to the bunker and should be back around noon. You quickly send back your reply before stashing the phone into the side of the recliner and turning your attention back to the movie.

You didn’t even realise how tired you were until you woke up in the middle of the night to a completely dark room. The TV must’ve shut off a while ago and Miracle was nowhere to be seen.

You sighed as you tried to wake up enough to get up and wander back to your room. That’s when you realised that you had forgotten to put the sheets back onto the bed after you had washed them and put them into the dryer. You groaned and shuffled in the opposite direction to the laundry room. You didn’t bother turning on the lights, hoping you would be able to fall asleep quicker if you didn’t get blinded by the harsh lights of the bunker.

As you gathered all the sheets out of the dryer you hummed in delight as the scent of freshly washed laundry filled your nose. You couldn’t wait to fall asleep while being encased in this heavenly smell. Your thoughts were rudely interrupted when Mircale suddenly started to bark out of nowhere.

“What is it, Miracle?” you called out annoyed. Maybe he was scolding you for not being in your room when he wanted to sleep, “I’ll be there in a sec…”

You were a little confused when his barking turned into growls and snarls.

“Miracle, what’s your deal?” you groaned.

Your heart stopped beating for a moment, your eyes widening as you froze in the doorway. You swallowed hard and tried to pull yourself together. This probably was just a nightmare. Or as Dean would tell you right now, just the wood settling. Very amused Wood being in a giggly mood…

You felt a chill run down your spine when you heard it again.

The giggling.

“H-hello?” you asked into the darkness, thinking that maybe Dean had already talked to Cas who had come by.

But you never got a response. And usually, Miracle wouldn’t snarl at Cas either, nor would Cas sound like a giggling toddler. So, this was more than odd.

Your stomach felt queasy as you crept up towards your room cautiously. Your heart was dancing tango in your chest. Suddenly you heard pitter-patter grow louder behind you and without another thought you booked it to your room, not even looking back. As soon as you reached your room, Miracle scurried in after you and you slammed the bedroom door close.

You panted as adrenaline shot through and your brain was slowly processing what just had happened. You began chuckling and shook your head amused.

“Miracle, you scared me.” you chuckled slightly relieved and a bit amused that you got scared that easily when a sudden slam against the door made your heart sink again.

You quickly locked the door, backing away immediately and stumbling backwards a few steps until the back of your knees hit the mattress. You threw the washed sheets onto the bed, your eyes never leaving the door as you searched for Dean’s emergency blade under the bed. Once you had the knife secured in your hand you searched for your phone in desperation. It slowly dawned on you that you had forgotten your phone on the recliner, so you had no chance of calling the boys for support. But then again, they probably couldn’t help you in your situation right now anyway since they were still thousands of miles away from the bunker. All you could do was wait it out until they came back and stand on guard.

At some point during the night, you gathered the courage to slide a chair under the handle of the door before you sat down on your bed again. You didn’t hear anything anymore outside of the door, but you didn’t trust the silence one bit. You invited Miracle into the bed for emotional support. Dean would kill you if he found out that you had let the dog sleep in bed with you, but you didn’t really care right now.

Harsh pounding against the door jerked you awake. You had no idea how late it was or when you had fallen asleep. You almost fell to the ground when you scrambled out of bed.

“Darling? Y/N?! Are you in there?” Dean’s worried voice resounded from the other side of the door, the handle turning frantically as he continued to knock against the door.

You quickly scurried to the door and pulled the chair away before you opened the door, trying to act as nonchalant as possible.

“You’re back.” you tried to sound enthusiastic, but the grogginess was quite apparent on your face.

“Are you alright, Y/N?” Dean asked worried, grabbing your shoulders as he inspected you, “What happened? Why did you lock yourself in our room? You look pale.”

“N-nothing.” you stammered sheepishly. You didn’t want to tell Dean what had happened. He probably wouldn’t believe you and tell you that you had probably just imagined it again. Or he’d turn it around and tease you about ‘how much you had missed him’ and that ‘your strong, handsome man was back to protect you from bad dreams again’. And you really didn’t need that right now, especially with the lack of proper sleep.

“Look who we brought,” Sam announced suddenly, making you sigh relieved as the conversation was stirred away from you when Sam stepped aside to reveal Cas tagging along behind him.

“You look awful.” Cas greeted you in his monotone voice.

“Hi, Cas… nice to see you, too.”

Taglist: @hellowgoodbye @fuckyoutommie @loz-3 @whorefordean @kayful00595 @drasticemotions @deans-spinster-witch @tweakingin2 @winharry @jackles010378 @marvelfanfn2187a113

Divider by @talesmaniac89

[mrghostrat]

vis à vis characterisation through dialogue, here are some examples of out-of-context canon moments used in my human AUs (just a handful off the top of my head)!

Crowley shrugged one impressively cool shoulder, but the nonchalance of it was compromised by the ferocity of his grin. “If you like.” [BNF #8]

&&

post-prophcon python (Today at 9:19 AM): yea, well. more of that if you like [BNF #14]

“Oh," he sighed, unable to help the dreamy spill of affection that tainted it against his will. "Thank you.” (ATWS #1)

“Oh, no no no, no,” Crowley wagged a finger to stop him, sitting forward eagerly. “I’m the thigh. All my ‘things’— yeah.” [BNF #10] && 4 other instances of "nonono" in BNF alone 😂

The you-wouldn’t-dare-kick-this-puppy-would-you? eyes persisted. // Aziraphale caught the keys quickly, startling with surprise like he hadn’t expected that stupid little trick to work instantly, before he burst into the brightest smile Crowley had seen in days. [ATWS #5] (this one was a delightful accident, pointed out by a commenter)

Crowley paused a step away from the pavement to look at him directly. The footpath outside the pub was wide enough to fit a few outdoor dining tables, where swathes of people were already loitering in one large cluster. // “I promise I won’t leave you on your own,” Crowley said seriously, even tipping his sunglasses down his nose to meet Aziraphale’s eye directly. [ATWS #6]

“That’s lunacy,” he finally scoffed, so enraptured by this news that the group’s combined efforts to headbutt his avatar across the map went completely unnoticed. “We’re on each other’s streams all the time.” [ATWS #7]

[He was] squinting without his glasses to read the fine print as if the ingredients had changed since the last three times he’d read it, when the unmistakable presence of another person shifted the air around him. He looked over his shoulder, found nothing, then jumped when he turned back around. / “Hello, Aziraphale!” [ATWS #1]

and a bonus one, from my unpublished editor au that i giffed myself bc i enjoy this bit way too much:

No one had ever gotten the wrong idea before. Everybody read Aziraphale like a book. Except the writer, apparently. “You’re gay?” Crowley asked, genuinely flabbergasted. “Yes,” Aziraphale breathed, genuinely flabbergasted.

[lifeiskentastic]

Ken x gn!Reader as friends to lovers story

A/n: my first fic on tumblr… and hopefully not the last;) also english is my second language so if you notice a mistake please write to me about it, 'cause i'm just learning and this will help me a lot.

Summary: A real world reader finds a box of vinyl records in Ken's house, which leads to an unexpected turn of events.

Genre: fluff, comfort, friends to lovers;

Song played in fic: Biggest Part of Me by Ambrosia;

World count: 805 words;

Hope you enjoy!

***

"Ken, can I borrow this, please?"

You point to a small box in the corner of Ken's House (and yes, as it turns out, it does really exist), right by the entrance. Although it may look small at first glance, if you take the lid off, you'll be genuinely surprised at how much can this thing hold. How many music records can this thing hold.

"Mmm," Ken turned to you in confusion, distracted from the very important task of destroying all available books about patriarchy (only those that mentioned horses survived).

As soon as Ken realized what you were pointing at, he jumped up and ran over to you.

"Oh, this thing..." He exhaled heavily, as if he didn't know how to describe it: "I brought it from your world... I haven't figured out how to use it yet. But it was fun to play with it in Frisbee, though."

You had to hold back your giggles, knowing full well that the box contained not a Frisbee but rather vinyl records of 80s rock hits.

"Ken... Don't worry, I know what it is, and unfortunately, I wouldn't recommend playing with it."

Ken looks at you in confusion, waiting for an explanation.

"Then what does it do?" Now his face was full of curiosity.

"Oh, it's music." You bit your lip, already anticipating that wave of the cutest delight in the entire universe on Ken's face. "My favorite music, for real. What a coincidence!"

"Ah, so that means we can listen to these little flat wheels?"

As difficult as it was, you still controlled your laughter because you didn't want to hurt your friend's feelings.

"Huh... Yes, Ken, wait a minute, I'll play you something."

You had noticed beforehand that the box contained a modern vinyl record player. The only question was where Ken had gotten it from, but you decided to put that aside for later. There are more important things to do now. For example, the culturalization of the inhabitants of Barbieland for unselfish purposes (or one particular inhabitant of Barbieland for, to be honest, a little bit of selfish purposes)

You could feel Ken's intrigued look on your back as you conscientiously chose which song to start your immersion in the deep culture of the 80s. Of course, you chose the one you thought Ken would like the most. Of course, it was a love song.

As the playful melody began to play on the record player, you were very pleased with yourself. But Ken was still on edge. So you wisely decided to relax him a little.

When the first words of Biggest Part of Me by Ambrosia touched your ears, you gently led the surprised Ken into a dance, grabbing him around the waist with one hand and intertwining your palms with the other. He was a little confused, but he quickly realized what was going on and began to follow your movements. His puzzlement turned into a gentle, homely smile, and those two crystal blue eyes look that always gave you goosebumps.

"It's a nice song." He spoke calmly and quietly, though there was no need for that. "Make a wish, baby, and I will make it come true."

He began to sing along to the beat of dance, which suddenly gave him control of the situation.

"I finally found someone who believes in me." Ken kept staring at you, still smiling gently. "I need your love here, next to me."

It seemed as if with every turn in the dance, your faces were getting closer together. And when you felt that you were crossing the line between friendly dancing and something closer and more romantic, you had to stop it. But you didn't want to.

"You're the biggest part of me".

Immediately after these words, Ken stopped singing. He thought for a moment and then confidently proclaimed:

"Hmm, really," he raised his eyebrows as if he had come to some brilliant conclusion, "I really feel like you are the biggest part of me."

You had to swallow because something strange and incomprehensible was preventing the answer from coming out of your throat. However, when you felt your cheeks burning, you realized that this strange and incomprehensible feeling was embarrassment. A very unusual kind of embarrassment, the kind that you shouldn't normally feel towards a friend.

"M-m", You understood that Ken was waiting for your answer, so you gathered all your willpower into a fist and said, "I feel something similar, Ken."

Ken's smile grew bigger, and his joy radiated from him like rays from the sun.

"I'm, ah, glad to hear that... Does that mean we can continue dancing?"

You smile back. Ken was charging you with positivity just by being there.

"Of course, Ken, as much as you want!"

You were both ready for the next song.

Thanks for reading! I'd also love to hear your ideas for the next Barbie fic, so see ya.)

***

[genericpuff]

Since you have mentioned your own original webcomic has time travel, do you have any advice for people who want to make comics or simply write stories that deal with time travel?

Could be any kind of time travel, like time loops, characters traveling to the past/future, dealing with paradoxes, etc.

Short answer: don't LOL

Long answer: Obviously if you wanna tackle time travel, go for it, but the first and most important rule of any time travel is to establish your rules. How does the time travel work? And how will you commit to consistency?

Some basic time travel rule structures include:

Clone travelling - This is the most common form of time travel that's used the most. When you go back in time, your past self is present alongside your present self. Examples include Harry Potter and the Prisoner of Azkaban, Doctor Who, and Austin Powers.

Singular consciousness travelling - This is one I've only seen used a couple of times, and the only one I can think of off the top of my head is Life is Strange, but what I like to call 'singular consciousness travelling' is the form of time travel where instead of travelling to a point in the past, you return to a version of your past self, fully aware of the future that awaits you but 'stuck' within that past to live out the timeline in real time again. Though it's not as commonly used, it's one that will typically present less paradoxes as there are less moving parts to worry about. Prophecy storylines also use a similar philosophy to this, albeit without the literal time travel and more so 'time travel' via premonition (could we call Raven from That's So Raven a time traveller?)

Loops - This is a form of time travelling seen in media such as Groundhog Day, where a person continuously travels back to the same point in time over and over again to relive the same events until they can somehow break the loop.

There are loads more of time travel structures I could go over, but those are three of the most basic. Regardless of which structure you use, you have to be willing to commit to it. It's like choosing a writing perspective and tense, if you choose third person past tense ("he said, she said, they said"), then suddenly switching to first person present tense ("I say", "I do", "I feel") without any context to establish that switch will be jarring. Make your rules, and if you have to break them, make sure they're broken for the sake of the story (ex. if you present some sort of plot twist to reveal the 'true nature' of the time travelling plotline).

Here's a great video that goes over some different time travel plotlines from movies/books/etc.:

As for my original comic, we go for the time travel = multiverse theory approach, where any changes made to a timeline in a past state will not change that timeline's future, but rather, create a new timeline where those past changes are true and written into the script, essentially relegating every single new timeline to a parallel universe. This is essentially how it's done in Avengers: Endgame , but instead of characters abusing the laws of quantum physics to travel back in time, it's characters abusing a magical book of diary entries that are primarily used by the main character to help him control and guide his time travelling abilities. Every diary entry essentially serves as a roadmap for him to find his way back to his home timeline from which he disappears every time he jumps. Much of the story is written entirely atop a paradox, specifically the bootstrap paradox:

(because if there are gonna be paradoxes no matter what you do, may as well have fun with them!)

There's a lot more I could go into regarding that, but for the sake of sparing the handful of Time Gate readers here of spoilers, Time Gate's laws of time travel dictate that you can't really change your past, just the future for other versions of you that you create when you try to change things.

All that said, I will say that in most cases, thinking too hard about any time travel story will cause it to fall apart, because time travel is a fictional trope that relies a lot on logical sequencing of events to work. So you kind of do just have to 'let it go' and have fun with it - but having rules to stick to will make things less of a headache for everyone, especially when it comes to telling a coherent story. Even my own criticisms of LO's time travel really don't matter in the end, because LO's problems go far deeper than some cheaply-made time travel and any of the time travel problems in the story will undoubtedly be explained away as "timey wimey shit". I'll still be pissed about it, but time travel isn't real (at least not for you) so it's not worth getting too bogged down by. Just do your best to tell an entertaining and coherent story.

[celestie0]

ellie's writing tips

hellooo this is just a lil masterpost for the writing tips i have collected over my time writing since it's a question i get often!! this way it's all in one place <3 this is also for my own reference to look back on when i forget them lol

tips for specifically writing long fics

on coming up with a main storyline.

planning out a general idea & premise at the beginning of the fic that helps two characters get closer to one another, such as a forced proximity, some sort of mutual agreement, a mission to complete, etc. is a great way to get the ball rolling on a fic and can create environments between characters that feels connected and necessary rather than forced

on coming up with secondary storylines.

after laying down the main groundwork, building some side storylines adjacent to the main one that will give you options down the line to play with narratively (you don't need to figure out exactly what you want to do with secondary plotlines up front, but having them in place can create flexibility in your story to pivot towards some ideas if you'd like to later in the story)

on planning chapters & scenes.

it's wise to have a general idea for your series, but it's also okay to scrap those ideas if ultimately they don't work. there will be scenes that do not make sense or fit in the way you thought they would've, and making last minute decisions is okay and totally normal. sometimes better answers will find you along the way, and it's only a testament to how well you're getting to know your own story and also your own characters. it's also okay to plan multiple path ideas for your story, and choose whichever one fits best once you get to that point. it's not necessary to have a scene-by-scene in order to start writing! planning is useful, but writing is more important

on finding motivation to continue long fics.

having certain "key" scenes planned out in the very early stages of writing that you know you will look forward to writing can help with finding motivation. it will also help you find momentum to write during points where you might have some writer's block. also, one of the best tips i have seen for writing chaptered fics, is to end your chapters when you still have a little bit left planned. so cutting it like 10% short so that you have an immediate jumping off of point that you can start with for the next chapter

my general writing tips

inspiration. starting off w a concept or idea that you already know you like from a tv show or book works really well for fanfiction! for example if you like spiderman, then you can write a canon-adjacent spiderman au w your fave character from an anime or something. and then maybe once you start writing, your own original ideas start to come into play and you go off of those. i think in the fanfic community, people adore spin-offs & mainstream concept ideas

dialogue. my biggest tip for dialogue would be to just write all of your dialogue for a scene completely stripped down. none of the “he says” & “she says” or action verbs in between, just write it all out like it was a simple text convo w quotation marks. that way the words will sound realistic because you’re only picturing a convo in your head, rather than also trying to juggle all the descriptive prose. then, you can go back in to fluff things up. if it’s meant to be comedic or a fast-paced argument, keeping it relatively stripped down is the way to go, but if it’s something intense or suspenseful then fluffing it up may be the better choice. also, i find dialogue becomes easier the more you write for a specific character, so if it’s not flowing right away, don’t worry!! their words will find you eventually once you get to know the character better :)

on choosing conflicts. characters won’t always act perfect, but i think a great way to make conflict seem realistic is for them to act in character but with flaws, rather than out of character with flaws. maybe make a list of what that character’s good qualities and how those qualities could also work against them, and use the latter to brainstorm realistic conflict that those qualities could put them in (ex: a character is self-sufficient, but that causes them to rely on ppl less when they need it -> they fail to reach out for help in timely manners and leads to mistakes/regrets)

pacing. when starting off a story, don’t be afraid to just jump straight into it! or jump straight into the dialogue and then build the scene gradually as it progresses, rather than [big block of text in beginning of scene that reader must drag their eyes through] and then get to the dialogue. make sure the pacing fits the scene (romantic -> longer paragraphs more focused on subtle details, comical -> short paragraphs n dialogue heavy w simple n relatable diction, etc)

for tone and mood. to get words flowing for different scenes, it can be really useful to get into the environment of those scenes while you’re writing, such as listening to a song that fits the vibe of the scene prior to/during writing, or if its a scene at night, write it w the lights off, or watch a youtube vid w scenery that matches. may sound silly, but it could help!

read more. this is sort of a miscellaneous one but a good way to subconsciously get better at writing is to just read more! your brain kinda learns how to write on its own when you read. also, when i’m reading, if i see words i really like i jot them down in my notes app so i have my own lil vocabulary of words that i know i would like to use in my writing

on writing insecurities. be proud of your writing!! your first draft does NOT have to be perfect. some days the words will flow, but on some they won’t, and that’s okay. don’t get too into your head about “i wonder what readers will think of this plot point or this character action” etc, i think having faith in your own process but also in your readers will bring you a lot of peace as you write :) create what you want to create and the rest will follow!! at the end of the day it’s just a hobby and you should be writing what YOU want to write!! and just get started! ☺️ that’s the easiest way to write—is to just write 🫶🏼💕

use chatgpt. looool ai can be useful in writing too! i usually only use it after i'm completed with a draft, and i just plug select paragraphs into it to see if it can come up with some better words for me to use. it's also useful to come up with logistical details for aspects of your stories for world-building etc

[cryptotheism]

I'm reading a bit of 'The Emerald Tablet: Alchemy of Personal Transformation' by Dennis Hauck that I found at my local witchcraft store (funny, the clerk there actually recommended your blog to me and we both laughed when I said i was already a follower) and in my writings afterwards I tried to find a picture of Balinas of Tyana to use in my little digital journal. When searching, I couldn't find the specific picture they used in the book, but rather, a photo labelled "Apolloynius of Tyana', which I know is another of his names. I mention this all to say, what do you think will come of the lack of spiritual wisdom available of the internet? Will the answer always be to buy the physical book (or ebook atleast) or can there/will there be a working repository of spiritual information with citations that can be as digestible as reading a physical book? I know that not finding a picture is a small example of the disconnect between information in books and information online, but its a good jumping off point for a larger discussion. Love your work btw keep it up funny internet wizard

1) that book is ahistorical nonsense, try The Prelude to Chemistry by John Read and Mark Haeffners Dictionary of Alchemy.

2) It depends. Some of this shit has just flat out not been translated. The last good translation of Zosimos of Panopolis's work was in French in fucking 1856. Especially when it comes to alchemy; which requires knowledge of the history of science, the original language, and the alchemical symbology the text was written in. There may be digestible entry points, but there will always be more to learn.

[books]

Hi! So, I’ve struggled A LOT with this in the past, and I was just wondering what a good way to outline a book was? I understand that there are many different ways to do it, and that it’s different for each person, but it’s hard to find good examples online on the different methods.

When we talk about outlining, we're often talking about structure, even though I think the best outlining also offers some connective tissue between the events of the story and the motivations and consequences of those events. My personal favorite outlining method is what I call a narrative outline, which is kind of like a reverse synopsis. In a narrative outline, you pretend you're explaining your story to someone very invested in it, who wants to know all about it. It's in paragraph form and written in your voice. It can be casual and incomplete. You can fill in the gaps with things like [FIGURE THIS OUT LATER]. Then you can take each paragraph you've written and make it into a chapter.

Sometimes, though, I don't even know enough about what I'm working on to do a narrative outline, and that's when I break out the tried and true four-part structure. This structure has served me well for many years, and even if it doesn't work for you, it's at least a place to start. Long-form stories generally have four major parts: exposition, rising action, climax, and denouement. I like to think of them as buckets in which I toss various scene ideas. The scene where characters A and B meet probably goes in exposition, which is the part concerned with establishing context and leading to an inciting incident. My characters getting to know one another would fall into the rising action bucket. Rising action involves raising stakes and escalating the tension. Then, the climax. This is when the rising action culminates into a major breaking point. Maybe my characters have a fight and break up. And lastly, my denouement, the action that falls in the aftermath of the climax. Here's where my characters, after some time apart, reunite.

Generally speaking, the halfway point of a story parallels the ending. If your halfway point is a major success of some kind, you likely will also have a happy ending. If your halfway point is a failure or a loss, you're probably writing a tragedy. Deciding off the bat, "Will this have a happy ending or a sad one?" will help you start putting events in order. Of course, there are also complicated or bittersweet endings, and those will also be reflected at the halfway point. For a complicated ending, your halfway point may be the most complex part of the book, the point with the least clarity. And a bittersweet ending will have a bittersweet middle.

Other writers have other structures they employ. There's Freytag's pyramid, which is two parts only: rising and falling action. There's the three-act play and the five-act play. There are the six stages and the eight key turning points. I've used all of these just to test them out, but I always end up back at my four parts. The trick to choosing an outlining method or an existing structure is to use it only as a jumping off point. It's a lot easier for me to start writing something knowing my job is just to fill four buckets. Often I end up with five parts instead of four. Don't box yourself in too much; as you begin writing, your story will let you know how it wants to be written. Trust your process and your intuition.

For those just joining us, @bettsfic is running a writing workshop on @books this month. Want to know more? Start here.

[pancakeke]

I made a customer so mad on a call today that he muted and turned his camera off lol.

I did it on purpose though.

We needed to create a process but this dude always dominates the convo to give long pointless monologues about how *something* needs to be done in relation to vague nonspecific things (like "I don't like what I'm seeing here" ok then WHAT are you seeing??) He absolutely refuses to give concrete details or make actionable requests, plus he's always extremely disrespectful, accusatory, and lies about things. So I kept cutting off his unhelpful monologues to ask for specifics and when he didn't give them I gave options for what we could do rather than letting him continue to make the same whiny statements over and over but with different wording each time.

Then he tried to derail by doing this needlessly dramatic arm waving and wandering away from the camera thing, then wandering back with his head in his hands while saying weird phrases I assume were some kind of worthless business speak phrases? (Example, the last one he said was "Just take the weekend off". Maybe this means like "we need to take a break and regroup"? I legit do not know the intent. I directly asked "What do you mean by that?", no paraphrasing, but he ignored me so maybe he was telling me to go fuck myself. idk).

Anyway I kept being direct and trying to sort out a plan of action with our salesperson meanwhile this dude kept interjecting with absolutely asinine statements like "YOU need to figure this out" referring to my company, not me specifically. But like that was literally what we were doing at that moment?? So I asked him "Are you asking us to create new procedures without your company's input? Ideally need to know specifically where you're having issues to know how I should create reporting." Then he shut his webcam and mic off.

Progress was made at this point since he wasn't interrupting anymore but that didn't last long cause he jumped back in to make a big deal about how he couldn't stay on the call longer because he had another meeting soon. But if he has just explained that in one sentence rather than monologuing about his time we could have made more actual plans.

idk if this guy is purposely trying to stop us from creating a process though cause he blew up at us when we had extra inventory on hand (that he told us to buy) which then led him to tell us that we weren't allowed to make any purchases for them without approval. After this we sent a purchase request over to them for approval and they didn't approve it (we were ghosted, not denied), which made this guy is blow up at us again for not just buying the components immediately without asking.

I think he just wants us to do whatever benefits him in the moment and also he doesn't ever want us to hold his company accountable (per our contract...) for any unused components. and since documentation and processes creates accountability, they're bad for someone who wants instant gratification and no responsibility.

This call was so fucking bewildering though. It was like this guy had a book of business speak phrases and thought that if he kept reading them off he would look smart and important and then we would just flagellate ourselves at his feet. Even though the problem is pretty much his fault for not managing his side of the business. These guys have turned derailing conversation into a goal so I went robot mode and wouldn't let myself say a word that wasn't data-focused. I really hoped this would force their side to speak in numbers and facts so I could get info and ideas from them that we could actually use to build a new procedure.

But now I see that my plan was doomed from the start cause this guy will just disappear if I don't let him spend the whole meeting listening to himself talk while not actually saying anything.

I have some kind of brain problem where I always think that if I can figure out how to communicate with people in juuust the right way they'll stop being cunts and cooperate with me. Cause I'm working for their benefit so they should want to work together, right? :)

Wrong. People are fucking bonkers. They do not care about problem solving. It's all about ego. And somehow their egos do not recognise how purposely creating problems leads to failures that might reflect poorly on them.

[yasmeensh]

Book rant? Anthropology, apes, and racism discussion.

I started reading a book titled "Bonobo Handshake" by Vanessa Woods. I picked it up because a) I want to learn more about bonobos since my knowledge of them is minimal. b) the author had interacted with bonobos in person so it's an interesting perspective to read. c) the book had positive reviews.

I was not expecting the author to start off telling us about the 'discovery' of bonobos in this way.

W-what do you mean, in Belgium? The author makes it clear that bonobos live in Congo and she gives us a few examples of local bonobo lore. Meaning, people in Congo know the bonobos very well. Way to go to give a colonizer the credit??? wtf. In this perspective, she is letting us know THAT was the moment when Bonobos entered western science, which is true. But I was really hoping the author would give it a more holistic view than this, but it seems she really believes in this??? And let me tell you, from what I am picking up between the lines, she ONLY accepts western science. Here is an example:

This is the page that confuses me immensely. I don't know if she is trying to come off as sarcastic or not. She sets out for us that Takayoshi Kano is the star of Bonobo research, but in the next paragraph says there is no one studying Bonobos. "there was never a Jane Goodall or Dian Fossey for bonobos." UHM NO? YOU JUST SAID THERE WAS???

[highlighting and writing over a picture of the page (32) since it's a library book and I can't write on it.]

She says Japanese researchers are responsible for all we know on Bonobos, but then starts talking about de Waal's zoo discoveries in detail, and they seem pretty minor compared to Kano's work with wild bonobos. She did point out that scientists don't take de waal's observations seriously because it's from a zoo, but she doesn't remedy that by telling us if it can be supported by Kano's work or not when compared. Kano is ignored. He does have one book available in English, so it's not like we can't ever learn about what he observed. you said western mainstream media don't want to listen to a man who only spoke Japanese??? UHM. You are too??? Why did you jump to de waal? If it's a book about bonobos, then please give Kano a little spotlight and tell about his research. (I actually want to read Kano's book now but I can't find a borrowable copy of it. It's a complicated long loop to get one. But it's possible T-T!!!!)

I very much dislike her tone in 'oh it's the Japanese that tell us about bonobo'. It is as if no one is actually researching them at all. They are 'foreign' so it doesn't count. Meanwhile, if it's a white person's discovery, it is humanity's. But if it's someone else theeennnn well we are not sure if it's actually real :/ Not until a white person observes this can we really put this into humanity's archive of knowledge. Otherwise, whatever they learnt is not very important or worth talking about.

I'm not gonna drop the book, because it does get me thinking about stuff and that's what I read books for. I guess it reminds me of University days, of how irritated I get when we are assigned a problematic reading to pick apart and present to class. I hope I'm not picking this apart too much 😭 I'm not sure if I'm enraged and reading too much into it. I might be totally wrong. idk... I think I need to join an anthropology book club to have people to talk with about this. Only way for now is to share on the internet and maybe a discussion starts. Want to see what others think of this (especially if they read the book).

[thehmn]

My friend gifted me The Gift of Fear book for my birthday. It’s a very interesting read that helps you recognize danger signals from other people but the author Gavin De Becker actually helped me manage my anxiety just from a short video somewhere where he explains the difference between fear/suspicion and anxiety/worry.

Very simply put fear/suspicion is a reaction to something in your environment while anxiety/worry is a response to something you imagine or remember either because it happened to you in the past or because you read about it somewhere.

So fear is if you walk into a room and there’s a man acting weird, and anxiety is if you walk into an empty room but get scared because maybe a man acting weird might show up.

There are of course nuances to that. Like, there might be frail old man just reading a newspaper but you get scared because you’re scared of all men, that’s anxiety, or you might know you have a stalker and then it makes sense to not want to be alone in a room with no escape, or you get scared when walking alone because you know it’s a dangerous area, but in both cases the rule still stands; fear is a response, anxiety is a memory/imagination.

De Becker also points out that it’s perfectly reasonable to be suspicious even if it turns out to be nothing. To give a personal example, I used to clean at an office that was in a nook of a lager building with other businesses. It was a busy area but it made no sense for anyone to be in the nook unless they had business with that specific office. One day a man was standing in the nook when I showed up, not doing anything. He didn’t look at me or his phone. He was just standing but at a distance that wasn’t immediately threatening to me. As cleaners we’re taught that if someone wants to break into the place where we clean there’s a chance they might consider our coming and going the optimal time. As soon as we turn off the alarm they might push their way in and though we aren’t the focus we might get hurt. I kept an eye on the guy in the reflection of the glass door while I unlocked it but he never looked at me. After that he showed up regularly but was always gone when I came back outside and I started to suspect that he might be learning my schedule so after entering the office I watched him thought the curtains to see what he did. He stood there for a few minutes when another person suddenly walked towards him, their hands touched for a second and then they both walked off in different directions. A drug deal. So I was right to think something shady was going on, it just had nothing to do with me.

In another case where my fear saved me I was walking my dog at 1 AM. I live in a very safe area so I’ve never been afraid to be out after dark (I never left my apartment after dark while I lived in a bad neighborhood in Leeds). I noticed a parked car on the road but didn’t think much of it because it was parked near a spot where I often meet a middle aged woman who waits to be picked up for her nightshift so I assumed her ride was just early tonight. Suddenly a young man burst out though the hedge surrounding a house, ran to the car, ripped the door open and that’s when he noticed me. He looked at me for a second then jumped into the car. The lights inside the car turned on and I saw another guy in the driver’s seat. They talked and both turned towards me just as the light turned off, then they sped down the street, into a small private parking lot, turned around and finally parked the car across the sidewalk, meaning that when I reached them I’d have to walk out onto the road to pass them. My dog hadn’t noticed anything weird and was busy sniffing the ground. I let him sniff which meant we moved at an exceptionally slow pace and the car never moved and my fear just grew and grew and I got the very strong sense that I shouldn’t get anywhere near that car. I took a split second decision and suddenly crossed the road to a grassy area between houses where a car couldn’t go. As soon as I did the car sped towards me but I was already well away from the street. The car slowed down to a crawl when it reached me and I saw the guys faces in the light from a street lamp. They looked worried. Then they sped up and I could hear them drive away at an insanely high speed. I kept an eye out for news about a crime in the area but saw nothing.

At the time I couldn’t have told you exactly what scared me. I’ve seen many young men run from their garden to their friends waiting in a car, look at me and drive away, and I’ve seen many people parked across the sidewalk because they were lost and were looking at Google maps. But looking back the first thing that I noticed was the way he looked at me before getting into the car. It was a split second too long, like he wasn’t just noticing me but thinking. It was of course also weird that they both looked at me in the car but the thing that really scared me was when they parked and there were no lights in the car. Why didn’t they look at their phones to open Google maps or find a text with directions? Why were they just sitting in darkness?

So Gavin De Becker as taught me to listen to my fear but also realize when I’m just being anxious. When I feel fear I’ll ask myself “What are you afraid of?” and if the answer is a memory or my imagination it helps to calm me down but if I can say “That man/sound/lack of sound/something specific” I know to be on guard even if I’m not sure why it’s scaring me yet. And that means I’ve also learned to trust myself a lot more. Thinking back I realize that I’ve always been right when I was afraid or suspicious of something/someone specific even if it turned out not to be a danger to me. I still knew something shady was going on and I was right to keep my distance because as De Becker says, it’s better to listen to your fear than ignore it because it’s better to be wrong and safe.

And of course this doesn’t mean that if you have bad anxiety or PTSD you should just stop treatment and let fear rule your life. Like I said, there’s more nuance to it than I can explain here, but I wanted to share because I’m amazed how much it has helped me. At first I just noticed I was a lot less anxious in general and it took some time before I realized it happened after watching a random talk from him on YouTube. That’s why I wanted to share this in case it might help others to be less anxious but also trust themselves more.