#forever quite possibly

[enderpearltv]

I just learned about stars in my physics class

There’s something so poetic about how the biggest stars burn out quicker. About how the fusion that keeps them alive, eventually makes them unstable.

In a last attempt to survive the constant push of gravity they form iron inside of their cores; this makes them unstable. Despite the futility of it all, as gravity eventually always wins, they try nonetheless.

Not only that but when they go supernova, they form a nebula. Even in spite of the constant battle that was their life, they left something in their wake. A place that forms new stars.

A legacy, if you will

the cycle will forever continue

[chaikachi]

Ruby Rose | RWBY

Last but certainly not least... full set below the cut!

[sarcastic-clapping]

"how can you still like lestat after every episode, seeing everything he's done?" the answer is very simple actually

[poorly-drawn-mdzs]

One final cooking poll.

[meownotgood]

THAT'S 60,000 WORDS LET'S FUCKING GOOOOOOOOO!!

[spaceyaceylesbianart]

actually i'm probably never going to finish the last one because hyperfixed has hypershifted soooo

Love, run! A song you know's begun!

1/2/3

Reblogs > Likes!

[tadpolesonalgae]

Hey Tabby! I just wanted to start this by letting you know that I think your writing is beautiful. It’s so complex in all the best ways and I’m truly in awe of your work.

I have been trying to improve upon my own writing, particularly by writing longer, multi-part stories. However, I feel as though there is something I am missing. I have been gushing over cbmthy (amazing btw!) and I am so impressed at the different elements all wound together. I was curious as to what your process is for creating stories like it!

Thank you in advance🫶🏻

I'm probably going to ramble for a little on this one so apologies if this turns into a tangent-riddled flow of paragraphs!

Also I feel it's very necessary for me to say this is just what I think, and what (generally) works for me. In the end both of us are different people and I think trying things for yourself (though it can be exhausting taking a trial-by-error method) will probably be a sure-fire way of figuring out what works for you.

So, first of all I think different things work for different people, and different circumstances can deeply impact your ability to write. For example, before cbmthy the longest series I've written is probably Teeth and Talons, or Two Birds, both of which I know how I want to end but have left alone for a half a year and probably a year and a half respectively, and if I'm honest I think it's because I needed people’s enthusiasm to carry me? (Not saying I'd be over the moon if people suddenly took an interest in either of those again - I'm pretty busy at the moment and have quite a lot on my plate - in fact I'm kind of glad they've been allowed to fizzle out so I can peacefully return to them when I'm ready.)

I'm almost completely certain that if people weren't continuously showing curiosity for the series, and continuing to interact with the fic and reread that I wouldn't have made it up to twenty chapters. Originally it was supposed to be a one-shot, possibly with a sequel if it did well enough.

Then, I think there's also the part of being able to gauge whether you'll be able to sustain a series yourself. Can you see where the story is headed? Do you have an outline? Can you see alternate pathways you can take if you end up getting bored? Do you have a source of inspiration (other writers, books, music, artists, a place you like to visit, food, etc.)? Do you have the time?

A lot of the 'planning' I do for cbmthy, and lately also CoLCoV, is just staring at my ceiling before falling asleep and drifting off into thought? Or listening to music during a grocery trip, if I'm cleaning, or just generally doing something where I can kind of zone out? A lot of it happens inside my head, and I tend to not write it down until I'm ready to do the full scene - there are parts way ahead in cbmthy that I have in my mind that I refuse to write down because as soon as I do 1) I'll lose the emotions connected to the scene once they become words on a screen and 2) inevitably I'll have to rework the scenes to fit into the chapter fluently which is just a pain and kills motivation and can result in you thinking the scene is awful and then putting it off longer when it's actually going to be surprisingly well-received by people (speaking from experience - I hated chapter 16 before posting it and now it's one of my favourites since people were so openly warm to it)

I'd also argue that your reasoning for writing a series can play a part? I have my reasons for making cbmthy the way that it is, making reader the way that she is, and giving her particular hurdles to overcome that solely benefit me, as the author, who knows what they mean to me - though I hope that doesn't stop anyone else from finding their own troubles and solutions in it, or even just reading cbmthy as a piece of light fanfiction, if that's what you want it to be as the reader.

Whether your reasons are because you have a point to make, to yourself of someone else, or because it's a story line that's grabbed your attention, I would encourage you to sit on it for a while just to see if you continue to be enthusiastic about it.

And, kind of finally, if your aim is to ultimately try to improve your writing, don't get tunnel-visioned on one process. Maybe this is obvious but feel around and read different things. If you're able to, walk into a different section of a bookstore, spend time looking through blurbs and reading through the first few chapters of books to see if the writing style takes your interest before buying them. Try writing drabbles, try writing pieces that lean more on description, give different genres a go!

Also something I would definitely recommend is, if you haven't already, try writing a long one-shot. Don't give yourself a time limit, or push yourself into coming up with something immediately, but if you get an idea, try writing one piece over a few months, just sitting down whenever you feel like you've figured out what scene you want to add next, and try rereading sections now and again. I think that method is probably what worked best for me - having something to keep coming back to and gradually building up since it let me see that I can sustain a story.

It's also a good way to write something long without feeling any pressure to update it since nobody knows you're writing it, then bam! It appears out of thin air!

Anyway, this did indeed get long and out of hand, but I hope at least some of my rambling made sense and might help you? I'd also encourage finding fanfic authors you like and trying to continuously interact with them. I certainly have problems with jealousy and comparing myself with other writers on here, and unfortunately it means I now find it very hard to read work from new authors. I think there are only three now that I can still read freely and happily without comparing myself to them, and it's because I like them as people and interacted with them.

^I hope that last part won't have to apply to you, though, and that you'll have a good time writing!

[the-sparkling-diamond-satine]

AIRPORT CRABS !!!

WIP Ask Game!

MR! Christian x Satine

“Darling, don’t do that!” Satine says when Christian drops to his stomach on the floor, coming face to face with a crab. “But he’s so cute!” Christian protests. “I want to be his friend.” Christian scrunches up his face, thinking. "Or is this a girl? I can't tell. Either way, I want to be their friend." “That's very nice, love, but the floor is filthy! Besides, if you get that close you’re going to get—” “Ow!” “...pinched.”

[synthfagz]

isnt this just swell. im being encouraged to go gambling by an animal quiz website.

that fucking website hates me sooo bad

[hadesknockedupintheunderworld]

No one:

Me: Okay, but what if their relationship has nothing to do with Sonic and Tails? What if Metal literatally just saw Eggman working on Tails Doll and assumed without proof that they were created for him? What if Metal quite literally attached to Tails Doll through this assumption and then their partnership progressed naturally? What if the inorganic creations fell in love as an unorthodox power couple and just so happened to resemble a famous partnership?

[22degreehalo]

Sorry but I still haven't reblogged/posted anything about the whole. 'Nandor and Guillermo are Just Friends!!! Not ALL relationships need to be sexual!!!!! :)' thing because. hmmm. I just don't really. Like. I'm not even sure I summarised the point that was made correctly, you know? Or the words that were said? Communication, as a concept, being what it is.

Because. It, on the surface, sure SOUNDS like the sort of thing that would be said in a typically heteronormative sex-negative traditionally gendered television seriés. Which would make me quite mad!!! And would be a very easy post to make. 'This director said this, which is homophobic, and this is very easy to believe because to be honest most directors kind of are and we're all just used to that background radiation of Media that we never really thought consciously "Oh, this director is probably Homophobic."

But this show is. What We Do In The Shadows (2019).

A show in which the primary romantic relationship are openly pansexual, which comes up very frequently because they have an open relationship and casually speak about their extramarital liaisons and threesomes/orgies. Also, one of the main characters we're talking about is also canonically part of said liaisons, at least three times a week. And, y'know. "Coprophilia? Really?"

It's a show in which our two so intensely-shipped loverbirds are both canonically queer. And one, also canonically, has a crush on the other. While the other is famously reserved about his true feelings towards the former. And has a whole major character arc revolving around his romantic loneliness and search for a partner.

Is it offensive to the nature of friendship to believe that a gay man, and a pansexual man who canonically has sex with his friends, who said gay man has romantic feelings for, could have some sort of 'more than friends' relationship?

A show, might I add, in which a main character has a garden of bushes trimmed to resemble most beloved vulvas? Including that of his so esteemed dear mother?

I am afraid, dear reader, that at this point I am simply a little bit lost. I understand, you see, how to rail against hetero-blinded directors, how to vent wildly about writers who do not understand their own work. I know the script, now. I watched Supernatural.

But these events fail to produce that righteous fury within me. Instead, what I feel is a strange... dissociation? Like... am I reading, right now? Words? In the English language? Are any of us, really?

It is said that good art transports. Well, friends and fellow Nandermo truthers, I find myself abruptly akin to the soldiers of World War One, trenches high above our heads and an enemy wearing our own collective face. What is the point of this war? By what means do these bombs fly?

I'm not angry. I am a 1910s impoverished soldier about to invent existentialism and, friends, I am fuck bad at poetry.

[autism-corner]

[sysig]

Very important to implement a goof-off break (Patreon)

[scabbardsystem]

okay. so. our facet Faucet is our secret keeper, and we did not ask [ ] permission before introducing this blog to others. so [ ] isn't very pleased, to say the least.

[writeouswriter]

Me: *Has written plenty of great opening scenes that I'm actually quite fond of*

Also me when trying to write a new opening scene for a new project: I have never written an opening scene in my life, what's an opening scene any more, has there ever truly been an opening scene to anything, there is no beginning, so there is no end, there is no one out there watching over this monstrosity, I am in the void, my mind is adrift, how do I open this scene without a key, where did I leave my keys??

[scramble-crossing]

i deffo agree with your entire analysis (including the questionable canon of the anime canon) and yeah for sure the original game supports this imo. for one thing i don't think that hanekoma would have supported sho even as a back-up plan if he thought that sho would've destroyed shibuya or fundamentally ruined what HANEKOMA liked about it. hanekoma considered a shibuya under sho to be better than a shibuya erased by joshua, so whatever shibuya sho would've made couldn't have been a dumpsterfire or whatever. like not saying that sho would've kept things squeaky clean or something but hanekoma considered it 'good enough to support'. hanekoma isn't exactly the best but i think that he wouldn't have picked sho if he didn't think that sho had some attachment to shibuya.

in NEO we literally see him come back to his shibuya on W3D7 to fight soul pulvis even though he could've just fucked off. yeah we have the scene of neku "convincing" him, but the dude already came back to shibuya and decided to stay to fight for his city. he also literally warned rindo about soul pulvis and about the presence of angels (the japanese version with him talking about "hyper-real" numbers is even more obvious) back on W3D4 even before neku showed up!

the wicked twisters and all of shibuya would've lost without him and his contribution to operation: awakening. period. (along with everyone else)

he learned his lesson about teamwork! when he goes to another day, he makes a fuss about "you're joining MY team" but he actively walked up to the guy signing up team members and went "hey i need a team lol" like a student asking their teacher for help getting a partner for the group project. he's gone from "not a social animal" per megumi to "zetta dig[ing]" konishi's "style" to teaming up with the WTs to protect them to understanding the value of working together in an equation for the sake of his goals

also it's worth noting that the line about only doing it for his sake is slightly different in jp. neku says that they have to get to shiba as soon as they can and says "渋谷を守るため もし力を 貸してくれるなら――" (if you can lend us your strength to protect shibuya). sho interrupts him and says, "フン、俺は 俺の目的のために 動くだけだ" (hmph, i only work for my own goals/i do want what i want) basically, telling neku to stop telling him what to do. neku says, "それでいいよ おまえも渋谷を 狙ってただろ" (that's fine, since you're aiming for shibuya too, aren't you?) and then "その渋谷の崩壊は 許せないよな" (shibuya's erase would be unforgivable, right?/you can't allow shibuya to collapse, can you?). so like yeah it's similar to what the english script did but it has a very different implication. here neku isn't convincing him to help but rather being like, "yeah, you'll only do what you want to do, and i know that you're going to do things that help shibuya because you're aiming for it as well." like i said, we literally see sho ALREADY have been offering rindo helpful advice before neku even showed up.

he gives the WTs tons of advice in the first week that have nothing to do with his interest in soul pulvis but rather to expand their powers. in field walk rpg he has a ton of random character dialogue about how he loves random shit in shibuya like the holographic hachiko statue (tokyu plaza) because he thinks that dogs are stylin' or how he thinks that rhythms that shake the heart (specific to him being interested in picking up music records from tower records) are as beautiful as a flawless equation or whatever. why would he want to destroy all of that? he wouldn't

he doesn't even care if other people cart away his artworks! he didn't seethe about that in the og, just made more and then walked away

i agree with him being obsessed with beauty and art and probably shibuya's. i mean the guy wanders around the phone booth of love at molco and shit trying to pick up cool pieces for his next artwork (and leaving something precious of his own in its wake, suggesting that he isn't interested in stealing shit, he just has a unique value system of exchanging items and art and stuff), makes people play Tin Pin Slammer and doesn't even participate himself but just hangs out in the crowd watching and seethes when joshua cheats him out of an interesting match, and possibly even stuck negative noise on ken doi to catch their attention about ramen given that the negative noise in W1 was all mission-related that a reaper must've put on someone (and with their relationship in another day). he's not a "good person" but people treating him like he's evil or sadistic or whatever just pisses me off. he's an arrogant asshole who, as far as we can read from the text, genuinely wants to see a shibuya full of cool art projects and sick murals like the udagawa one he likes and cool people like the WTs with their interesting UG powers and stuff.

ok thanks for listening to my essay. 3.1415926

Hey there.....it's been a couple months and I live in shame

Thank you so so much for this I absolutely LOVE your thoughts! I wanna try to respond them in as organized a way I can so I'm gonna address each point individually and in chronological order.

First of all, I 100% agree with what you've said about Hanekoma. If he wasn't able to directly remove Joshua from power even when he threatened Shibuya's very existence, and instead had to approach him in an extremely tedious and roundabout manner by guiding Neku when he could and using Sho as a sort of half-proxy, there's no way he would've shoved a dangerous or otherwise incompetent person into the Composer's seat and forced himself to repeat this whole process weeks later once Sho had a grip on Shibuya. Like you said, "hanekoma considered a shibuya under sho to be better than a shibuya erased by joshua," and that means something coming from a person who belongs to a class of beings who willingly "purify" cities that do not live up to their standards. It's not impossible to think that if Hanekoma thought Sho unfit and saw no other alternative, he would've come to see Shibuya as a lost cause and let it fall, preferring a dignified end over allowing it to rot and fester as a shell of its former self. Granted, he doesn't exactly sing Sho's praises. He certainly seems to view him as being convenient over an actual good candidate for the position. However, regardless of the fact that Hanekoma's criteria seems to be "the biggest, most unlikable freak in the UG," I think my previous point still stands. Would Sho have been a good Composer? Impossible to know for sure, but if nothing else we can extrapolate from what we understand of Hanekoma's values that he would've at the very least safeguarded Shibuya against erasure and kept it intact enough to still be worthy of existence in the eyes of some very, very picky Angels. And this is saying something when Joshua refers to Shibuya as being a massive influence on the world around it, so much so that he fears it corrupting other sectors of the UG. To put it simply, maybe Sho just passed the bar when it came to Hanekoma's standards, but that bar was set extremely high. Also! Just in case anyone mentions it, while Hanekoma saying that he relied on Sho's attachment to Shibuya is exclusive to the anime, technically speaking it's canonical that NEO is a sequel to the anime rather than the game. It's still very much relevant to Sho's character in NEO, if not his character in the original game...

Which leads right into your next points! Just for a moment, I want to jump to what you said about the japanese version of the game because I find it extremely interesting. That's SUCH a different implication from what we get in the english version!! Whereas we're given more of a sense that Neku is corralling Sho into working with him and the rest of the Wicked Twisters on the basis that he can't be Composer without a city to rule, basically using his preexisting goal to try to get him to adopt a new one, that of saving Shibuya, here he's saying that he knows that Sho already has a goal of saving Shibuya. It's less "Look here asshole, you have to save Shibuya because you can't be Composer without it," and more "You and I both know that you want to save Shibuya, so stop being so stubborn and help us out already!" Yes it's subtle, but personally I think it lines up better with the version of Sho that's put forward by the anime's ending, and, perhaps more importantly, lends better to interpretations of Sho's motivations In english, it reads closer to "Sho wants to be the Composer -> therefore he must save Shibuya. In japanese, it can more easily be read as "Sho wants to save Shibuya -> Ergo, he clearly cares about Shibuya -> Sho wants to be the Composer because he cares about Shibuya. Again, it's minor stuff, but the japanese version, I feel, more obviously connects his motives with his actions, presenting him helping to save Shibuya as a natural result of his affection for the city instead of it being an obstacle in his way or a diversion from his ambitions. It's really a shame that this nuance is lost in the english version. Sho is already kind of a mess in the fact that it can be difficult to discern what the writers are trying to do with him. He's built up as a persistent and deadly threat all throughout twewy only to be unceremoniously killed off in a scene that feels more like a bit than an actual serious story beat. Neo's promotional material paraded him as a core character in the protagonist's group, and yet he ends up being booted out 1/3 of the way into the story and made unplayable until post-game. He is one of the most integral characters to the plot, and yet what, in the end, does he have to show for it? Nothing! He leaves the secret ending having returned to the exact same position he was in at the start of the first game, at the exact same level of power, still gunning to take on the Composer. It feels like he's being used as sequel-bait in a series where it took 14 years to make another game, not to mention the fact that the last time something interesting was implied to be happening to him, A.K.A A New Day where he was positioned to become Neku's partner, that plot thread was dropped hard and absolutely nothing came of it. I'm not saying he's been completely abandoned by the narrative. He's definitely shown to have improved as a person since the events of the first game, and I love that! I love his cryptic mentor/moderately shit big brother arc and the fact that Neku, Mr. Twewy himself, is willing to put his faith in him. But to me at least it feels like he's being underutilized, especially in comparison to characters like Beat, who I love, but who certainly didn't need as much as he got in neo given that he had a totally satisfactory arc by the end of the first twewy. Sho is perfect for a redemption arc that's reminiscent of Neku's while still being unique and complex, one that would fit seamlessly with twewy's themes of growth and the necessity of human connection. If we ever get another twewy game and this is exactly what happens I will kiss neo on the lips for being the PERFECT in-between phase and kick-off for this arc, but I mean...it's twewy. Waiting for another game to complete his storyline is like pushing Sho off a cliff with nothing to catch him but a prayer and the world's shittiest little kiddy pool. Also the hose that's trying to fill it with water is clogged by a giant knot in the shape of mickey mouse ears.

But I've gotten sidetracked. Mostly because it's been so long that I totally forget the post that spurred this ask in the first place. I might be stupid. But honestly I think you've already put it perfectly. I'm especially grateful for the info on the field walk rpg because it's something I know very little about. I'm glad Sho got to have a fun day out with his child soldiers/teenage besties :] Overall, it's absolutely true that Sho is a very morally complex character. I tend to dislike labels like "good person" vs "bad person" because it leaves little room for nuance, something that this series is chock-block full of. The idea that Sho is an utterly selfish and sadistic individual who can never truly change irks me because it's so antithetical to the messages of this series, "Anyone can change for the better," and, "By letting others in, approaching their different worldviews and values with genuine, good faith, and by extending compassion towards each other, we make the world a better place for both ourselves and the people around us." Sho is doing this. It may be with baby steps, but it's clear from his interactions with the Wicked Twisters, as well as his enthusiasm for art that is not his own whereas before he expressed disdain for any artistic vision that wasn't his, that he is making an effort to be better and allowing these experiences to change his worldview. If he is never extended the same narrative reward that other characters are shown for this exact same kind of growth, if he is instead trapped in this cycle of scratching and clawing and desperately yearning for some sense of divinity only to crash fantastically, met with violence and isolation and the loss of the few, good things he's managed to scrape out of life...well that'd be pretty miserable, I think.