#i did so much research to try to get this as historically accurate as i could

[cyan1decandy]

About Victoria Page

Victoria's character sheet

Warning: everything said in this is said as if it's from Victoria's perspective

Blood status: muggleborn

Father: Edmund Page (DECEASED)

Mother: Henrietta Page (DECEASED)

Home: Dr. Barnado’s Homes, London, UK

Key points in her life:

Victoria’s father fell ill with consumption just before her second birthday. As hard as her mother fought to help him recover, he eventually succumbed to his illness in 1877.

With her father dead, Victoria’s mother had to work a temporary job at a clothing factory until she could find a new husband. She eventually found a decent man and remarried in 1879. However, her new husband had lied to her about his finances and living conditions.

After four years of living in squalor, Victoria’s mother contracted pneumonia. Victoria was in charge of taking care of her mother and was instructed by her step-father to not involve the doctors. Her mother eventually died, allowing for her step-father to obtain all of the finances left behind by her mother and father.

While Victoria wept at her parents’ headstones, her step-father left her with no way to get home. Late in the night, the groundskeeper of the cemetery found her curled up against the headstones, asleep. He took her to the nearest orphanage, where she would live out the rest of her childhood.

Living in the orphanage taught her how to stand up for herself and, most integrally, new words that were very unladylike. She developed a knack for reading and researching various subjects, when she wasn’t having to fight back against the older children.

What a surprise it was when a fork levitated during dinner as she watched a 16-year-old boy berating an eight-year-old kid. When it flew across the room and pinned the boy’s hand to the wall, her anger dissipated. It left her confused but intrigued. 

Victoria locked herself inside the washroom, much to the dismay of the other children. She tried repeating what she did but with her quill. No matter how hard she tried, she couldn’t reproduce the levitation she and the other children had witnessed. Not until an incessant knocking came at the door. It had gone on for several minutes and it annoyed her beyond relief, until the quill finally flew across the washroom and lodged itself between the door and doorframe. 

She continued honing this newfound ability for the next week, but out by a dead tree on the edge of the orphanage grounds. She no longer required strong emotions for her to levitate items. 

Upon the first day of summer in 1890, an older man entered the orphanage. Lady Edwards lined up all the children for him to choose a suitable adoptee or worker, depending on what his intentions were. His eyes landed on Victoria and it was like something clicked between the two. She was adopted by this strange man and was soon moved into his London apartment.

Eleazar Fig, as she came to know him as, was tasked with getting her out of the orphanage so she could safely learn how to use her magical abilities.

It took Victoria a couple of weeks to finally accept her new life without being hostile, something she’d come to regret later in life. He quickly became the closest thing to a father she ever had, or at least that she remembered.

Combat: offensive and curses. No curse is off the table, save for the killing curse which she only uses once (against Rookwood). Victoria enjoys more drawn out fights over easy fights.

Relationships:

Duncan Hobhouse: hates. The moment he insults muggleborns, she vows to make the rest of his school life hell.

Amit Thakkar: amicable. Victoria has no strong feelings either way for Amit, though she did feel awful for dragging him into danger.

Everett Clopton: negative. Victoria still hasn’t forgiven him for bullying younger students or causing them to lose house points.

Sebastian Sallow: closest confidant. Victoria has a great deal of respect for him.

Anne Sallow: neutral. Victoria wants to get to know her for who she is now, so she can understand what’s changed from Sebastian’s depiction of his sister.

Ominis Gaunt: neutral. While she understands where he’s coming from, she can’t help but to disagree with him.

Imelda Reyes: negative to positive. At first, Victoria found Imelda to be just as bad as her bullies from the orphanage. Imelda eventually grew on her.

Poppy Sweeting: caring. Victoria admires her dedication to helping defenseless creatures.

Arthur Plummly: respectful. Victoria appreciates him for opening her eyes to potential treasures hidden within the castle.

Natsai Onai: odd kinship. Victoria feels she can relate to Natty in some ways with her family life.

Garreth Weasley: neutral. She can respect someone’s passion, but she wishes she wasn’t dragged into his experiment during class.

Leander Prewett: negative. He’s much too cocky for someone as inept as he is.

Lucan Brattleby: positive. In Victoria’s eyes, he’s like the little brother that she never had. Though it does feel as if he’s jealous whenever Sebastian is around…

Professor Dicken (muggle studies): hate. She constantly gets in arguments with him about muggle technology and what its uses are.

[cripplecharacters]

Hi! I’m writing a story about a lady with Down Syndrome. I was wondering if you knew where I can find any resources about Down Syndrome made by people who actually have it, or any organisations that would be good to follow. Any resources made by people with intellectual disability would be really helpful as well.

I read your post about this and it was really helpful so thank you, I’m going to use it as a starting point for my research.

If you’d like some context about the story she’s literally a lady in the 1920s who’s trying to get control of her family’s estate from her brother. Shes underestimated for her disabilities and for being a women but I’m trying to not focus so much on the discrimination and work more on giving her an interesting mystery to solve with the detective she hired. I’d like it to be a bit lighthearted. Anyway, as she’s a main character I really wanted to make sure I wrote her well. Thanks!

Hi!

There aren't many resources out there unfortunately, but there is a page on the UK Down Syndrome's Association's website where members with DS share their opinions on representation in TV and film! You can read it here. For info on intellectual disability in general the best I can do is link some of my previous posts on it - there's close to nothing that's actually made by us unfortunately, everything that I was able to find is always made by someone who knows a person with ID at best. To be clear, not all of it is bad - I thought this interview (TW for abuse that happens in the movie's plot) about a movie starring actors with DS was pretty good - but it's still a sign that we aren't getting enough #OwnVoices representation. It's slowly changing though!

To learn more about DS I would probably recommend NDSS, it's one of the very few orgs that have people with Down Syndrome as board and team members (should be the bare minimum, but it unfortunately isn't). There's also information on things like preferred language and myths that often show up around Down Syndrome!

I'm not great with history, but in the 1920s she would be a subject to a lot more than just discrimination. Eugenics and institutionalization would definitely be present. Not sure what route you'll take there, but basically all the words around that time that she would be described with are currently considered slurs or pejoratives. The racist term for a person with Down Syndrome was officially used into the 60s, and the ableist one is still used legally in 2024. But if you want to skip past that, I think that's more than fine. You don't always have to aim for 100% historical accuracy, just be aware of the real history.

A detective story sounds very exciting! If you decide to publish it on Tumblr or other online site feel free to send me an ask with a link, I'd love to read it :-) !!

Thank you for the ask!

mod Sasza

I’m just popping in as a history fan for a couple bits of history notes — but again, like Sasza said, you don’t have to be 100% historically accurate if you don’t want to and if you don’t feel it’s necessary.

So, especially in the first half of the 1900s, a large part of disabled children, including children with Down Syndrome, were institutionalized very early in their life. Around this time the push that immorality caused disability was strong, and people were often convinced by doctors and professionals that the children’s needs would always be too much for them. Eugenicism was sort of reaching a peak around this time, as well—I would say it was at its most intense in the period of 1900-1940s.

Not all parents institutionalized their children, though. There was pressure to do so, but that doesn’t mean everyone fell victim to it. There wasn’t really any official support for parents who did this, and there weren’t official organizations for Down Syndrome. From my research, the current large DS organizations seem to have popped up in the 60s.

The term ‘Down Syndrome’ wasn’t in popular use until the 70s, and it wasn’t known that it’s caused by an extra chromosome until 1959.

Life expectancy in 1900-1920 for people born with Down Syndrome was 9 years old. Some of this could absolutely have been due to conditions in institutions, but likely even more relevant is that about 50% of people with DS are born with heart defects (also known as congenital heart disease) that can be fatal if not treated with surgery. Heart surgery wasn’t really feasible until the late 30s and early 40s. Another risk factor is a higher risk for infection, which isn’t easy to manage in a world that doesn’t yet have antibiotics.

I actually wanted to find pictures of adults with Down Syndrome pre-1940ish, though, to see real tangible evidence of adults being part of a community. First I found just one picture of a baby in 1925 on this Minnesota government website. But then I found a collection someone made of photos of both children and young adults, but they are not specifically dated. The first baby picture is from the 30s according to the poster!

Judging by the clothes I see people wearing in these photos, photo #4 (man with Down Syndrome in a suit next to a woman) seems to be from the 20s and photo #13 (young woman with Down Syndrome and very long hair) seems to be from about the 1910s. #18 (large family with a lot of sons, including one boy with Down Syndrome) could be from the 30s. Those three are the oldest people with DS in the photos, and they seem like young adults. A lot of these pictures show a community and aren’t just isolated kids, which I find nice.

It’s hard to find specific historical record of people with Down Syndrome from that period of time, but I wanted to show photos of real people in their communities to show, hey look! They were there, too!

Either way, I love detective stories and historical fiction and I’m glad you’re writing a story and that you care about your character’s portrayal but I totally know the feeling of that tricky balance between historical accuracy and modern acknowledgement that we should have been doing better.

— Mod Sparrow

[physalian]

Tackling Characters with Mental Health Issues (or, ‘Write What you Know’)

**Trigger warning for this entire post**

This is completely off the cuff and unplanned but here we go. I just read a book that POV switches between its two romantic leads. One of these leads was intended to be written with a severe case of generalized anxiety. I have confirmation from the author that it’s not an author-insert. This character was entirely based on research, not experience.

Without putting them on blast, because they really did try…. While ‘neurodivergent’ or ‘mental health disorder’ isn’t a protected class, it should still fit squarely under other topics you shouldn’t write about if you don’t experience it with a massive asterisk.

TL;DR: If you yourself aren’t part of X minority or suffer Z physical or mental disability, you should not be barred from writing characters with those traits. ***HOWEVER*** writing these characters struggling, suffering, or overcoming this given trait in a pro-cis, straight, white, neurotypical, able-bodied America is not yours to touch.

This suffering isn’t your story to profit off of, when you didn’t actually suffer any of it.

I cannot remember who said it and I am absolutely paraphrasing but for example: White authors can and should include characters of color (and I am a White author). White authors should *not* write about a character of color as their protagonist experiencing bigotry, discrimination, hate crimes, and all that hardship, at the hands of white society. It’s just not your story to tell, and all the research in the world will never give you the lived experience you need to do it justice.

Like, you can write about the concept of slavery existing in a fantasy novel. Or sci-fi. Or some Alternate Universe historical fiction. You cannot write about the American slave trade like you lived it and still suffer the ramifications of it when you didn’t, especially when it is the thesis of your entire book.

Anyone remember that awful Amazon movie, My Policeman? Based on a book written by a straight, white woman whose straight female lead took an entire narrative to whine about how she was jilted by her gay husband and his gay lover who she got arrested and institutionalized so she could keep her husband… and never told them? With the predatory 3rd love interest and the whole ‘liar revealed’ and… yeah. That one.

Unless you do the work very few authors are willing to do, with permission and encouragement and a backing from whatever minority you’re writing about and their stamp of approval that you knocked it out of the park, just don’t. Save yourself the headache.

—

As I read this book, and this entire character’s arc is about her mental health, for 100k words… why would you *want* to take on that responsibility? Why would you want to take on all that extra research, all the stress of making sure you get it right, all the costs of hiring sensitivity readers and the risk of your character falling apart with readers who do fit these traits?

Characters with mental health problems are very, very tricky to get right for one massive reason: Accurately depicting many disorders and anxieties means your character can come across as extremely unlikeable, uncompelling, confusing, and frustrating. These characters won’t make logical choices or arguments, they’re likely to self-sabotage, contradict themselves, argue in circles, and die on molehills they think are mountains. This is just what anxiety does to people in the real world. We are not always compelling protagonists, and we don’t always get happy endings.

Writing illogical characters takes a lot of practice if you yourself are not an illogical thinker and if you’re writing half a book elbow-deep in 3rd person limited, intimately trying to describe how this disorder impacts their daily life, you, my friend, have so much more work cut out for you than you anticipated.

So why?

It got very sticky very quickly when the message I took away from the book was “character A can love away character B’s anxiety” and that just… it’s just not how it works. That is a very dangerous mindset to have, for both parties involved.

Character A does not exist to “fix” Character B, nor should A exist to be B’s therapist.

Making A B’s “medicine” can encourage some dangerous codependency. Especially if they break up, B backslides and spirals, and A takes on guilt for not being there anymore, as if any of this is A’s fault.

It says that ‘curing’ anxiety just takes a little romance. Which. No. B has to love themselves, first, before they’re able to love anyone else or let anyone else love them.

It got stickier when the author accidentally wrote a trauma-induced ace who wanted to start liking sex to please her partner and not for her own peace of mind (with internalized self-hate for her anxieties around sex as if not liking it after a traumatic experience isn't completely justified), as if she wasn’t good enough with the boundaries she had. And the narrative backed it up because she was *cured* after a couple rounds in the sheets—I worked really hard on my Ace character guide to help stop people from doing this.

Had Character A accepted these boundaries B had, and these two come to a creative compromise around intimacy that B does like, it would have been so much healthier. B liked making out, just not being the 'recieving' partner, while A chose to die on a 'if we can't have the sex I want, I can't be in a romance with you' hill and it just broke my heart for B. B wasn't being picky. B was traumatized.

The worst thing you can do to your ace character is a) reinforce the idea that they’ve failed as a human because they don’t like sex and b) reinforce the idea that they “just haven’t found the right person yet” and this narrative hit both in the bullseye.

The author wasn’t trying to write an ace, I can tell, but aceness aside “good sex is the best cure to your sexual trauma” is… also, not great? If you yourself didn’t experience this? The point of all of this was clearly to attempt exposure therapy, it just got so bogged down with other problems that the nuance necessary to stick the landing was completely lost.

If this was fantasy, like Twilight, with Bella’s dangerous codependency on Edward in New Moon, mental health is not the point of that book. The author didn’t set out on a mission to provide respectful representation of depression and healthy relationship goals. It’s toxic as hell, but it also takes a backseat to the actual story and the audience who loves those books couldn’t care less about how toxic it is.

The books aren’t about Bella overcoming her depression. They’re about sparkly vampires and the dangers of… teen pregnancy?

It got even *stickier* when the character revealed she’d apparently been in therapy for a decade and a half, only for her therapist to shrug and go ‘I guess you’re stuck with it’ while her mental health issue became a physical health issue, because she should have had a crippling eating disorder that the narrative didn't at all take seriously.

Why would you want the stress of writing this?

—

I am not at all saying you can’t write anxious characters if you yourself are not anxious. But make that an ingredient of the pie and not the entire pie, yeah?

Ask yourself why you’re doing this. The fundamental argument of that book seemed to be “anxiety can be loved away” and from the very first page, it was doomed. That was the book’s thesis. The entire story hinged on the success of this depiction.

I can’t even be mad, because it wasn’t intended to be harmful, but it inadvertently reaffirmed so many dangerous and incorrect assumptions and stereotypes about mental health. Good intentions historically do not guarantee good results.

If you do not suffer from anxiety, you are still allowed to write a character who experiences it (Or OCD, specific phobias, BPD, what have you). I tip my hat to anyone willing to do all the work to get it right because those are all tall orders, but you aren’t blacklisted from these characters.

But with any minority, anyone who isn’t “cis, straight, white, male, neurotypical, and able-bodied” write a character who is also X, instead of an X stereotype, who happens to be your character.

[rosiegirlie]

Press Your Number: John Egan x OC

word count: 4.8k a/n: I couldn't resist trying my hand at a John Egan story even though I'm nervous about it lol. As will probably be my usual this isn’t as researched / historically accurate as it should be so sorry in advance. I'm really just going off the vibes tbh ! read on AO3

The sun was setting with only the smallest bit still hanging on above the tops of the surrounding trees. It would soon be too dark for Jacqueline to continue working but luckily she’d reached a comfortable stopping point. She climbed down her ladder and stepped away from the plane to look up at her work. Oddly enough Jacqueline felt more proud of her pinup girl on the side of the plane than any of the pieces she’d shown back in Paris. 

Normally Jaqueline painted nature scenes. She hadn’t painted a person since university and had been nervous when Corporal Ken Lemmons told her what they wanted. But she had to admit that she’d done good. The painted blushing blonde looked full of life with her lips red and open in a playful pout. Jacqueline had worried whether or not the outfit was too risqué but she liked how the blue two piece swimming costume stood out against the plane’s sheet metal. It was eye catching. She hoped the men liked it just as much as she did. It still seemed like some sort of joke that she was getting to paint again. When she’d overheard Ken bemoaning having to paint designs on the planes she’d jumped at the opportunity before even introducing herself. She never thought that she’d be able to do this sort of thing when she transferred out to Thorpe Abbotts.

Jacqueline figured she still had a couple minutes of light left and climbed back up on the ladder with her paintbrush and palette in hand. The shading along the cleavage didn’t seem right no matter how many times she touched it up. She ached for proper paint but knew to keep her complaints to herself. She’d find a way to make it work, she always did. 

“Now that’s a view worth writing home about.”

The voice came from behind Jacqueline and in her surprise she jerked forward and had to stretch out her hand to brace herself against the plane to steady herself.

“Take it easy now.” The voice was louder, closer. Whoever the speaker was, he was probably right below Jacqueline. She pushed off from the plane and steadied herself on the ladder. 

“I’m good.” she assured him. After taking a breath she finally looked down. 

The man she didn’t recognize had moved up closer to the plane to get a better look at her work. A quick study of the man had Jacqueline wishing she’d met him in different circumstances when she wasn’t wearing coveralls three sizes too big, hair all tucked up into a sweat stained hat, and hands covered in paint. He was tall with broad shoulders. He was wearing a white sheepskin jacket instead of the ones every one else seemed to prefer. His hair looked thick and Jacqueline’s fingers itched to run themselves through it. She thought she saw a mustache. She needed to get a better look at him. 

“Do you like it then?” She asked, gesturing to the pinup with her head even though he wasn’t looking at her to see the gesture. Jacqueline thrived off of hearing what people thought of her art. She was greedy for any possible crumb of praise.

“She’s beautiful. Modeled off your broad back home?” 

“No, I just dreamed her up.” 

“It’s damn realistic to be something you just dreamed up, you must have practice at this sort of thing.” 

“I don’t have a lot of practice in painting half naked women, no.”

“Could’ve fooled me!” The man stepped away from the plane and Jacqueline finally got a better look at him. 

He was gorgeous. Jacqueline really wished she looked more presentable. She pushed her feelings aside and joked, “It’s the naked women we practice on, not clothed.”

“I knew it! You must be some sort of professional artist.” 

“Oh no, please.” She shook her head. “I hate that idea. If you ask me there’s no such thing as a professional artist.” She knew she should stop there but instead continued, “Art is something you engage with, a conversation with something you tap into. An artist should always be open to continual growth and learning. An artist is a student, not a professional. Or at least if they’re a proper artist they wouldn’t consider themselves a professional.” Jacqueline let out an embarrassed chuckle. “Sorry,” She raised her free hand not holding her paintbrush and palette and scratched at something on her cheek and along her jaw. She shrugged. “You were trying to pay me a compliment, it was rude of me to ramble. Thank you.”

When Jacqueline shifted to look back at the man she immediately met his eyes causing her to blush. His eyes were wide and after a brief moment of intense eye contact left her face to trace down her body. She felt his gaze as it went down to her hands in her lap. She burned as he worked his way back up to her face. It had been a while since a man had studied her like this and she hoped it turned into something as foolish as she knew it was to want. It was like his energy had changed completely and she didn’t know why. But she didn’t mind. 

He smirked up at her, causing Jacqueline’s heart to skip a beat, and said, “It wasn’t rude no. Trust me, I love a good ol’ fashioned ramble.” He shook his head and put his hands on his hips. “I’m just realizing I was seriously misled on some key details.” 

Jacqueline did nothing but stare at him, confused. He continued before she could figure out a response. “They said your name was Jack. I didn’t realize that was a nickname.”

Instinctively she tisked, “I told them to stop calling me that, it makes me sound like a boy. I hate nicknames.” 

“If it’s not Jack then what’s your name?” He prodded. 

“I’ll tell you mine if you tell me yours.” She challenged with a smile. 

“You can call me Bucky.” “Your mother named you Bucky?”

“My mother named me John but—”

“Lovely to meet you, John.” She stuck her free hand out and smiled wider when he took it in his own. “I’m Jacqueline.”

____ 

The officer’s club was full of laughter and music and men working off the restless energy that came with surviving another day. Normally Bucky would be right there with them, right in the thick of it. But he’d flown his first mission that day. He’d gone up and it hadn’t been anything like he thought. He couldn’t even remember what he thought it would be like. Bucky studied the glass in his hands. His hands had done terrible things that day, his hands were nothing like her’s. Nothing like Jacqueline. 

For some reason Bucky hadn’t been able to get her out of his head. He’d never felt like this before, focused so much in on one woman. But he kept thinking about how delicate her paint stained hands looked and the way her scratching at a wayward piece of hair on her face made him realize that she was a woman and not a man like he’d been expecting. Bucky felt ridiculous for being so worked up over a broad’s hands but here he was, a mess. It had only been a couple of days but his thoughts kept coming back to the woman he hadn’t been able to find since meeting on the hardstand. The endless meetings with Colonel Huglin and various other staff hadn’t given him the free time he wanted to search for Jacqueline but at least that afternoon he’d worked out that she wasn’t a mechanic. His mistake had been assuming that her getup had been her uniform. Now he was back to square one. 

A loud cackle broke through over the general noise of the crowd and Bucky couldn’t help but look for the source. There was a group of women by the corner of the dance floor and they looked like they were trying to contain one of them. Bucky watched and took in the view as they joked amongst themselves. The redhead, whose back had been to him, stepped out of the way and Bucky got a better look at the rest of the women in the group. Immediately his eyes jumped to the woman closest to the dance floor, the one with one hand on her hip while the other fanned at her face. She was wearing a rich blue dress that complimented her chestnut hair falling loosely around her face. He’d always liked the color blue but now he knew it was his favorite. She wasn’t wearing red lipstick like the rest of them but Bucky didn’t mind. She seemed to be entertaining her friends and making them laugh; he could tell from all the way across the room that she’d be the life of the party by his side. She was beautiful and Bucky needed to talk to her, needed to dance with her. Anything at all. He was a man starved.

But before he could make a move Lieutenant McDaniel was by his side and Bucky knew he was trapped. By the time he managed to get away from the conversation he’d lost her. Bucky kept his eyes peeled as the night went on, always looking over his shoulder. He’d catch glimpses but then she’d be gone before he could reach her. He couldn’t focus. He blamed his poor darts performance on the booze and joked that he’d come back around once he cleared his head. He wandered back over to the bar defeated. First he’d lost Jacquline and now he’d lost this mystery woman. If any of his guys found out he’d let them slip through his fingers they wouldn’t let him hear the end of it. Bucky’s reputation would never recover. He needed to pull himself together. He downed the last of his drink in one go and asked for another. As he waited for his drink he turned to lean against the bar top and look out over the room. His heart skipped a beat. 

There she was in the middle of a group of women settling down around a table across the hall. She sat down in the seat against the wall, the only one facing him directly. A wave of desire rushed over him, an overwhelming sense of longing that had Bucky feeling like a kid with his first crush. 

“Major.”

Bucky turned around and accepted the drink the bartender was offering him. “Thanks.” He lifted the glass in a cheers motion then turned back around with his eyes immediately going back to the woman. 

Something one of the girls said made her throw her head back in laughter again and Bucky instantly felt himself smiling along with her. The woman was a vision; Bucky wanted to have his way with her. She grabbed her hair all in one hand and pulled it up and away from her face. She fanned herself with the other, still laughing with her friends. When she pulled her hair back the woman had exposed the side of her face and neck so Bucky could now take in her full profile. He almost dropped his drink when he realized he knew that jawline. It was Jacqueline. He’d been eyeing Jacqueline all night and didn’t even realize. He could practically hear Buck in his ear teasing him for being such a fool. 

Without thinking Bucky set his drink on the bar and headed straight for Jacqueline. One of her friends, the redhead, saw him first and elbowed Jacqueline in the side to get her attention. John felt something settle in him when she met his eyes; it felt so right to have her looking at him. He’d always loved attention but never had it hit so right than now. 

“Jacqueline.”

“John.”

He reached out a hand. “Dance with me, doll?” 

“Doll?” she cocked an eyebrow at the endearment but before Bucky could worry about being turned down she was pushing her chair out from the table and standing up. “I can’t promise I’m a good dance partner. I’ll probably step on your toes.”

“A worthy sacrifice to have you in my arms.” He pulled her onto the dance floor and twirled her around, smiling when she giggled as she spun. 

“Smooth talker, are you?” Jaqueline said as she settled into his arms and followed his lead as they started to dance. 

“I’m whatever I need to be when the situation calls.” he boasted.

Jacqueline laughed. “Spoken like a real American.” 

Bucky looked down at her confused but defensive. “What’s wrong with speaking like an American?”

“Nothing at all! Just that you lot tend to act before thinking and seem to think you can handle everything on your own.” 

Bucky was quick to heat with anger but took a second to consider what she’d said. “Where are you from, then? Because your accent sounds an awful lot like mine.” 

“Alright, you got me.” Jacqueline winked at Bucky like she was letting him on a secret. “I’m a Yank like you.” 

“Do you not consider yourself American?” He watched Jacqueline chew on her lip while thinking how to answer. Now that he had her up close Bucky was grateful Jacqueline had forgone the red lipstick for something closer to her natural lip color. He was having a hard enough time keeping his cool as it was. if her full lips were fully painted up Bucky wasn’t sure he had the self control to stay respectable.

“I spent most of my life over here.” She finally answered. “I can’t even remember the last time I was in the States.” she took another moment to think. “It was probably when my mother passed. No, it can’t have been that long, I had to have been back since then. But maybe… no. Hmm… Wow.” she blushed, probably embarrassed at her rambling, and shook her head. “I guess I haven’t been back in nine years? Almost ten.” 

“That’s a long time to be away from home.” 

“Not if it never felt like home to begin with.” Jacqueline said with an unbothered shrug. 

“I can’t wait to figure you out.” Bucky said without thinking first. He quickly turned to look away from Jacqueline to hide his face in case he really was blushing like he felt. 

“It’s still early days.” Jacqueline mused. “We’ve got time.” 

The song ended and the pair separated to join in the applause for the band. A slower song started up and Bucky was quick to pull Jacqueline back against him before she could escape. She didn’t resist him and settled into his arms, leaning her head on his chest. The thing that had settled into him before dug itself deeper. He hadn’t felt like this since his first days learning to fly. 

They danced without talking for a while until Bucky leaned down close to Jacqueline’s ear and whispered, “I looked for you, you know.” 

“You looked for me?” she pulled slightly away stared at him with a look of bewilderment. “What do you mean? Why?” 

“Because I wanted to see you.” he said honestly. “I couldn’t stop thinking about you.” 

Jacqueline mouth dropped open in surprise. She seemed to be lost for words and Bucky loved that. He loved throwing people off their game. He stared at her mouth and took note of the slight smudge of pale lipstick on the corner of her mouth. He wanted to kiss it. He cleared his throat and pushed down his instincts that were begging him to wrap Jacqueline fully in his arms and give into all temptation. He was going to take a page from Buck’s book and be a gentleman about this. 

_____

Jacqueline was already at the bar when the Major came through the doors. A couple of cheers went up at his entrance and she couldn’t help but smile into her drink at the reaction. She loved the theatrics. But she’d done her research and she couldn’t believe she’d been so informal around someone with such a high rank. It didn’t make her want him any less, but it did intensify her nerves. Rank implied status and she wasn’t sure if she wanted to get back into the world of status. She watched as he wove his way through the crowd. He didn’t stop talking for a second. Jacqueline wasn’t sure why she was so endeared by his working the room. 

The couple next to her left the bar leaving more than enough room for him to come up next to her. Jacqueline set her glass down on the bar and tried to straighten herself up. She didn’t know what she was going to say to him. Should she wait for him to say something first? She was awful at intentional flirting. Jacqueline glanced over her shoulder and then whipped her head back around. He was almost at the bar and Jacqueline knew he was going to come up next to her. This was it. 

But then he didn’t recognize her. Didn’t even spare her a glance. Jacqueline wanted to laugh she was so mortified but held it in. Based off of the rumors she really thought he’d at least look at her even if he didn’t start flirting. She took a deep drink of her gin and tonic as she listened to the Major order a pint and make small talk with the airman on his other side. Her body felt like it was on fire she was so hyperaware of her surroundings. She felt beyond silly for getting her hopes up that he would want to talk to her again. It had been such a brief thing; they’d barely talked. It didn’t matter how nicely she tried to put herself together, it didn’t matter how long she’d spent on her hair and makeup. Her first impression had come and gone. She’d lost her chance to blow the Major away.

“Another round? Gin and tonic, right?” The bartender asked as she finished off her drink. 

“Please. Thank you.” She said with a smile but barely met the bartender’s eyes. As soon as she had her new cocktail she slipped away from the bar and into the crowd. 

Her original plan of doing something — admittedly she hadn’t gotten far enough along to actually plan anything, she’d been counting on John to do most of the doing — was useless now so she figured to hell with it. She was going to enjoy her night with her girls. Her closest friends and coworkers, Ginny and Elizabeth, cheered when she returned to them. Jacqueline thanked her past self for not telling them about meeting the Major. She knew they would tease and end up repeating the stories that had started spreading through the base. It didn’t do her any good to think about all of the women John had slept with. Maybe it was for the best that Jacqueline was forgettable. She needed to keep thinking about him as the Major, not as John. He was just a nice man she’d met and that was that. 

An hour later and her friends were all sitting around a table, laughing at Ginny’s imitation of their old supervisor. Jacqueline pulled all of her hair back from her face, twisted it around in her hand and held it up at the back of her head. With her other hand she fanned at her face. She’d worked up a sweat dancing and her hand was doing nothing to help her cool down. Jacqueline had just made up her mind to go out and grab some air since she was so hot, maybe she’d even turn in for the night, when Elizabeth elbowed Jaqueline in the side. 

“What was—” Jacqueline’s voice broke off when she followed Elizabeth’s line of site and saw the Major walking towards them. He was looking right at her and when she met his eyes he grinned. The other girls at their table turned to see what Jacqueline and Elizabeth were staring at and the conversation had died by the time John reached their table. 

“Jacqueline.” 

She felt butterflies when he said her name. 

“John.” She replied with a smile. Then she’d taken his offered hand and followed him out to dance floor. 

She’d spent the rest of the night wrapped up in John’s orbit. Even when they weren’t dancing John had kept her close, a warm presence that Jaqueline didn’t mind despite hating the heat. Normally Jacqueline was only good at being lively and social at the beginning of the night, more often than not she would slip out early to sooth her introverted nature begging to be alone. But somehow she loved being constantly surrounded with John by her side. It was easy to maintain a smile and keep up with the jokes being thrown around with the weight of John’s arm around her waist. 

Time seemed to pass in the blink of an eye and too soon John was walking her back to her hut, the perfect gentleman despite the rumors. Jaqueline wondered if this was what flying felt like; oddly enough she felt weightless with her arm wrapped around John’s. 

“When can I see you again?” John asked when they were almost at her hut. 

“It’s a small base, I’m sure we’ll run into each other.” she said coyly. Jacqueline didn’t have a lot of experience with men but she knew with men like John she had to hold her ground. “I’m sure you could find me if you really wanted.”

“Is that a challenge?” He sounded excited, like Jacqueline had given him some sort of gift. 

“You think you can manage finding me?” 

“I’ll manage it all for you, whatever you ask.” 

John’s words were what Jacqueline had always wanted to hear from a man but she knew to be wary. “You should be careful saying things like that to a girl. She might get her hopes up.” 

“And if I want her to?”

That took Jacqueline by surprise. She spluttered, “Then you should show her you care. Talk is useless if it’s just that.” 

“Good thing I’m a man who acts.” And with that John twisted Jacqueline towards him. His hand went right to the side of her face and he cradled her jaw as he pulled her in for a kiss. 

Jacqueline didn’t even pretend to be respectable. As soon as John’s lips were on her’s she was desperate for more. She pulled her arm out from being trapped between them and wrapped it around John’s back to bring him closer. It was clear he hadn’t expected Jacqueline to escalate the kiss but he was quick to match her energy. He moved his hand into the thick of her hair and Jacqueline couldn’t hold back her moan when he tugged at it to bring her closer to him. 

Her moan seemed to snap John out of it and he ripped himself away from Jacqueline, breathing hard. He took a couple of steps back leaving Jacqueline standing there looking like some strung out floozy with slick lips and wide eyes. She figured she should be embarrassed by how scandalous she was sure to look but she couldn’t seem to care when John seemed to be just as out of sorts. They looked at each other in silence, their heavy breathing the only noise between them. And then they both started to laugh loudly into the night. John came back to Jacqueline’s side.

“I’ll come find you.” He promised with a kiss to the top of her head. Another to her forehead. 

“I’m looking forward to it, Major.” She gave him a wave before entering her hut. She waited a minute until she let out a giggle and danced around the empty hut like the teenage girl she was feeling like. 

Jacqueline spent the next day on edge waiting for John to pop up at any moment. She meant what she said: Thorpe Abbotts wasn’t a big base. There were only so many places one could hide and she wasn’t even trying to hide. But to her dismay John never showed. She felt like such a fool for getting her hopes up. Her mood the following day went from bad to worse when the forts started rolling in after the mission. Lieutenant McDaniel’s fort, the one John was flying on, hadn’t come back. John was gone.

That afternoon Jacqueline was lost in thought staring out the minuscule window. The forest around the base reminded her of the years spent in Switzerland even though the two looked nothing alike. She had been such a child back then; the world had been so big back when she was young and now Jacqueline felt so small standing in the corner of the switchboard room. She felt so naive for losing herself over a flyboy so quickly, especially one she barely knew. Her cousin had joked that Jaqueline would find herself a pilot and finally have one of those romances that inspired great art. Even her aunt had commented on the possibility of her work leading to producing something she never thought possible. But just because the first world war and her various lovers had inspired her aunt to write didn’t mean Jacqueline was the same. Jacqueline was nauseous thinking about using her heartbreak as inspiration. Maybe this was why she couldn’t consider herself a proper artist.

The sound of her coworkers arguing pulled Jacqueline from her thoughts. It was no surprise they were talking about her. Nor was it a surprise they would do so openly in front of her without care. After all the time they’d spent together the three of them didn’t hold anything back. 

“At least she got out quick.”

“Bloody hell, Ginny. That’s awful to say.” Elizabeth dropped her nail file on the ground as she looked up scandalized.

“I’m just saying!” Ginny defended herself. “You can’t tell me that the heartache would be the same if they’d been together for ages. She’s better off this way!”

Elizabeth bent down to reach under her chair. She picked up her nail file and pointed it accusingly at Ginny. “But you don’t need to say that!”

“It’s important to see the bright side!” 

“It’s also important to have more than a couple of hours to process losing someone. You of all people should know better.” Elizabeth chastised. 

Ginny’s face went red with a mix of embarrassment and anger. “I was just trying to help.” She pouted, bitter that Elizabeth had poked at her sore spot.  “It’s okay, Ginny.” Jacqueline stepped away from the window and turned back around to face her friends. She gave them a weak smile in an effort to assure them but she could tell from their faces it didn’t work. 

Their office was small, enough room to maneuver around their chairs but not much beyond that. It felt as cramped as their switchboards looked. But luckily the girls knew how to make the space work, having worked together for almost two and a half years. When Jacqueline had been approached to transfer to Thorpe Abbotts until the Americans could get their crew up and running she said she’d only go if she could pick who would work underneath her. Ginny and Elizabeth hadn’t let her down and Jacqueline was beyond grateful she didn’t have to navigate this new world alone. 

She plopped down into her chair and let out a deep sigh. “You’re both right, I suppose.” 

“How’re you doing?” Elizabeth asked gently. 

Jacqueline shrugged. “As expected.” 

“I’m assuming you don’t want to get a drink with us then, after we get off?” 

“No one’s getting off anymore.” 

“Ginny!” Elizabeth, as always, was scandalized by Ginny’s comment but Jacqueline was laughing despite herself. 

“I didn’t even get off to begin with.” She confessed after she stopped giggling. 

“All that and you didn’t—”

“When would I have had the time to shag him?” Jacqueline asked with a tired sigh. “You know I haven’t seen him since.” 

Ginny was quiet for a moment but then said, “At least you snogged.” 

Jaqueline’s heart hurt as she thought about how John had looked at her when he pulled away from their kiss after he walked her back to her hut. “At least there’s that.” she sighed again. 

An alarm rang out and the girls sprung to attention. 

“I got it.” Jacqueline motioned for the other two to settle back into their chairs while she put on her headset. She connected the right wire then said, “Good afternoon, this is RAF Thorpe Abbotts. How may I direct your call?” 

____ 

He thought it was a dream at first, that made he’d hit his head at some point during the mission and was losing it. But his gut told him he recognized the voice of the operator who answered his call. He cleared his throat. 

“This is Major Egan. We’re out at—”

“John!” the voice was breathless and desperate just like he’d been dreaming. Straight out of his fantasizes and into reality. “Major, are you there?” 

Bucky cleared his throat again and said with a laugh, “Does it count as finding you if I don’t see you?” 

A loud laugh came through the phone and Bucky felt human again. 

[tyriq-edits]

In the Plain of Nysa (Trigun Greek Mythology AU)

Nicholas D. Wolfwood

Priest of the Twins' Cult

Lives pretty much in the Sanctuary of Nysa by himself but gets occasionally visited by other Members of the Cult, his younger brother Livio or people in need of the Twin Gods' Blessings.

A (Kinda?) normal Priest living in his tiny Sanctuary offside from Civilisation on a small Island in the Aegean sea called Nysa.

His Duties for the most Part consist of Prayers and Sacrifices for the Gods And keeping the Temple and Statue of the Twins clean and occasionally doing a Ritual on thr Request of the odd Visitor.

Did not expect one of the Gods he is serving to be dropped off at his Temple by the goddess Meryl and her Satyr companion Roberto and to be stuck Body-Guarding said God but oh well here he is.

May Or May Not Regret Giving Vash That Short Chiton.

For more Information/lore about this AU just look at the in the plain of Nysa tag on my page or just send me an ask in my inbox.

Also shout out to my best pal Stephan for teaching me how to draw.

Additional Ramblings about the lore and WW’s design under the cut

This is btw what a Penennular Fibula looked like and I only now noticed that WW is wearing it wrong in my drawing 🥲 The needle is supposed to rest on the Bow of the brooch and not in the opening in the middle.

Also this Fanfic takes place approximately around the time of the Peloponnesian War (431-404 BCE), however Penennular Fibula were primarily worn by either Celts and Romans. So as you can tell while I am trying my best with historical research and keeping things somewhat historically accurate, there are still creative liberties being taken for this AU.

As for why this AU and Wolfwood‘s Sanctuary are called "in the Plain of Nysa“: It‘s actually a reference to the Homeric Hymn to Demeter, aka the most complete version of the Myth of Hades and Persephone we have. In this Hymn it says

In other words it was "in the Plain of Nysa“ in which Persephone was kidnapped by Hades. On a fun note, Nysa is actually not a real place anywhere in Greece. It was instead meant to symbolise "a place far away“ the same way we tend to say "in a kingdom far away“ when starting to tell a fairytale. However that did not stop some Ancient Greeks from guessing where Nysa might be located. Some thus point it to be situated somewhere in Macedon or today‘s Balkans, others claimed it was around the area of the Black Sea or…. That Nysa was on the Island Naxos. Which is why in early drafts the Sanctuary was meant to be located on Naxos itself but as I have never been to Naxos in my life it felt disrespectful to the actual people who live there so I just changed it to the Sanctuary of Nysa being on a lone non-existent Island near Naxos instead.

On a smaller note Nysa was also said to have been the Birthplace of Dionysos, with his name meaning "God of Nysa“. In other Stories however Nysa was the name of a mountain on which Dionysus had started his cult.

I am also taking some creative liberties with how Priesthood functioned in ancient Greece. Unlike how it works in Catholicism and other religions, Priests in ancient Greece were not a separate social class. Heck apart from a few Cults and sanctuaries, being a priest was not even seen as a main occupation of job for that reason. And a priest usually wasn‘t chosen by some council, but in many cases you just paid a certain amount of money to become a priest. They did not even have an official attire like catholic or shinto priests do nowadays. However they were still expected to dress somewhat formally compared to WW‘s Exomis, which is basically the ancient greek equivalent of a priest showing up in shorts, flip flops and an old Tshirt.

The Twins Cult in this AU is by the way HEAVILY based on the Eleusinian Mysteries, aka the Mystery Cult dedicated to Demeter and Persephone. I will some day make a post dedicated to them and priesthood in ancient Greece as a whole.

And yes I still fucking hate drawing feet and shoes.

[pauls1967moustache]

Ok so I’m new here ( Beatles fandom ) and I’m just trying to learn as much as I can but once I think I feel like I’m getting a grip on things, I’m made very well aware that i don’t even know half of the lore with these boys. so would you be able to tell me where i can go to just deep dive learn about everything? The good, the bad , the ugly , the dark , ect

Idk if I’m the best person to ask bc my general approach to lore is just to learn through osmosis and have read exactly 0 (zero) Beatles books, but I’ll tell you how I went about it.

When I joined the fandom the main thing I did is just go through blogs I liked, (not even to learn stuff I just wanted to Look At more Stuff) which would inevitably have quotes and easily digestible shitposts about stuff which can give you a pretty good idea of lore even if it’s not the most accurate source. @amoralto is a wealth of sourced information which I often return to when I need to find something for a fic. @muzaktomyears also reads beatles books I have no interest in ever reading for myself and posts great quotes so that I won’t have to.

Also, you can always ask people! We’re all in this fandom bc we like talking about this stuff. Some of us may be more knowledgeable than others, but I’m sure if you pop into most people’s ask boxes and say like “I’m new here. What’s the deal with the divorce meeting?” they will be happy to either tell you themselves or point you in the direction of someone else who can.

The Beatles Bible is a good resource too. I use it a lot for the timeline feature (which isn’t perfect but is decent enough) but there’s also articles about basically everything (with quotes!) so it serves the same function as like a fandom wiki to me.

Lastly, I may be biased bc I’m a writer, but I always find the easiest way to learn lore for any fandom is simply by reading a bunch of fic lol. Maybe not the most historically accurate way, but if you go in knowing that there are artistic liberties everywhere you can start to pick up on common threads and events (fic was how I learned about the jp paris trip and the existence of Stuart sutcliffe, among other things).

Also, I will say, if you’re someone who likes going off and doing research, off you pop! Have fun! But if, like me when I joined the fandom, you’re simply trying get your bearings a bit, know that no one is expecting you to be a perfect Beatles historian. You are allowed to participate in the fandom even if you don’t know every little thing. And as I’ve said, you will pick it up as you go along!

[bedlamsbard]

Tagged by @windona!

1. How did you get into writing fanfiction?

I genuinely have no idea, it was too long ago. (2001/2002)

2. How many fandoms have you written in?

I've dabbled in a number of fandoms, but my big three have been the MCU, Star Wars, and Narnia, with a reasonable amount of writing time in BSG, CSI:NY, Miracle, and HP, and there have been bits and bobs elsewhere, sometimes as crossovers, sometimes not. (I actually used to do a lot of crossovers.)

3. How many years have you been writing fanfiction?

SOME. probably like 22.

4. Do you read or write more fanfiction?

Write. By and large I don't read in my writing fandoms, and since I'm pretty monofannish in general, it means I don't tend to read much fanfic anymore. I'll occasionally go down rabbit holes of old fandoms or occasionally particular authors (I went down a Smallville rabbit hole about a month ago), but these days I don't read much. My reading fandoms have tended to be fandoms that I was familiar with but wasn't inclined to write in back in the day (10-15 years ago), and I don't really pick up new reading fandoms these days for whatever reason. The MCU was one of my longest-running reading fandoms and it messes me up that I can't read in it anymore, because it's now a writing fandom, and all the stuff I used to be able to read pings as wrong to my brain.

5. What is one way you’ve improved as a writer?

Execution and discipline. I have always been a cast of thousands/complex plot writer, but for a long time I just didn't really have the skill level to execute it really well -- Dust in the Air is the most dramatic example. Part of it is also that I didn't really know when to rein myself in, and that's something I've worked really hard on. (Even Gambit's guilty of this, though by that point I was better at it.) I'm a lot better now at not only knowing what can be done but actually, you know, doing it.

6. What’s the weirdest topic you researched for a writing project?

I've researched some unbelievably weird stuff, I don't know what counts as weird anymore. Most of it has been for the MCU, since that's real world (give or take) and I try to be as accurate as possible, especially with something like Home where it's historical. Like, I looked up boxed cereal the other day to figure out when it had been invented, pre or post WWII. (Pre, but the idea of it as a kids' breakfast came post.) I've looked up so much about WWII-era engagement rings. The infamous "WWII essentially invented the men's wedding ring" thing. So much spy stuff. (I'm haunted by the fact that there's an inaccuracy in Home because I didn't realize at least one term was Cold War era and wasn't used in WWII.) Everything about special operations and spies in WWII was more batshit than the last thing. I watched WWII hand-to-hand combat training videos so that Peggy's fighting style would be 1940s-appropriate vs. 2010s-appropriate. I dug through online archives of newspaper headlines for the exact dates of the events in Home (those are almost all real headlines!). I went through War Department ID cards so that Natasha's would be more or less accurate. For Horizon I spent so, so long looking at summer of 2020 photos and blog posts so I could get the post-apocalyptic deserted Midtown vibe just right. (Also, like, horrifying that that's a thing you can just look up since we lived through it!) I watched escalator videos of people riding the escalator up from Grand Central into the MetLife building so that the scene of the Avengers going up the escalator in Stark Tower would be accurate. I looked up elevator enthusiast blogs to figure out how the Stark Tower elevators were likely to work. I went and walked around my own campus to plot out the geography and choreography of the Atlanta fight in Horizon, and then looked up pictures of the dorm rooms in the building where Natasha and the Hulk-Widow fight so that the furniture would be accurate. (Couldn't get into the actual building and the way it's laid out I couldn't look in the windows, even when it was empty for summer.)

7. What’s your favorite type of comment to receive on your work?

Thoughtful ones about the details of the story, whether those are plot details or character details -- the "I never thought about it before, but of course Steve drowned" or the effect that the characters have on the environment or the characters around them, or the "wait, is this the thing from XYZ?" kind of comments.

I have a policy of not responding to comments unless they're direct questions, and sometimes not even then, but I do read all of them.

8. What’s the most fringe trope/topic you write about?

buddy I write Infinity War AUs in one of the biggest IPs in the world, I'm not sure what in here is fringe. lol.

that aside, I don't think I've seen another fic writer who's as interested as I am in dealing with the post-Snap period. I'm sure they're out there, I obviously can't read in this fandom anymore, but this is the period of the MCU I'm most interested in and it doesn't seem to be a really common one. (which is kind of understandable post-2020, tbh, but Horizon was my way of dealing with all of that.)

uh, less macro than that -- probably the most fringe topic is my intense interest in worldbuilding Asgardian law, particularly vis a vis inheritance.

9. What is the hardest type of story for you to write?

I can't write short fic so I don't even try.

10. What is the easiest type?

"Easy" isn't really the best word here, but my default is 80-350K complex plot with a cast of thousands and intense relationship between 2-3 of the main characters. A long time ago I trained myself into being able to come up with long-form plot relatively easily, which is a great life skill if you want to write long-form plot, which I do. That is my default, which is why it's the easiest; aside from concept writing it's the only thing I write, and the concept writing is me playing with whether I should get to this point.

11. Where do you do your writing? What platform? When?

I am a Microsoft Word purist; I do it exclusively on my laptop, at home unless I'm traveling. I used to write on campus a lot; I don't do it anymore, though there are various reasons for that.

12. What is something you’ve been too nervous/intimidated to write, but would love to write one day?

The honest answer is the third Ouroboros story, All Along the Watchtower, which I did get scared out of writing years ago. Would I love it to be written? Yes. Is it likely to ever happen? No. The other, similar answer, is the rewrite of the Dust in the Air, which kind of hits the "intimidation" point because I would have to completely rewrite it. Would I love to do that? Sure. Is it going to ever happen? Probably not. Anything I write I expect to spend a couple of years on, so if I get intimidated out of it, it's simply not going to happen.

13. What made you choose your username?

I have been bedlamsbard for many many years -- the name comes from Mercedes Lackey's Bedlam's Bard series, which I was very fond of at the time. (I was also a flute player at the time, like Eric Banyon.) IIRC, I was also trying to figure out what would be symphonic enough to be memorable, especially because this was back in the days when your username was your name, it almost never changed. The double B in Bedlamsbard followed a few other well-known fen who had similar patterns. It doesn't seem to be common anymore. (There are one or two places on the internet where I still have a pre-Bedlam username, and I have another username I use when I don't necessarily want my fannish username associated because my real name is attached.)

I don't tag people, but go for if you like!

[kmomof4]

Do you know what today is?

It's the day I posted my first fic for the event I created that was on its 3rd year at the time. I'd only been writing for about eight months when I got the bright idea to expand a little vampire smut OS I'd written for @thisonesatellite bday into a full blown fic, and y'all, when I say bright idea, I mean if I had known what I was getting myself into, I probably never would have done it...

To this day it was the hardest fic I've ever written because of the sheer amount of research necessary to make it historically accurate plus the fact that it was the first time I'd written something that was completely out of my own head.

But this fic is now four years old and I'd like to highlight it as we gear up for the final year of the @cssns. To those of you who've read it before, thank you so VERY VERY much!!!! And for those of you who are new to fandom, or new to supernatural genre fics, I hope you give it a try and let me know what you think!

I can't promote this fic without also mentioning several ladies specifically who helped bring it to fruition, because it truly wouldn't be here without them- @wistfulcynic for her beta services and her WEALTH of knowledge and patience with me, @hollyethecurious for being my sounding board and #1 cheerleader when I wanted to give up, which was quite often, and then finally @spartanguard who is responsible for all the artwork for the fic. I do not have the vocabulary to express the depth of my love and appreciation for everything she did to bring this fic to life. Thank you, ladies, from the bottom of my heart!!!

Summary:

The Dark’s minion’s downfall is foretold When True Love’s Kiss doth unfold Between soulmates unbound by time The blue eyed prince and his golden haired Swan Their True Love will break the hold And Dark magic will be no more.

Rating: M (Violence and smut)

Words: 41K

Tags: Vampires, Soulmates, Reincarnation, Prophecy, Black Death, French Revolution, Magic, True Loves Kiss

On ao3

On Tumblr Prologue Ch1 Ch2 Ch3 Ch4 Ch5 Ch6 Ch7 Ch8

Art links on Tumblr Prologue Ch1 Ch2 Ch3 Ch4 Ch5 Ch6 Ch7 Ch8

Thank you for reading, sharing, and celebrating with me!!!

[shotorozu]

Paintings Do No Justice (Ch. 1)

Todoroki Shouto/Reader (Royal! AU)

Chapter 1 — Insult on Canvas

Tags: Romance, Drama, Royal AU, Getting Together, Painter! Reader (who is also blunt) Prince! Todoroki Shouto

Synopsis: One moment you’re mouthing off to someone about how you find the painting in front of you atrocious, and in the next— you’re sketching the same subject of the painting. How did you get here, again?

AO3

Masterlist

note(s): so yall might’ve been wondering— where was the chapter ⁉️ well one, the owl house ended so i was kinda grieving that 💀 and two— editing 😁 anyways ik this might not be EXTREMELY historically accurate, but i tried. a lot. as in, a month of vigorous research about the era went into this… anyways 😁

»»————-　♡　————-««

The estate was busier than usual, filled with clamor and poorly concealed whispers. 

When you woke up that morning and awaited your delivery of freshly new oil paints, you heard mumbles from helpers passing by outside of your door. You had tried to listen in on the mumbles when you heard any outside, but as you pressed your ear against the wooden door, the mumbling had faded to incoherence. 

Even the maid that usually kept to herself, was asking about your opinions, and when you tried to gain an elaboration— the maid in question simply sped away, tasks suddenly looking very appealing.

You never minded, but to have a certain type of mystery lingering in the air had you growing nosy. 

You tried your best to not dwell on the topic that much, instead– anticipating for someone to come knocking at your door with a case of brand new paints. You weren’t sure what was the most exciting part of them all– the fact that they’re brand new? The fact that they’re from the very center of the capital, traded by the best art supply retailer. 

You weren’t sure if it was just one of those reasons or all, but you could imagine them already. The dentless tubes, the color labels of each of them, the glide of each paint on a canvas. Your hands are already itching to test them out, find your next piece’s subject— 

Or instead of someone delivering the parcel to your room, maybe your father would loudly exclaim for your appearance. You would know what it would be for, anyway. 

You try to imagine the excitement, the craft of your art, the stroke of each brush, but it’s becoming increasingly hard to imagine something so.. Imaginable, when the muttering of each person that passed your room drew your attention. Not to mention, whatever your handmaids were speaking about earlier had you increasingly curious.  

You finally had enough of feeling left out of the hearsay– scandalous or not, pushing your chambers’ doors open and striding to the main hall, and that’s when you finally understood the commotion. 

You dart your head around, observing each and every expression of those present in the hall. 

A name was called into the air– by quick realization, your name to be exact, and you recognized the voice as your father’s. 

“Father,” You reply, arms folding atop of each other, a hand brushing against your elbow. “Is it just me or has the estate become busied with noise? Is it gossip that I was sorely excluded from knowing again?” Your father chuckles, shaking his head. Okay, if it wasn’t estate gossip, then what was bringing out the invasiveness you never knew you had? "Or.. Was I walking around insensibly like a headless chicken–”

“That’s not it, it’s just..” You wait for him to finish his sentence. He seems to be grasping for the right words– presumably, due to the difficulty of the subject? “Your paints have been delayed.” 

Your brows furrow. That was it? 

Although it seems to be a bit of a letdown– considering the extent of your anticipation, but it is no true worry as the hearsay makes it seem. “So? I am willing to wait. In fact, it is a wait I’ve been doing for years now, waiting for a significant breakthrough.” 

Your father chuckles, wrinkles prominent on the corner of his eyes. “I assure you it will happen. But the issue here is that someone will have to pick it up themselves.” 

You hum, coming to a decision. “I could do it, I have a feeling this is the result of everyone tossing the responsibility onto each other like a hot potato.”

His aging features fell as an awkward laugh suddenly emerged out of him. “Oh, I’m afraid that’s not all.” He coughs. It seems forced.  “We’ve gotten word that Prince Shouto is getting his portrait  done.” He sighs, “It has been a while since his juvenile age of fifteen. Once again, we’ve missed the opportunity to grab at the commission… like last time.”

You pause. Prince Shouto of the Todoroki family?

It was a given that you know who he was, everyone within the society of your kingdom had an idea of the third son of King Enji Todoroki. He was said to be tall, handsome, gifted, and the only eligible heir despite having three siblings years ahead of him in age. It was also rumored to be that he could conjure flames with his left, and ice with his right. 

All those things have been said about him– and it was almost ridiculous, until it dawned onto you that you haven’t seen the prince in question once. Never in your life have you been able to see if these allegations held some truth in them. 

But he is still the prince at the end of the day. It’s not like your opinion mattered to him, to anyone caring for that matter. Perhaps the responses of the trainees, interns, and the help were justified clauses after all.

Not to mention, “last time” was considerably a hard time as well, though maybe the uproar of today is due to the fact that Prince Shouto is of age, and is essentially nearing the start of his prime. The next time his portrait could possibly be done in a few decades– and of course no painter as urgent as your father could wait that long. 

“The royal family aren’t the only highly regarded clients that we could paint,” You state, “There’ll be other big names that’ll be anticipating to be painted by us.”

Your father’s features crinkle, “It is the royal family.” 

You shrug. Touché. 

“I’ll get going now.” You spin your heel, “Perhaps, calming down the masses of this estate would be good?” 

Your old man considers your words evidently, though you think this is simply a plot to get a rise out of you. Your shoulders rise like mountains and drop with a sigh– as equally visible as he “considered” things, and his charade drops with ease. “That is a good idea,” 

Without turning around, you can hear him calm down the people within the estate. 

You sort out your appearance, going through each drawer and shelf to examine the amount of various garments that you currently own. You weren’t going to be out for long, and you weren’t going to be looked at for long, so you eventually settled with something of comfort– forgoing a usual bodice in favor of a long sleeved polo with frilled trims, and a skirt with a simple but presentable silhouette. 

Snatching a messenger bag while forcing on some shoes, you walk down the hallway and out the door in a hurry– determined to beat the busy crowd of the merchandise galleria.

—

Your assumption was indeed true, but it turned out to be busier than you'd ever expect. 

Retrieving the paints was the simplest part of the intended short trip, but getting near the designated supplier showed itself to be difficult. 

There were more people in the galleria than usual, and you’d be aware of this– considering that the folk that roamed the galleria’s path frequently contained the help and the occasional artist taking initiative.

Which meant that it was quite never the ton.

Package in your clutches, you hadn’t need to look at the crowd to realize– that they were not the district’s average patrons. 

Turning a heel, you observed the high quality bodices and robes of all sorts of fabric that adorned the sophisticated. With hairstyles, hats and jewelry that decorated the elite were supremely well made, your eyes felt as if they sparkled simply by staring.

“Unveiling of “Adolescence” By Mr. Sasaki to be done in just a few! I repeat, Unveiling of Mr. Sasaki’s latest painting is to be done shortly!” 

You try not to huff at the announcement. Mr. Sasaki turned out to be the very artist your father was feuding with. Only child of a duke, he opted out of inheritance of the title in exchange for an artful life of paintings and sculptures. The choice was viewed as shameful initially, but his competence in art assisted in his favor. 

If anyone were to ask you, however– you’d say in hush that it was a result of nepotism. 

Regardless of the opinion, you remained in your place, curiosity quipped to see what aspect of this latest work made it worthy of a live elite audience. 

Then, the thin cloth that obscured the painting’s true form was lifted with the ring of a bell, and tossed to the side. 

Curiosity quickly drained out of you, and your artistic knowledge made you long for the moments before you saw the painting. 

The backdrop of the painting was simple. Considering that it is simply backdrop, it was painted a dark oak color and blended well for the viewer to not have their attention glued to what was behind the subject. 

And the subject itself was…

“Not the sight for sore eyes.”

You bit your lip before anyone could register who said it, or what was said. What you said was intended to be kept on the inside, and while the words could’ve been directed to anything, the context was unfavorable. A clear insult to the painting. 

When you clear yourself of possible suspicion, you continue your ponder– analyzing the painting, uttering barely present comments about the painting. 

Then, you hear a hum beside you– baritone, hard to shake off.  “What makes you say that?”

You try to stop your shoulders from jolting upwards from surprise, but your attempts come short. Was it directed to you? You pondered considerably, an endless amount of possible outcomes went rampant in your thoughts. 

Your heart raced– you could get into some trouble for what you’ve just said, and what you’re about to say. 

You weren’t about to retract statements, no. But boycott was possible if your unkind comment and name was unearthed to the artist himself, or even– members of the gentry.

Despite yourself– you turn to your side, and see a man dressed in a dark coat with a matching hat obscuring his hair and eyes. The features that weren’t hidden by his hat or the collar of his coat were distinctive for you to recall in a few weeks time.

He was lean– certainly not a dandy. He looked as if he was never meant to be seen just like you, as he had an air of mystery around him if you dared to make significant mention.

Well, a faceless man practically made conversation with you! “Mysterious” reflected little in description.

He must be the one who asked, his voice aligned with his appearance– and it certainly isn’t the mother in front of you, or the young child spectating the unveiling on stacked up carts. 

“Portraiture is certainly popular within recent times,” You note “But the subject… does not seem adolescence.” You end off, dryly.

There’s some silence, and you close to thinking that the conversation has ended. 

Or, perhaps– it did. You saw what you needed to see, you retrieved what was needed of you to do– you could go back to the estate and happily start on your next painting. You could quickly leave in silence, as if the comment was never made at all– 

“What do you mean by that? Must you be referring to the subject’s features?” 

The response has you thinking. The stranger’s interested in what you’re saying, which is… certainly not an everyday occurrence, but could blame be set on you for indulging? 

“No. I meant that there is a lacking quality in the subject, and I think– overall tone of the work.” You reply, slightly more confident. “Neoclassicism is indeed, also popular these days, but for it to be observed in portraiture art such as this is.. Unfitting.” 

You’re on a tangent, but you cannot find it in yourself to care. You’re so focused that you didn’t bother to even turn to the man you’re subjecting your tangent to. “The restraint, unemotional element of the genre simply has no place in a work called… “Adolescence”, as the years of adolescence are full of inexperience, development, and are our days of youth, yes?”

“And since that is the case, you’re wondering where is that look we’d all see in the mirror during those days?” 

You chuckle. Finally, someone that gets it. “Yes.”

But your cheer makes a drastic drop when your sight is lined up with the portrait once again. Art analysis aside, how is a forehead with that width and length possible to conjure– especially on pure intention. How it wasn’t the first thing you’ve laid your eyes upon was worthy of amazement. 

“Not just that, but no real human has a forehead that big. It’s as if the subject is a pompous imbecile. Intended outcome or not, I pity whoever was the subject.” 

The stranger lets out a soft laugh that was ridden with illy concealed shock and amusement. The sound sobers you out of your analytical tangent and you only stare as he finishes. The expression that he’s left with– from what you can tell from the subtle curl of his lips– is placid, yet entertained. Though the reason behind it is unheard of… 

A loud voice cuts through your thoughts before you could say or think anything more. “Mr. Sasaki will be here to answer any queries.”

Several people raise their hand, but none of what happens in front of you distracts you from the stranger’s voice resounding against your ears. “I suppose I should’ve assumed much, once as the forehead was revealed in its full force. Mr. Sasaki was.. Especially defensive when the painting was completed.”

You only stare in question as someone in the audience inquires about the painting’s primary subject– the center of the reprehensible thing.

But the man makes no further movement to address his comment. “Could I have your name? Are you perhaps an art critic?” 

“Ah, the main inspiration as you can see– is the subject of the painting!” 

You blink. You could mutter and make ramblings about paintings and art conceptually all you pleased, but giving your name first to a stranger– a nearly faceless one– was improbable. “Only if you are able to disclose yours. And no, I’m no critic.”

“Is it not customary to answer a question with another?” The words he says are accusing, but by the tone of the unknown man’s voice– he has no intention.

“Fine.” He did have a point. Some may say that you only had care for the arts and nothing else, but an “uncaring” person such as you was also taught not to answer anything with a  question. 

“Y/N of the L/N family. I’ve spoken this much, so it’s only fair that you take your turn to speak up and slightly embarrass yourself now.”

You don’t have to look him in the eye to know that he is resisting a laugh. You can see it in the way his lips tightly shut. 

Mr. Sasaki goes on despite the intriguing conversation you find yourself within. “Everybody knows him– so it goes without saying, that it was a big honor to paint–” 

“Shouto–” 

“--Your Highness, Prince Shouto of the Todoroki Family!” 

The fact was indeed proudly stated– the best boast an artist could say.

But all you could do was stare at the portrait, and back at the man who said his name was… 

“Wait, you’re, uh…” 

And that’s when you finally get a decent look at the man– now that your attention isn’t gathered on analysis.

Under the hat– mismatched irises were hidden in plain sight, but all due to the close proximity, the silver and cerulean pigment of his eyes matched with the painting– except, the painted counterpart was less than nothing compared to what was material.

What stood in front of you– was the unmatched, unrivaled beauty of the lands.

On his left eye, he had a scar that made no appearance in the painting, as if it never existed. It was clear that the scar was excluded on purpose– seeing as the scar is a distinctive part of his face. However, now that you stood next to someone of royal lineage, you could bear witness to the scar, that was not mere hearsay of the elite’s most nosy.

Besides, the scar did nothing to deter from his aesthetic. 

“Not even the king wanted to show me the painting, and… that was– I suppose– the strangest of it all, considering the time.” 

Then it just occurred to you, what grave thing you’ve committed. 

A grave offense, worthy of the death penalty– public execution, and exile to all related to you! 

So you did the first thing that appeared in your mind. 

Shove royalty out of the way and make a book for it. 

[teejaystumbles]

Talk to me about BtOM and/or its sequel? I've seen some of the webcomic and would love to know more

Hooo boy! Thank you so much for your interest! This is going to be a long post! BtoM is my original webcomic, set in the Aztec empire in the 15th century, before the arrival of the Spaniards. It's not trying to be historically accurate but I did quite a lot of research at the time to get cultural stuff and place settings right. It features, as main characters, Metztlitototl, a boy who fell from the sky; Mictlantecuhtli, god of death; Tezcatlipoca, god of, heh, a shitload of things LOL, and his highpriest Itztli, a human. They try to navigate their feelings for each other while finding out where Metz came from. It's a gay love fantasy drama. (while I and the characters often refer to Metz as a "boy", he is not underage) I came up with the basic story idea over twenty years ago and developed it over the years (with the help of a writer who is not part of it any more) into a fully fleshed out story. At the moment it spans six full chapters with about 30-40 pages each; the seventh and last chapter is still unfinished. I have taken huge breaks over the years, coming back to it again and again. I have always promised that I will one day finish it and I still intend to keep that promise. The shutdown of smackjeeves had me loose my main platform for hosting the comic and while I have plans to make my own website, at the moment it's hard to direct people to where to read it easily. That's why I set up a new tumblr for it, but editing all the pages and making the posts is also a huge effort I struggle with. (So sorry!!! I will try and be better!)

It's hard to share stuff because it's a comic script, not a novel, but I'd like to share something from chapter seven, Mic and Itztli trying to figure out who or what Metz actually is-

Itztli is sleepless, he roams the temple grounds restlessly, deep circles under his eyes. He coughs violently and spits but doesn't see the blood mixed with his spit. At dawn he comes upon a secluded area where a fire must have been burning not long ago, a qualming brazier and lots of footprints make him curious. He inspects the scene and finds almost but not completely erased drawings in the earth, depicting... Metztlitototl? What is the meaning of this? Is that... the boy? "It is as I thought." Itztli whirls around at the voice, and Mic stands before him (not the skeleton, but the "nice" Mic). Itztli squats down immediately, heart pounding. "Lord of Mictlan." Mic ignores him. He looks around, sees traces of burnt incense, and even a feather of a bird, hinting at a blood sacrifice. Without looking at Itztli, still studying the area, he says: "Tell me about the night you found him."

The sequel is a very indulgent PWP that has them figuring out their feelings even more and basically all four of them end up in a polyamorous relationship haha. It was my pleasure project to write when the mood struck and has reached the same length as the main story document (oops LOL)

My favourite is not the main character Metz but Itztli, my precious poor boy who'd do anything for his capricious master. He's probably the reason the sequel exists because they needed more space to flourish <3

The main characters, Metz and Mic, are soft and lovely and I love them to bits but they are also, well, easy. Also, Mic is obviously inspired by Dream. My teenage self had a type (and still has). xD

Feel free to ask me more detailed questions! I will endeavour to post more comic pages soon!

[gemsofgreece]

Γειά! I'm very interested in reading about Greek mythology. Mostly interpretations and deep dives on the origins and context of said mythology. All I've read so far are texts authored by British and American scholars but those are always biased and fitted into not-hellenic cultures. I wonder if you know of an actual Greek source that I could access in Spanish or English? I'd really appreciate it. Have a great day!

Γεια σου! Unfortunately I can't provide very accurate recs because I haven't read much about mythology and because

Foreign scholars hardly translate Greek literary classics (meaning modern classics), let alone Greek research on fields that they have already totally called dibs on.

Greeks themselves traditionally did not care much about mythology and have been studying history way more. The stance they hold towards mythology is that it is a bunch of fairytales suited for kids.

Younger generations are getting more interested in it which had led to an increase in books, references and podcasts about it, however the extreme majority are still adressed to kids. I searched one of the biggest book stores in Greece for recs and out of the 192 Greek mythology books available, it wouldn't be an exaggeration to say that the 170 were meant for kids and then most out of the remaining were translated foreign works.

The most famous Greek book about the mythology is Ελληνική Μυθολογία by Nikos Tsiforos, 1964, 644 pages. This book is very informative and detailed however this is not its actual intent. Written by Tsiforos, who was a screenwriter and director with a very sharp humour and notable for the use of slang (of the time), its main point is the social and political commentary on religion. He was also very interested in drawing parallels and finding influences with other eastern civilizations. A drawback I have seen mentioned lately is that since this is edgy humour of the sixties, it completely lacks in political correctness, which makes some jokes appear irrelevant and insensitive. Greek readers seem to love this book enough to forgive such jokes and all agree about the surprising amount of knowledge and detail concentrated in this book, however unfortunately it is not translated into other languages.

I can translate to you the excerpt above to give you an idea:

"... turned against the idols of the Philistines, those people who historically had Greek origins, the Egyptian gods marched drenched in gold alongside the army to confront the iron gods of the Hittites, the patron saints of Cortés were caught in a catfight with the monstrous gods of Motecuhzoma, and whoever won the match also won the glory and the faith, so try arguing with men thinking that the "protection from above" excused their rights or their injusticies... A deity is necessary in war, because it is based on the highest power of the universe... The human stupidity. The mass human stupidity. The despicable Mr War could not not become a god by the Greeks, people who fought constantly, from their very first day. So he did, and his name was Ares. Behold, then, a Gentleman whom deep inside nobody likes. Neither the people who created him nor the gods who had a brawler in their company. A troublemaker, vile, unconscionable, most rude, never keeping his word - war never has honour anyway..."

It is a great read, but not translated and probably not exactly what you seek.

Then some other ones that are not translated, at least so far, are

Ελληνική Μυθολογία Τόμος Α Εισαγωγή. Ανάλυση και ερμηνεία του ελληνικού μύθου - Greek Mythology. Volume A. Introduction. Analysis and interpretation of Greek myth by Konstantinos Tsatsos, Ioannis Kakridis, Eleni Kehayoglou. Also writes a lot about the origins of every myth and explores the reasons behind their creation. Part of a series on Greek mythology, where most of the work is done by Kakridis, I believe. His full book series is 1680 pages. I believe the Greek Mythology by Kakridis is what you are looking for, but again I don't think there's a translation.

Ελληνική Μυθολογία: οι Θεοί - Greek Mythology: The Gods by Dora Papaioannou, 180 pages. This is an edition in simple, easy Greek, ideal for Greek learners, so I don't know if you are studying Greek, I add it here just in case. Obviously this must mean it doesn't get extremely detailed, although a reader in Goodreviews said it also had myths they did not know about. Papaioannou has written more relevant books in easy Greek, such as for the Trojan War and the Odyssey, with 225 pages.

Even though there are no translations, I thought this was an opportunity to mention these ones for interested Greeks and Greek speakers / learners.

There were more books of course, but they were for children or they focused on beautiful illustrations rather than analysis or didn't have enough ratings in Goodreads yet for me to recommend them.

[twixitativi]

do you have any tips on writing an au? normal fics i can usually handle but i’m working on a kunichuu grease au and i’m finding it quite difficult.

hiya! thanks for asking :3 also good luck with that, that seems like so much fun omg; feel free to send when you start releasing, i'd love to check it out!

ill be using splinters as my example here purely because thats closer to what you're trying to do (movie/musical as reference)

this is going to be long as fuck because i tend to ramble and go into detail, so im adding a read-more. i sincerely hope this helps because i know its a LOT (potential spoilers for splinters included)

1. The Foundation

when i first started working on splinters, it started with a lot of idea bouncing. who would suit what role? why would that role work for them? originally, i had looked at dazai as jd and chuuya as veronica, or dazai as veronica with fyodor as his jd.

then, i also started thinking about story 'beats'. to be clear about what that means, i like to think of different parts/scenes that i need/want to hit, and kind of the order if possible. this usually intertwines with the original story-- in your case, grease.

all this starts falling into the next step:

2. Research

it may not be entirely apparent, but i did (and still do) a FUCK TON of research for splinters. by choosing to have multiple source materials to base your work off (both bsd AND grease), depending on how close/accurate you want to be, you're going to want to get in touch with the material.

you've mentioned grease-- i'm assuming you're doing this based off the movie (love the movie. need to rewatch). what i personally do with heathers the movie is that i watched it the entire way through first to refresh myself with the material. it might help you to take notes about different characters, ideas, plot lines. i found a copy of both scripts online in case i wanted to see about throwing an iconic line in during an important scene without diving through the whole movie to find it.

i dont know HOW historically accurate you want to go with your fic--you may be choosing to explore the concept of grease rather than the actual setting itself-- but grease takes place in the late 50s, TECHNICALLY early 60s (movie itself came out in the late 70s) (my mom LOVED it when it came out). so, you may want to do some basic research: fashions/trends of the time (this has gotten harder to search online, you may want to even run to the library and find some books if possible)? societal norms? what did normal teens do during that time? did they have arcades, did they go to restaurants, what was the average place they hung out at?

a lot of times, i have to double-check if some of the stuff in splinters is period accurate. each decade has different lingo, slang, and general information that was normal during it. hell, looking back at the 2010s versus 2020s, if you were to write a story during, saying, 2011, and have your characters saying "slay" and "yas queen" and "road work ahead, uh yeah i sure hope it does", i regret to inform you that that will NOT be accurate, as those phrases are more late 2010s + that vine came out in 2016. now, could you quote/potentially reference these things? absolutely! but you have to be more strategic about it.

ALSO. look up fun trivia about your source material! you know where i got my title from? its the english translation of the italian name for heathers. im not even kidding. also, mix and match material! hell, even throw references in to other material! i had my mean girls reference in there! because its bsd, i like to throw in authors i like from time to time where they fit!

another silly one: what music came out around that time, playing on the radio? HOW did they listen to music? i specifically listen to a 1989 top hits playlist when im trying to figure out what songs might be playing on the radio while my characters are driving-- and even THEN i still will look up specifically when that song came out, because i made the choice to be horribly specific with my timeline.

on that note:

3. If you can, DON'T SET A SPECIFIC MONTH/DAY/ETC.

i made my choices. do i regret them? YES. is it still fun to work with? absolutely, but also the heathers timeline is lowkey a mess and you could simultaneously claim it takes place in 2 months or several.

honestly, avoid specifics. having to keep track of a timeline is an absolute bitch, and it's going to make your life a lot harder, because then, you HAVE to make sure it all matches up. if i say that kunikida went and got his glasses in march, i cant say that his glasses are brand new in may (this is a hypothetical example).

timelines suck. unless you think you can dedicate the time and energy to keeping with one, don't do it.

4. OUTLINES.

i've been writing fanfics for years, which is wild to me. i was writing fanfics in single digits (didn't even know what fanfics were). one thing that i have especially found useful with splinters is to make outlines for where you want the story to go.

let me break it down for you:

you're gonna have MULTIPLE outlines, and they are NOT set in stone. they are guidelines for you to use so that you're not sitting there going "shit i don't know what to do next". they may be scenes you want to have in the fic. they may be important plot points. they may be absolutely stupid shit that youre like "if i dont get this in here i will cry" (diarrheazai is a threat that i intend to keep)

FIRSTLY. try making a general outline for your whole fic. you don't need super specifics, but think of what events occur during grease. in it, danny and sandy meet in the summer before their senior year. sandy meets and joins the pink ladies. there's a dance competition. danny and sandy fly off in a car into the sunset. etc. TO BE CLEAR, you don't have to keep all the details! it is your story, and what you want to do with it! having that structure can be helpful when you start though.

THEN. once you have that general outline? start trying to plan out chapters. you dont have to make outlines for them all at once. more often than not, i'll sit there before i start a new chapter just trying to outline what'll happen in it. this helps a LOT on multiple levels. i'll provide an example of what that can look like below (SPOILERS IF YOU'RE NOT UP-TO-DATE WITH SPLINTERS):

(the blacked out bit is spoilers, everything else should be clear to see)

a quick explanation: i dedicate a small document to outlines for each chapter. as you can see, with chapter beats, i have diff things i want to try to hit. the stuff highlighted in green is stuff that i come back post-chapter to confirm i hit. sometimes, if it's not EXACTLY in there, i'll leave a note in bold (ex: WAS MENTIONED).

but you can kind of see what im talking about here. i have some things that im trying to knock out per chapter.

other things in my doc to outline:

yes i talk to myself in my notes.

i highlight different scenes according to their relevance to certain characters sometimes; i add scenes in where i need to, and then ofc as you see ill go into detail about specific scenes. and AGAIN these are not set in stone. for example:

as you can see, shit changes over time. that boiler room make-out scene during the homecoming pep rally appeared in ch 11. i did not make this sequence fyodor's pov.

sometimes? i just dont have the time or energy to write shit/dont think its relevant to the plot. good bye, corn maze. you'll be remembered in my thoughts and my outline

also try to have fun while outlining. it doesnt need to be something serious. literally my outlines are a mix of dialogue, scenes, my own thoughts, etc. get silly with it. this is supposed to be fun and enjoyable!

ANOTHER THING:

5. LOOP SOMEONE INTO OBSESSING OVER THIS WITH YOU.

i was inspired by ardeidae to write splinters, and i have successfully trapped them in splinters world for almost an entire year now. by both of us loving it, we can keep ourselves focused on it.

what also helps is bouncing ideas off other people. me and lu have had conversation after conversation after conversation about different plot lines, scenes, etc. sometimes, i don't know what to do and i will ask lu (or other people) for advice about the progression.

you may have also heard of the engineering rubber duck method. if you're unfamiliar, engineers will sit there with a rubber ducky by them and talk to it about what they're working on until they figure out what they need to do. sometimes, just ranting about the fic is enough to help you spawn ideas about what to do next.

OH also

6. If you do end up making a timeline? Have a calendar on hand.

this is no longer 100% accurate to the progression of splinters and the chapters, but it helped a LOT. laying it out like this can make one hell of a difference. im a visual person, so doing this helped. also, can help you keep track of holidays and shit. if you want to give your characters a day off from classes, check a school calendar for holidays. be like "uhhhherrrr yeah they're taking, uhhhh veteran's day off" yk

7. Write, but don't force it.

splinters doesn't have an actual updating schedule because i work on it at my own pace, and update once i finish a chapter. now, i usually finish chapters after a month, but i don't say it updates on x day. don't box yourself in unless you truly think you can handle it. some people are very good about schedules. i am horrible at them, bc ykw? LIFE HAPPENS.

when im in the mood, i write. i will sit for HOURS and just write. grab some snacks, maybe pop on some music, get a buddy to sit with you, but just go for it. sometimes, i'll pull a 25-10 method-- 25 minutes of writing with ten minutes of relaxing and bullshitting--and that helps me not burn out as quickly. but honestly, you cant always brute force it.

have i had to brute force it sometimes? yes. you will get stuck. it naturally happens. sometimes, a scene fucking sucks and you're like "i hate this scene but it HAS to be in there" (if it doesnt fuck that shit. throw it out. blegh) sometimes, you need to mix things up to make it more appealing to you, because i am of the belief that the readers can tell when you're not invested in a scene. if im writing a scene and its going slowly and i just want to get it done? the quality's going to go down, and i KNOW it. so, i evaluate. what do i need to do for this scene to work? can i add something to help? do i need to just rewrite the bastard and call it a day?

and sometimes? you can just go ahead and put a little "<'scene'>" in and move on. depending on how much your fic relies on that scene, that won't always work, but sometimes, you just gotta leave it and come back to it. you can also do that with certain dialogue/details. if you're trying to get your characters from point A to point B, don't shove them there if they run out of gas. make a detour, and see what happens.

eerrrrrrr yeah, i THINK that's the majority of the advice i can give? sorry that that's a lot, but uhhh hope it helps! :')

[marzipanandminutiae]

I was never into the American Doll toys cus they weren't popular in my country, but I've always had the feeling that the XX century dolls all look like they are wearing adult's outfits. And tbh I don't think it's that bad cus some of the most iconic dresses of their respective eras weren't standard styles for children. I saw someone commenting that the styles on the 90's doll look like tv characters, and I think that's accurate for dolls from other decades as well, maybe it just irks us millenials cus that's an era we were closer to living so it doesn't feel natural.

It depends on the character, as far as I can tell! Going down the decades:

Samantha definitely looks like a little girl from 1904 (see: the dropped waists and short skirts on her dresses- adult ladies in that era wore gowns at their natural waists, with long skirts, and their hair pinned up).

Ditto Rebecca. Similar age rules to Samantha's era, all well-followed. No notes there.

Claudie...was made recently and therefore her collection is peak Mattel-tastic hot nonsense, painful as that is given how amazing her story could have been. Her Meet outfit isn't too bad? Like it's believable for a 1920s girl? But everything else looks awful, from a quick Google search. Not even Adult 1920s Fashion; just bad stereotypes.

Kit seems pretty on-brand for 1930s little girls' clothing, though we're getting further from my eras of expertise. The original collection, not the BeForever BS.

Molly is, again, getting way out of my wheelhouse, but she's definitely not wearing 1940s adult fashions. It's interesting to see the same era done with Nanea considerably later in the company's timeline, because it seems much more like their later "distilled" approach to the historical characters. Less researched, less detailed, less of the period and more Generic Vintage. Also, it's the 1940s and she has NO casual dresses? Really? I get that she lives in a tropical climate, but, again. 1940s. Little girls generally wore skirts most of the time, in any place where western fashion predominated.

(Class photo, Thomas Jefferson Elementary School, Waikiki. 1942.)

Maryellen is very...Intensely 1950s, but based on what I've seen, she's not Overly Mature in her attire per se. I feel like they're leaning too hard on the big fluffy skirts- didn't girls often wear a slimmer silhouette for school, out of practicality? -but it's not too old for her. I don't think. and of course, this is well post-Mattel takeover, as with Claudie's collection

I feel like they're trying really hard to differentiate Melody from Maryellen, but based on photos of my mother as a kid in the early 1960s, there was a lot more bleed-over between the two decades than people realize? this is another Mattel Made It Costume-y one for me, I think. it's not too mature exactly, but it's. Off, somehow

I kind of see Julie as the beginnng of the end, in terms of research quality in the company's history. It's not WRONG, but yeah, it's only one specific aspect of the era's clothing and it's more something popularized by adults. Kids did wear the hippie look in the 1970s, but it's definitely not what you think of when you consider a child's play-clothes or school-clothes back then.

Courtney is just. Okay, while she was considerably younger, my sister was an '80s kid, and she did not dress like Madonna or a Jazzercise dancer 24/7. Serious question- is AG allergic to jeans on historical character dolls from eras wherein jeans existed?

And now we have. Clueless and The Disney Channel Exploded, coming soon to an overpriced mall store near you!

This has been an unnecessarily long walkthrough of AG thoughts with Marzi! Thanks for giving me an excuse, and I'm so sorry.

[historicity-was-already-taken]

I do have several questions about publishing serious non-fiction with a trade press... My first question is affiliated, and is about whether you're still in academia or not. If you're not, I'd be interested in hearing how you go about your work - whether you have peer reviewers etc. and whether you know them from uni (either as classmates or professors) or not.

Secondly, how did you approach finding a press? Did you have a draft finished when you secured your deal, and what are the major differences a trade press versus university press request/demand?

I'm sorry for the load of questions by the way, I finished my MA degree in history (medieval) last year, I miss doing the research and writing, and you're really the first person I've seen online who has found a trade press. I considered asking you some of those questions before actually, so I kinda jumped on the chance with... much enthusiasm, lol.

First, affiliation. I ~identify~ as an independent scholar. However, as you know, connections and status mean everything in both academia and the publishing industry (and as an academic writing for a trade press, you have to demand respect from both), so I always make my credentials very clear:

MA in Modern Jewish History from the University of Maryland, thesis defended on first try with no revisions; I also name drop my adviser and certain committee members depending on who I'm talking to.

MLIS from the same institution, focus in Archival Science.

Seven year's employment as an archivist and content creator at the American Jewish Historical Society at the Center for Jewish History

Six figures of followers on social media

The combination of education, platform, and work experience is particularly important for convincing agents and publishers that you're a worthwhile investment.

In terms of reviewers, I networked with and cold emailed two well respected academics in my specific subfield(s), and just asked them if they'd be down to peer review my work. I will be paying them out of my own pocket. The press doesn't require this as, as far as they're concerned, I'm the expert; but it's something I require for myself. It's important that this book not simply present a strong, readable, gripping narrative, but that it's also accurate and rigorous.

Now on to your second question. For serious nonfiction the first step is to get a literary agent. Literary agents sign clients for non-fiction based on book proposal and ~two sample chapters. They neither want nor expect the entire manuscript at this point. The agent is the party who has the relationships with acquisitions editors at the major publishing houses.

Once an agent signs you, you do some editorial work together, if necessary, and then you go on submission. The "on sub" process is basically your agent doing a series of targeted sales pitches to acquisitions editors. If an acquisitions editor wants to buy the project, they will have to present it to their team(s), and argue in favor of investing in the project; ie, they have to convince potentially multiple teams that this project will make them money.

The book proposal is an incredibly weird, complex piece of writing, and I advise hiring an editor to work with you on this. The best editors/consultants for book proposals tend to be what I call "behind the scenes big shots." These are usually people with journalistic training, who ghostwrite for a lot of very big names. These editors do not come cheap. In fact, I paid for mine with a round of crowdfunding y'all helped me with a few years ago. If you're interested, I could potentially put you in touch with mine.

Now once the proposal is ready and you've workshopped your query letter, you need to do some heavy research and make a list of lit agents you think could be a good fit for your project. You should have an A List, B List, and C List, and send them out in batches of 5-10 to keep this manageable. I can answer further questions about this research process, if you'd like.

The getting-an-agent process is probably the hardest part. It took me five years to get from "Holy shit this is my book I'm gonna do a book," to "I have an agent and we're going on sub." It's HARD and you'll really be forced to reframe how you understand success and failure. Like, the first time I got a personalized rejection with feedback I fucking PARTIED. A personalized rejection is huge, and FEEDBACK, omg.

The big difference, is that for academic presses you need a PhD and a genuine intervention in the historiography. For trade press, you need to convince multiple parties that the project can sell, and that you're qualified to write it.

Now some candor: you have to be incredibly single-minded to push through this process. Like, to the point that you're willing to sacrifice your day job and let your health fall by the wayside. Which leads us to: privilege!

It's very difficult to be able to put all your single-minded energy behind this process if you a. are not independently wealthy; b. are not married to a person with a lot of money; or c. do not have well-off parents who are able to support you. I can honestly say that, if I were not in category c, the process would have been much slower; I'm not even sure if it would be happening yet.

My publisher's advance--which was generous for a first time, untested writer--over one year was enough to MAYBE cover my health insurance and my monthly storage unit; I also have two part time jobs. And that's it. My parents handle the rest [ETA: to clarify, I do live with them]. Publisher's advances are not something you can live on unless you already have clout, or fame. And if you have a one year deadline, your writing will be full time. I'm not telling you this to discourage you. Professionally I have found myself in many fields where the silent part is "we assume you have family/spousal wealth because lol no one can live on this amount of money." It's not okay and it pisses me the fuck off. I feel like, if I didn't make this clear, I'd be complicit in maintaining those structural inequalities. I don't know how to dismantle them (it's gonna take way more than one person) but saying the quiet part out loud is a start. Anyway, hope I answered all your questions and also didn't discourage you! Also, you never need a reason to ask me about this stuff.

[cuchufletapl]

There's. Something. About the fact that the Flamel Symbol in FMA was ascribed to the three human characters that willingly committed alchemy's greatest taboo and lost (a part of) their bodies as a result.

As I understand it (and I should do more research on it, so take this with a grain of salt), in real-life, historical alchemy, the Flamel Cross is pretty much analogous with the philosopher's stone. And because western alchemy wasn't just about the science but rather had a strong religious component to it, the philosopher's stone itself was never really about obtaining gold in the most literal sense (as a valuable metal for monetary reasons); it symbolises the achievement of spiritual and physical perfection. (And excuse me for being pedantic for a second, but I feel like it's relevant here to know the etymology: in Latin, perfectus -a -um means "finished", "complete".)

Edward, Izumi, and Alphonse aren't whole, they lost a part of themselves in trying to do something that was out of their reach (Al in particular is physically nothing), and yet from the very beginning of the story they're the closest to illumination, they met god (essentially) and knew the knowledge of the world.

I don't believe Arakawa ever told us when Izumi got her tattoo (the extra chapter about her past as an alchemy apprentice has her cleavage completely covered), but I would venture that she got it after her failed human transmutation. There is nothing in the manga to suggest that she did it earlier, at least. Meanwhile, Edward and Alphonse definitely started wearing it after they tried to resurrect their mother — or, more accurately, after they set out on their journey to restore what they lost.

We are never told the reason why they decided to take on Izumi's emblem, interestingly enough. We don't even see them make the decision, they just start wearing it from one page to the other. Chronologically, the first time that we see Ed wear his red coat is in chapter 23, when he travels to East City to take the State Alchemist exam. However, in the one panel where he has his back towards the reader, his arm is positioned in a way that hides the symbol. Al isn't present for the exam, and the next time that he appears, at the beginning of chapter 24, when they burn down their childhood home, we're not shown his left shoulder — only the right. Nevertheless, we could infer that he already had painted the Flamel on, like we can infer that Ed's coat had it as well, and infer we shall!

I read someone here point out how both Al and Ed carry things of the people they love with them, giving the Flamel as one example of it. (I'd quote them properly, I know I reblogged it at the time, but I can't find the post.) And while I'm sure that's part of the reason, an homage to their master, I can't help but think that it isn't a coincidence that Izumi's symbol specifically resonated with them.

Again, we're never told what the Flamel means within the universe of FMA, it's there but not mentioned, a subtle literary symbol — but given that Arakawa had other real-life alchemical symbols in the series mean the same thing that they meant historically... well. Ed and Al are alchemists, after all, so they would know that the Flamel Cross represents spiritual perfection.

I think that the Watsonian and Doylist explanation for the Flamel is the same here — Ed, Al, and Izumi chose in-universe to wear the Flamel for the same reason that Arakawa chose to identify them with that symbol.

I'm not entirely sure what I'm getting at here, to be honest. I'm not sure what I'm trying to say. I don't quite have a conclusion to offer. This is why I don't usually do meta lol

But it just feels like it means something, to have these characters, who were overtaken by their grief and punished for their hubris by taking away their bodies, be identified with a symbol of completeness.

[sapphicscholar]

10, 12, 21?

thanks for these! Let's see what we've got!

10. What fic made you feel the happiest to work on?

Okay if the question was which am I the happiest *to have written* this would be a different answer (indulgence), but re the actual writing process, I think Two corpses. Everything's fine. has gotta be at the top! It was nice to have something that was largely pretty silly (a murder mystery) where Ava and Deborah were simultaneously trying to work out their own interpersonal issues while also playing their parts in the game and getting totally misread by everyone around them!

12. What fic was the most difficult to write? Did you finish it?

Hmm, Adrift (Hacks historical pirate AU) is up there because it's far from my normal genre (much more action-heavy), required a fair amount of research to be close to historically accurate (which is, for better or worse, one of those things I'm really committed to), and just didn't get a ton of interaction (I know lots of folks don't read AUs, even more don't read historical AUs, and plenty don't read WIPs until they're done, but it was the first time in a while I chose to start posting while I was still writing, in large part because lots of folks were so bummed about the tag being quiet, and it was hard to keep up motivation after that). I wrote and posted 3 chapters, but the combo of all those things definitely bumped it down my priority list - it'll get finished, but all things considered, it'll probably say in the back seat until I've made it through work commitment stuff unfortunately!

21. Share your favorite piece of dialogue

Ooh the one I posted in response to @ensorcei is probably up there, but from the same fic (indulgence) is this back and forth because I just really love the rhythm these two characters sink into when they're at each other's throats (because they so often show their cards and give away just how much they care even at the height of their cruelty!)

Blanche’s scowl deepens. “Your talent got you here. Own your achievements.”

“You think you could have lured me from France?” Judith asks with an incredulous laugh.

“All it took was a tawdry affair with a boring American. It can’t have been that hard.” Blanche finds herself leaning in closer, her voice growing more and more ardent. “He can offer you what? Sex? Stability? I gave you the world. A career. A name for yourself.”

“And I want both!”

“You can’t just have both.” Every inch Blanche has ever taken has been a battle, and there has never been a victory without its concessions.

“No, Blanche. No. You think you can’t have both.” Something twists uncomfortably in Blanche’s gut. “You sit there and act superior telling yourself no again and again and again. But all you’re really doing is hiding. Ceding ground before you can even risk losing it.”