#i know that a lot of this is just... the plot. the arc that's been illustrated by the show. but i wanted to specifically analyze the sex

[darlingofdots]

What is a romance novel, really?

So far, the response to this post has mostly shown me that a lot of people don't actually know what a romance novel is, and that's okay! I don't expect everyone to know! However, for my own peace of mind, I am going to do my best to explain what we mean when we talk about romance novels, where the genre comes from, and why you should not dismiss the pastel cartoon covers that are taking over the display tables at your nearest chain bookshop. Two disclaimers up front: I've been reading romance novels since I was a teenager, and have dedicated the majority of my academic career to them. I'm currently working on my PhD and have presented/published several papers about the genre; I know what I'm talking about! Secondly, all genres are fake. They're made up. But we use these terms and definitions in order to describe what we see and that's a very important part of science, including literary studies!

The most widely used definition of "romance novel" to this day is from Pamela Regis' 2003 A Natural History of the Romance Novel, in which she states that "A romance novel is a work of prose fiction that tells the story of the courtship and betrothal of one or more [protagonists]."* People also refer to the Romance Writers of America's "a central love story and an emotionally satisfying and optimistic ending" and another term you will see a lot is "Happily Ever After/Happy For Now," which posits that the protagonists must be in a committed and happy relationship at the end of the novel in order to count as a romance novel. That's it. That's what a romance novel is.

Of course it's a bit more complex than that; Regis also posited the Eight Essential Elements which describe the progression of the love plot over the course of the book, and there's a similar breakdown from Gwen Hayes in Romancing the Beat that is intended more as writing advice, but both of these are really useful for breaking down how this narrative structure works. My personal favourite part of the Eight Elements is that the romance opens with a definition of the society in which the protagonists exist, which is flawed in a way that oppresses them, and then the protagonists either overcome or fix it in a way that enables them to achieve their HEA. A lot of social commentary can happen this way!

It can also be a bit difficult to pin down what exactly counts as a "central love story" because who decides? A lot of stories have romance arcs in them, including dudebro action movies and noir mystery novels, but you would never argue that the romance is the central plot. A lot of romance novels have external plots like solving a mystery or saving the bakery. A useful question to ask in this case is whether the external plot exists for its own sake or to facilitate the romance: when Lydia runs off with Wickham in Pride & Prejudice, it's so that Lizzie can find out how much Darcy contributed to saving her family from scandal and realise her own feelings for him. The alien abduction in Ice Planet Barbarians happens specifically so the abducted human women can meet and fall in love with the hunky aliens. There are definitely grey areas here! Romance scholars argue about this all the time!

I have a suspicion that a lot of people who responded to the post I linked above are not actually romance readers, which is fine, but it really shows the lack of understanding of what a romance novel is. I have a secondary suspicion that the way we have been talking about books has contributed to this miscategorisation in a lot of people's minds, because especially with queer books we will often specifically point out that this fantasy book is f/f! This dystopian novel has a gay love story! This puts an emphasis on the romance elements that are present in a book when a lot of the time, the romance arc is just flavouring for the adventure/uprising/heist and we are pointing it out only because its queerness makes it stand out against other non-queer titles. It makes sense why we do this, but there is SUCH a difference between "a sci-fi book with an f/f romance arc" and "an f/f sci-fi romance." I could talk for hours about how the romance genre has evolved alongside and often in the same way as fanfiction and how there are codes and tropes that come up again and again that are immediately recognisable to romance readers, even down to phrases and cover design, and how romance is an incredibly versatile and diverse genre that functions in a very specific way because of that evolutionary process. The same way that dedicated fantasy readers can trace the genealogy of a given text's influences ("this writer definitely plays a lot of DnD which has its roots in the popularity of Tolkien, but they're deliberately subverting these tropes to critique the gender essentialism"), romance readers are often very aware of the building blocks and components of their books. These building blocks (that's what tropes are, lego pieces you put together to create a story!) often show up in other genres as well, especially as part of romantic arcs, but that doesn't make every book that features Only One Bed a romance novel, you know?

Romance is an incredibly versatile and diverse genre and I really highly recommend exploring it for yourself if you haven't. I personally read mostly Regency/Victorian historicals and I've been branching out into specifically f/f contemporaries, and there are so many authors who are using the romance framework to tell beautiful, hard-hitting stories about love and family while grappling with issues of discrimination, disability, mental health, capitalism, you name it. The genre has a very specific image in a lot of people's minds which makes them resistant to it and it's not entirely unjustified, but there is so much more to it than Bridgerton and repackaged Star Wars fanfiction!**

*the original text said "heroines" but Regis later revised this. There is a very good reason for the focus on the heroine in the first couple waves of romance scholarship, but that's a different post!

**neither of these are a bad thing and part of that genealogy that I mentioned earlier.

[electraslight]

heyo, its been a long time since i did an analysis!! this time on a more controversial subject: Rook Blonko. And how I think he was robbed.

When you actually look at the way Rook is written in omniverse, they dont give him very much to work with. like revvonaganders and their culture are cool, but rook feels so underdeveloped as a person outside of his culture. hes kind of a gwen in a way; hes got bare minimum flaws but he's treated like hes in the right when hes doing something actually flawed. hes never condemned for treating ben the way he does and he doesnt even have a consistent arc. he doesnt feel like a teenager, he doesnt feel like he has any sort of character progression, hes just kinda there, and his lack of depth in character-to-character situations is only amplified by the lack of holding him accountable for negative traits he possesses, instead punishing ben or ignoring the behavior. Instead of writing a scenario where Rook is in the right and ben is in the wrong, or showing rook behaving poorly and have him learn from his actions, i can hardly think of a time where rook was shown to be wrong for his treatment of ben.

For example in a scenario where Ben is keeping personal information from Ben, and rook wants to know it for the sake of their partnership, instead of portraying Ben in the wrong properly by showing his keeping of said information being harmful to the public or his friendship to rook, or have the information be personally important to rook making Ben's keeping of it harmful, instead rook has scoured Ben's file for all information and is asking about something that is of no matter to him entirely because he doesn't know it. He pesters Ben incessantly even when Ben has told him firmly no. Tjis is a recurring issue, where it seems like the story wants rook to be right but is ignoring context and the way he goes about it.

This would be an aggravating issue but ignorable if rook had anything resembling a consistent arc, but he doesn't. the conflict of rook idolizing ben and meeting him and realizing hes not what rook thought he was is interesting, but its always treated as if bens in the wrong for not living up to rooks expectations. rook overstepping his boundaries with ben due to being a huge fan and maybe cultural differences is interesting, but its never portrayed as a flaw on rooks end, more like bens fault for keeping the information. his struggle with his culture and staying connected with it, his conflict with his father about his career path, his relationships to his siblings, him slowly watching revvonah be plundered for its resources as the series goes on, i love that, thats genuinely interesting. but they never talk about it outside of those episodes. rook is in the wrong often and it brings up a lot of interesting questions about him as a person, but they dont talk about that in favor of treating him as bens babysitter, or setting up a joke where ben is the punchline.

It's disappointing to me that rook was never given the attention he deserved. Like i said, there's a lot of good stuff in his framework that's just begging to be explored, but his lack of an arc makes him feel so one note after a while and really dampens his relationship with ben. Since rook is not a character on the same level as ben, he feels less like an equal like they tried to illustrate and more of a plot device. They even threw away the most interesting conflict between ben and rook; rook being book smart and ben being street smart, experience over training. Ben and Rook hardly ever have issues based on this other than rook misunderstanding a joke. This is why rook and ben feel like such a flat relationship to me.

all of this to say: rook fans. Please, for the love of god, work your magic. He's got all the pieces there, and i am certain you can do something special in fanworks about him. Don't let the show being lackluster hold you down.

[vole-mon-amour]

and they shouldn't have 😠.

I never hoped for this. this is a mess.

x

if you recruit both, give me back the datamined dialogue of Halsin asking the player to choose between him and Minthara. the way she kidnaps and tortures him in every timeline, and the way she kills him in one of the outcomes. is he supposed to just forgive her that? she slaughters his Grove and he's supposed to just forgive that?

man, I wish Larian would have stayed true to what they originally planned. again, it's great that they support the game, lots of things were improved (that should've been done in the first place before the release but alas), but we're getting an entirely new game from what it's been when 'fully' released. at least stay true to your ideas, since it directly affects the plot and its conflict.

give me the ability to play as Halsin before the ship crashes, then. make him the original companion and let me be captured as him and tortured before our party arrives and saves Halsin (us) (or, you know, betrays us). let people learn about his very similar to Astarion trauma that is being treated like a joke and hidden behind a very optional dialogue that is very easy to miss, even if you try hard to see as much of the game as possible on your first run.

we know Minthara is in a cult and is being manipulated (which is its own topic because of the damage that she still does) and she verbalizes it. we learn about it from her and it's not a joke. we know about everyone else's trauma. why the hell is Halsin's being portrayed like this?

(and yes, I know that his comments about his slavery and abuse are victim blaming and that's he's repressing those memories, trying to convince himself it was all fun and mutual. but it wasn't!

Astarion went through a similar experience, but he knows it wasn't his fault. he knows the horrible things that he's done and that he was (still is sometimes) an asshole, but he's done those things to survive.

Karlach went through slavery, but she knows it wasn't her fault.

Wyll became a demon due to Mizora's trickery, yet it is very clearly treated like it's not Wyll's fault, it's Mizora's, his abuser.

Gale is not 100% innocent, but Mystra is clearly his abuser, too, due to the chronic pain that the orb is causing him and how it's a danger to him and everyone around him. Mystra tells him to blow himself up and treats him like he's her puppet. live or die, he's nothing to her.

like, what! the! hell! why is Halsin the only one who gets this kind of treatment of his trauma? why doesn't he get a chance to heal, the same way Astarion does? where did all the plot for Halsin's arc go, too?

Halsin deserves fucking better.)

upd: thought I made myself clear, but apparently not: this post is about Halsin. his personality, and trauma, and how they are portrayed compared to other characters. if you want to talk about Minthara, make your own post. also might block me/the anti tag while you're at it.

[nondelphic]

hey! i was wondering if you have any advice for me: I am wanting to write an epic/high fantasy book, and i started with my worldbuilding, then i moved to characters and their individual arcs. my main struggle is coming up with the overarching plot, the main conflict. any tips for coming up with ideas?

thanks for the ask, anon!! (˶ᵔ ᵕ ᵔ˶) ♡⋆𐙚₊˚⊹

tbh i don't have a lot of experience writing fantasy, but! just because i don't have "a lot" doesn't mean i don't have any!! i was in a similar situation to you literally just a few weeks ago when i started worldbuilding and outlining a fantasy plot :D

so!! i'll just tell you the process of how i came up with my plot!! i hope it can help somewhat!

♡ pulling from your worldbuilding

the beauty of worldbuilding and having complete characters is that you literally have everything you need to START writing. but as you said, coming up with an overarching plot can be difficult. i don't know how extensive your worldbuilding is, but for me, my planning included a list of major historical events/eras in my fantasy world. from this, i just decided "okay, the plot is gonna take place during the *insert historical era from my fantasy world*."

then i'd think "okay... what was society like during this historical period?" what kind of power struggles, conflicts, or changes were happening at that time?" from there, the plot practically started writing itself! by narrowing down a specific time and place within your world, you're essentially placing your characters in a pressure cooker of events that are naturally going to generate conflict.

♡ character-driven plot

another approach you can take is to look at your characters’ arcs and ask yourself what situations would force them to grow or challenge their beliefs. think about what each character wants most in life—what would happen if they couldn’t get it? or what if they got it, but at a great cost? you can build the main conflict around these personal stakes, and that can really help drive your plot forward.

for example: say you have different species in your fantasy world, and one of your main characters belongs to a species that’s an outlier in their geographical area. maybe this species has been historically oppressed, or they’re seen as a threat due to some misunderstood ability or ancient conflict. you could focus on how your character fits into the world—they might struggle with their identity, trying to prove their worth in a society that fears or rejects them. this inner conflict could be the spark for a much larger plot, like starting a rebellion or becoming the key to resolving a long-standing feud between species. their personal journey, then, could naturally tie into the broader conflict of your story.

the key here is to use the uniqueness of your character's background and situation to fuel the plot. how they navigate the world around them can lead to choices and events that shape the entire story!

♡ external threats

sometimes the easiest way to spark an overarching plot is by introducing a big external threat. it could be anything from an invading empire, a natural disaster, or even a rising rebellion. something that shakes up the world your characters are comfortable in and forces them into action. this external conflict can intersect with their personal journeys and create some interesting tension.

♡ combining personal and world stakes

the most gripping plots often combine both personal and external stakes. maybe your character is fighting for their home or family, but there’s a much larger political or magical conflict brewing that they become a part of. it’s not just about saving themselves, but the entire kingdom or world. the trick is to make sure the personal stakes are always tied into the larger conflict, so it feels cohesive.

♡ take inspiration from your fav fantasy works

don’t be afraid to pull ideas from the things you love! if a specific scene, mission, or plotline really stuck with you in a book, game or movie, ask yourself why. for example, when i came up with my fantasy plot, i was inspired by a mission in the witcher 3 where geralt and triss are navigating the tunnels under novigrad. triss, living in secret as a mage, is forced to use these hidden passageways to carry out her plans. i remember thinking, “hmm… tunnels or catacombs are a great way for people with secret missions to carry out said missions!” that one detail sparked an entire subplot for me, where certain characters use an underground network to secretly move around, gather intel, and plot revolutions.

you can take bits and pieces from your favorite stories and use them as springboards for your own original ideas. sometimes it’s a specific setting, a character dynamic, or even the vibe of a scene that can get your creative wheels turning. the key is to make it your own and let it evolve naturally in your world!

i hope these ideas don't sound too "obvious" or like "well, duh," but rather a reminder that you've already done the worldbuilding, so use it!!

good luck with your epic fantasy!! sending digital hugs filled with all the creative energy i have left today to you and anyone else reading this (´｡• ᵕ •｡`)

[nyankochan]

Question about Fairy Tail

You know what’s one thing that’s never been clear to me? 🤔And I’ve been a die hard fan of Fairy Tail since I was a kid and read the entire main series + watched it. But just exactly how old are Natsu and Gajeel?

In the Manga, they’re the only two dragon slayers whose age is listed as unknown. And we know from the Battle of Fairy Tail Arc the two of them are at least 80+ because they were trapped in the guild with Makarov. From chapter 108 and 111.

We also eventually learn from Zeref during the Alvarez Arc that all the dragon slayers were sent 400 years into the future to defeat Acnologia. From chapter 465 of the manga.

But if that’s the case, then why in the manga is Wendy’s age listed at 12 and Sting and Rogue are listed as 19?

We also know that the three of them were the same age, but because of the 7 year gap on Tenrou Island, Wendy didn’t age. Gajeel and Natsu were like the two older brothers (how much older?) that the younger ones all looked up to. But still, it adds up with Sting and Rogue being 19. From chapter 510:

We know Natsu is definitely at least over the age of 400 due to Zeref’s age and the timeline of his backstory with the dragon’s attacking their village. But was Natsu’s age at one point stalled due to being revived? Or does he even age at all? And what about Gajeel? I haven’t caught up to 100 year quest, so I’m not sure if things are revealed later on in the series about his past before meeting Metallicana.

But then again, if all the Dragon Slayers are also from the past, then why do Sting, Rogue, & Wendy have canonical ages?

I also wonder about their pasts too before meeting their dragons. These poor children were all a bunch of orphans who grew up with their dragon parents. They actually all knew each other and grew up together but basically lost any memories of them being practically family. 🙁

Their ages have always just been a big mystery to me. My best guess is perhaps prior to Tenrou Island, Gajeel and Natsu were around 18-19 (physically) like most of the other children from Fairy Tail. Lucy, Levy and Lisanna are 17. Gray, Cana and Elfman are 18. Erza and Mirajane are 19. Laxus was a little older than everyone at 23.

If they weren’t trapped on Tenrou, then Gajeel and Natsu would maybe be around 25-26. Then Sting, Rogue, and Wendy would be 19. I guess this kinda makes sense. It’s a cute little age gap between people who were supposed to be like siblings.

So how old were they all when their dragon’s first disappear in X777?

If we take the guestimated year Lucy joined Fairy Tail, which is X784, that’s 7 years after the dragons disappeared. If at that time, Wendy, Rogue and Sting are all 12 years old, that means they were only 5 years old when their parents disappeared!?

By this guess, Natsu and Gajeel were then around 11-12 years old when their dragons disappeared, making them 6-7 years older than Wendy, Sting and Rogue. Again! This is just my guess! None of this has been actually confirmed.

Either this is a plot hole or I’m just stupid and missed something along the way. Again, I’m not caught up to 100 year quest, so maybe this gets explained later. But I think and wonder about it a lot.

[tanadrin]

I'm watching season 5 of discovery while I work on this map, and I think my verdict of DIS is that conceptually it is solid Star Trek. It gets Star Trek, like in the abstract. Obviously the last 3 seasons are a lot better than the first two, both because they escape prequel territory and because it just takes a ton of Trek shows two seasons to find the sweet spot. But the writing never really lives up to the ideas. So, so many of the character beats feel completely paint-by-numbers, with painfully generic dialogue, and I find myself mostly skipping over those scenes to get to the high concept SF or the action sequences. The actors really are doing the best they can, and visually it's gorgeous, and it throws out a ton of fun ideas into the Trek universe (though IMO it relies too much on overt callbacks to old Trek, it's not unique in this regard--SNW does this too, it might just be the curse of a long-running franchise). But man. The character writing is frequently not good! The emotional dialogue is frequently not good! And I don't know why; it's not like Star Trek doesn't have this stuff, rich character interaction has been there since TOS and the Bones/Kirk/Spock triad. But even back when you would have, like, Random Character Never Mentioned Before From Someone's Past showing up in an episode only to die horribly, from the older and more episodic Treks, the dialogue around these characters was still more believable and more compelling. And you'd think the more serialized nature of modern Trek would give you more room to build on and use these character dynamics.

I wonder if in part it's the decline of writers' rooms and the spec script market. Maybe something about that shift makes developing good scripts for television, and for genre TV in particular, harder. Part of me thinks it may well be the serialized format, because just like a good high concept sci fi plot often relies on a "hey-wouldn't-it-be-fucked-up-if-this-happened-randomly" idea, so too do a lot of the good character stories in older Trek--when everything has to be tied back in to an ongoing plot and significant character development has to be spread out over 10 episodes, maybe that's harder to do.

I think ultimately I feel about DIS like I feel about Enterprise--don't like prequels, do like some of the ideas, some of the characters are pretty interesting, the character arcs are kind of weak, is too bogged down in referencing other installments in the franchise, needs more Jeffrey Coombs.

[sweetandglovelyart]

Knightfall in Dream Land - Page 4

Meta Knight shares what it was like to grow up being raised by Nightmare.

[unnamed-atlas]

Finally finished sweet tooth s3. Having incredibly mixed feelings

[marsupials-of-mars]

So, I don't think Stede wanted to kill Ned. Ed told him not to, and he did, but I don't think he wanted to.

I know it's been said that both sides still don't fully understand why the other would want them or the kind of life they have. They both think they have to change to be worthy, no matter what they are directly told by the other. It's a fundamental part of their identity that they hate their prior lives.

Think of the first scene of the season, a rugged bearded pirate stede killing his romantic rival in cold blood, an act of utter devotion and unbridled passion, and Ed loves it.

This part of his identity extends to how he expresses himself romantically. I'm not saying that he can't just be eager, like in the second kiss and the sex, especially because he's finally freeing himself from repression of his sexuality. But think about the context.

He wants to show Ed he cares. Ed has defended him with force. He sees Ed being berated and tortured, and he can finally do something about it. Ed tells him not to do it, but Ed is only saying that to spare his fragile mind. Ed would kill Ned in a second, and now Stede is a real pirate, and he is going to show Ed that he can pull his weight, protect his love, use his mean voice, be a proper captain.

So, afterwards, we have Ed, who didn't want Stede to kill Ned for not only Stede's sake, but for his own. Because he's even more sick of the brutality now than ever, he was finally a little settled with a boyfriend who can take things slow with him, and help him appreciate beauty. But he won't say that, because stede made his choice, and he's here to comfort him, because he must be having a horrible time, with how he's handled killing in the past.

But we also have Stede, who catches him entirely off guard. Because he sees the killing of Ned as a GRAND ROMANTIC GESTURE. The shedding of the self to become something new and worthy, not just for Ed, but because he said he wanted to be a pirate, and he'll never go back on that again. So he assumes, after this grand gesture, that this is the perfect moment for their first time. Because it's so romantic! And he even goes in with gusto, how sexy!

He's completely blindsided by Ed saying it was a mistake. Because if he went to the lengths of killing a man in cold blood to make absolute certain that he would do anything for this love to work, then Ed saying it was a mistake means that there's no hope of it ever not being a mistake.

And Ed watches Stede change like this, trying to be happy for him because it's not his place to tell him not to be a pirate after everything. And obviously Stede was spooked by the idea of starting new, plain lives, enough that he refused theirs and left his own twice.

And he watches, knowing that he's taught him this way and played a huge role in hardening him, making him lose so much of the softness and beauty that he fell in love with.

Because he can't help but defile beautiful things.

[boxwinebaddie]

an uncle nina check in <3

hi team! thanks for sticking around! i know my blog isn't always the most exciting and enriching place in the world in terms of content, but i am very /content/ to have you all here. <3333

i promise, oddly enough, i have A TON of inspiration and ideas for all my weird styles ( if you're curious about anything please lmk! i've been trying to flesh out my aus out lately ), i've just been in a major bummer depression era lately, so it's hard for me to get my asks done and i'm having a hard time committing to finishing my writing. :<

i think it's because of stress and my bipolar, but i am trying to get back on the horse! ( are we all laughing at the idea of me trying to get on a horse? i'd start crying help city girl fail moment for me ) yeehaw!

and while, unfortunately due to the instability ( fabulous legendary iconery ) of my pretty girl popstar personality, i do not know whether i will be answering almost no questions or one million, regardless of that, i just wanted to let you know, i'm still here, still kicking my feet, twirling my hair, cooking...i'm just really trying not to force myself to put out anything i don't like...and only do what makes me truly happy.

however, nothing, my dear sweet e-darlings...

makes me happier than coming home to all of you. <333

so thank you for flooding even the darkest corners of my life with bright light, supporting my phantom fics and being wonderful,

uncle nina xx

[empty-blog-for-lurking]

Me: I don't know what to do with Veronica's character in post s8 au, I don't want her to be Just Lance's sister and Kuron's friend with Pidge's storyline slapped on her, but also I'm not really sure about her character. Sure there's the whole lying to her family thing but I don't think that's enough?

Brain: ok so what if Veronica started out as trying to look for what was Lance upto but she ends up being so obsessed with finding the truth that not only she repeatedly puts herself in harms way but also the original goal falls on wayside.

This could be her way of dealing with trauma which is getting engrossed in the Mission and a problem to fix while suppressing her grief and refusing to actually acknowledge her problems and her own emotions a foil to Kuron's arc that is him being literally driven by emotions. She's angry at Lance for leaving without a word and angry at her family for their clinginess, however she keeps it to herself and just avoid them pretending everything is fine and normal

Also a foil to Lance who started as trying to figure out what was going on but as soon as he realized that 1) Allura and Kuron are still sorta alive 2) he can bring them back, he got obsessed with it consequences by damned.

Plus through her we can actually explore how quintessence actually effects and changes humans rather than become aware of the end result

Also there's something a character who is obsessed with truth but is also such a frequent liar

[bunkernine]

society if hoo had them at uni age and the lost trio went to chb and chiron is like "how tf are ANY of u alive and unclaimed". wilderness was just community college.

[lecliss]

I will never be able to take Obito seriously in the Tobi outfit. I just can't. That's not Madara, that's not a guy stuck in Hell, that's not a villain capable of horrors beyond our comprehension. That will always be the mask of a school girl in love with his senpai to me and nothing else. Well, okay maybe except Guruguru and whatever the fuck he kept talking about literal shit for. But Kishi fucked up thinking anyone is supposed to take the Tobi disguise seriously at this point.

[thestamp3d3]

i cant get over how absolutely insane satosugu is...gege was born to write yaoi forced to write shounen

[jessamine-rose]

/obey me! vent/

[leafpool-loves-ashfur]

calling it now people are going to ship Flipclaw and Podlight