#i wonder what other little convos they can have specific to certain builds

[corvosdaughter]

"I'm sorry to see you go, Magdalene."

[otomates-a]

❣ ( for alex )

re: meme. @rotinthedark.

alex is very Easy once you reach a certain point with him ngl... 🤡 it’s over for sebastian when the other shoe drops one day KJNEMRHKJNM

✦✦✦✦✧✧✧✧✧✧ | Sexual Attraction

sebastian’s everything is really attractive, that’s not even something alex would lie about now LMAO. although he tends to surround himself with similarly preppy people, he’s very intrigued by those who are different from him, very ‘opposites attract’ even before there’s anything going on. he literally just thinks “seb in all black kinda hot tho”, but he’s still an awkward virgin who wouldn’t think too hard on sexual interactions until he’s actually dating him. passing thoughts are inevitable, though. alex voice it’s not like gay if it’s a daydream is it :flushed:

also sebastian is pretty i mean is anyone gonna fight on that.

✦✦✦✦✦✧✧✧✧✧ | Romantic Attraction

the best i can describe his current state is that he’s starting to get curious. full on romantic attraction with alex is weird because it does start building as he develops a crush, but with guys it’s like... the desire is there and the curiosity is there and he starts thinking absent things like ‘i wonder what it’d be like to date’, but he doesn’t put the pieces together until it hits him just HOW genuine his romantic feelings for a guy are. i guarantee when they finally go on one (1) simple ass date, alex was up 3 months prior staring at his ceiling flustered and wondering if it’s #platonicbrothings to want to make out with the goth dude helppp

fun lore the reason it’s so high already is because alex is the type of person to develop extremely romantic thoughts alongside just having a crush on someone. it’s not that he rushes things, it’s just that he gets so excited at the prospect of romance & it makes him so happy that he rlly just becomes super attached to said crush and it’s really embarrassing i’m sobbing... tldr seb is already on his mind in some ways and that’s going to humiliate him later KJENRMH.

✦✦✦✦✦✦✦✧✧✧ | Crushing

the... gears are turning. eventually alex will discover the concept of bisexuality and realize that maybe it’s not normal for him specifically to be tripping up and flustering himself every time he tries to have a normal convo with the local tech hermit.

that being said, i’d rlly break down alex’s ‘crush’ stage on sebastian into like 4 parts: fascination being where it started, then stubborn will to suddenly be friends & prove that he’s changed and wants to close the massive gap between them. followed by extreme concern & desire to be someone seb can trust / look forward to being around & at least expect comfort from if not confiding in him, then landing on the lingering concept of wanting seb to think about him more often & realizing he’s actively going out of his way to insert himself into his life without really being aware why it’s so important to him after all these years of ignoring the guy. basically it’s literally a journey of him rediscovering someone in town he’s barely ever given the time of day to and realizing he really likes him and then realizing he really likes him, he’s scratching the surface of that process. esp with how seb has interacted with him bc seb has done... some very sweet things for him.

alex can develop crushes relatively quickly so with him it really can be classified as an ‘every interaction literally led up to this, negative or positive’ kinda thing. despite this he takes a lot of time to think on his feelings, because he desperately wants them to be taken seriously. that being said, when it hits, it sure does hit !

✦✦✧✧✧✧✧✧✧✧ | Squishing

🤡 desire for strictly platonic interactions tends to rapidly decrease when one is a stupid bisexual chasing hot topic incarnate like a desperate puppy.

✦✦✦✦✦✦✦✦✦✧ | Sensual Attraction

HEAR ME OUT, alex is actually a very intimate person. that’s not to say he’s super sensual with casual friends or anything (he’ll show physical affection like hugging and stuff, but u know), but how he reacts in terms of showing physical attraction is like ... something that happens way before he even realizes xyz feelings on romantic terms. hence him being more handsy with sebastian the more friendly they are. he’ll go for hugs that are a little too close, absently taking his hand or just generally touching him without really thinking about it for reasons that should be casual, but he lingers too long or things like that. alex holds back a bit in seb’s case bc he doesn’t want to make him uncomfortable, but if he had it his way he’d literally be clinging to him / hanging off of him the entire time they’re around each other, right down to the cliche jock arm-around-the-shoulders-while-walking-together thing kjnmKNJNHMKJNM. he gets in small touches or larger displays of affection where he can.

✦✦✦✦✦✦✦✦✦✦ | Aesthetic Attraction

see sexual attraction but also ! alex genuinely really likes the super ... edgy look. or what he’d consider edgy. piercings, all black, ripped up pants or just in general very goth/punk/etc styles. he doesn’t think he could pull that stuff off but he genuinely appreciates it, ESPECIALLY on sebastian. he’s not subtle about it either, he WILL point it out KJNMERHKNM thinks that riding a motorcycle and everything helps the image. paired with sebastian being really tech smart, he actually finds his aesthetic really cool. (and also #sexy)

Low ✦✦✦✦✦✦✦✦✦✦ High

[writerseven]

hey if you're still doing commentaries could you maybe do one on the conversation dick and alfred have in the most recent chapter thanks

 I am always down to do commentaries!

This got long, so I will put my rambles about this bit from brother chapter two under the cut:

so when plot was just starting to happen in the series, I actually debated for a bit whether or not Alfred would know, and how much. Ultimately, I felt like him knowing would make more logical sense and feel more grounded, and some version of that reveal has been in my outline ever since I had an outline. I have been waiting for the chance to write that, like, five second moment of one of the kids having a stomach-dropping realization that alfred has known this whole time. I think early on it was much later in my outline and it was Tim? But in terms of plot machinations and where things are headed and characters emotional states, it ended up fitting perfectly for Dick in this moment.

Setting that up was tricky. I figured some people would already suspect, but I still wanted it to be potentially shocking for readers who anticipated a nicer Alfred? I really tried to figure out how to tune that entire chapter to feel like it was building up to Good Guy Alfred, and add in little mentions from Dick’s PoV of Alfred being great/kept in the dark/etc that would set expectations without being too obvious as red herrings.

Honestly, I’m not sure I really succeeded on that, but as long as that moment is still horrifying and awful, that’s more important that being shocking. If I were to go back and edit this series as a whole, I would probably try to set that up for longer to really pull the rug out from under people.

asdfjk I’ve written a bunch and I haven’t even gotten to the actual convo you asked about yet

OKAY. So Alfred doesn’t have a lot of lines because it’s not a very long scene all things considered, so I tried to really be thoughtful about what he did say. Right before Dick “tells” Alfred, we get this:

Alfred doesn't complain, glancing over his shoulder. His mouth gives a wry twist at the display. “Ah, well. You know Master Bruce. It does not matter what logic or decency or I say when he's determined to wallow in guilt.” 

They’re talking about the Jason Robin suit display, but that’s also setting up everything that comes after.

“Were I capable of stopping Master Bruce from every foolish idea that gets into his head, he wouldn't be gallivanting about each night to risk his life dressed as a flying rodent,” says Alfred, pushing the kettle back into its designated place. “I can protect him from many things, but not himself.”

And that’s kind of the basis of Alfred’s feelings here. He doesn’t approve of Bruce abusing the kids; of course he finds it indecent and misguided and perhaps, if he can admit it to himself a tiny bit, wrong--but it’s not his doing, and, gosh, well, he’s tried his best to steer Bruce right and you can’t win ‘em all, right?

He’s also, like, super focused on Bruce above all others. Alfred calls Batman a foolish idea because of the way it endangers Bruce, and even frames the idea of stopping him from being a pedophile as “protecting him from himself.” Alfred cares about his pseudo-grandkids and would rather not have to chose, but Bruce is his baby and will always come first.

A lot of enablers of this kind of abuse are romantic partners, and because of the unusual way the Robins were raised, that’s not a far off comparison from their side of things; Alfred took somewhat of a parental role for Dick and Jason especially. But in terms of Alfred’s psychology, I think of this more like an enabling parent--the kind who wants their kid to be good and well-raised, but ultimately just cannot accept the concept of their precious child having done something truly bad. And if that kid ever did, they’d be helping bury the body instead of asking questions.

Alfred's eyes are low—No. Alfred's eyes are averted. His lips are still pinched, brow still creased. Dick doesn't get it at first. But something cold creeps into his chest. “Alfie...?”

[fixed typo count: 1. how am i so bad at this]

One of the most annoying things about describing facial expressions (or body language) is that you can describe it textbook-perfectly for a particular emotion, and still have it not convey the emotion you mean it to. Part of that is that we only have so many words for the ways faces move, part of it is that individual facial movements can convey multiple expressions (e.g. frowning can be for irritation, disapproval, disappointment, sadness, etc), and part of it is that if you’re not using words that convey obvious emotion (’scowl’ ‘smile’ ‘grimace’ etc) readers kinda have to take a second to actually picture what you’re describing before they can discern an emotion from it.

...on the flip side, if you want characters and/or readers to misunderstand an expression, that means you can still get away with a lot of describing.

All that lowered eyes, pinched lips, creased brow could be the sign of someone taking in horrible news and trying to suppress a strong reaction, which is what Dick thinks at first--and then a little word choice of flipping the vaguer “lowered” to the distinctly guilty “averted” and Dick starts to get it.

“Perhaps,” Alfred says, carefully selected words, “you should let it not be true.”

And there we get to, like, the entirety of Alfred’s justification. Love for Bruce is why he lets this continue, but the how is just a straight up I Do Not See It. From a little later:

“There are things in his life,” Alfred says tightly, refilling his cup, “in any loved one's life, that are simply separate from our own.”

I don’t know if this is ever going to come up, so I don’t mind mentioning it here though it hasn’t been explicitly shown in the story--but this is the first time Alfred has ever really discussed this with anyone. Dick is the only person who is fully aware Alfred knows.

If you go back, you can actually see brief mentions in Bruce’s PoVs of keeping things hidden from Alfred, e.g. debating if he could convince Alfred that short-shorts for Robin are a tactical decision. I think I dropped that in the first time before I had actually considered Alfred’s role in a longer story, but I ended up liking the idea that not even Bruce is certain whether Alfred is aware of his abuse. He goes back and forth between thinking maybe Alfred doesn’t know and he must hide it (because clearly Bruce is such Clever Genius Sneaky Man that no one could ever learn his secrets), and suspecting closer to the truth: that Alfred knows, but the silent condition for his enabling is that Bruce never ever brings it up and lets Alfred feign ignorance.

I realize I’ve talked a whole bunch about Alfred here and said almost nothing about Dick, but to be fair, we’re already in Dick’s PoV so there’s not as much new stuff to cover.

What if he doesn't? Dick can say something stupid instead, watch Alfred's face clear and that smile return. They'll go upstairs, maybe, have tea with Jason, laugh and reminisce. Bruce and Tim will return later, change back in the cave, and come upstairs where they can all be together. This little messed up family in the kitchen, happy and unbothered. Alfred won't have his heart broken, and Jason can warm up again, and Bruce will smile at Dick, and Tim won't resent him. And all Dick has to do is pretend he was wrong and never say anything, until he starts to believe it himself.

They could be a good, happy family. The blissful life of ignorance.

I feel WEIRD talking about my own feelings on my writing (because what if they’re completely off base from how it reads??) but I think this was the most crushing bit to me. Dick so badly wants the good family that he deserves, wants his dad to love him, wants everyone to be happy. And, without knowing it yet, he’s basically described what Alfred actually did. Dick is going to push past this moment of weakness, do the right thing instead of pretending, say something so incredibly hard--and then find out it was all pointless because someone else already made that choice.

Sad. Alfred looks sad. Dick doesn't understand, he doesn't understand. It's the wrong sadness. And Alfred's—being—gentle.

“Let's get you some tea and a chat,” Alfred says. Dick means to refuse that too, but the words get choked up and the next thing he knows Alfred is guiding him up that long staircase. That hand on his shoulder is so gentle and the words are so gentle and the pace is so gentle and Dick can't seem to resist any of it and he doesn't know where his—body has gone.

I kind of realized after I wrote the previous chapter that I would never be allowed to use the word “gentle” in Dick’s PoV without it carrying a very specific connotation. And on the bright side, I can just drop a single word and have already established the emotion behind it!

Alfred is now placed alongside Bruce (and Catalina Flores, and the BPD, and those appeared-for-two-seconds traffickers...) He has the upper hand, and has no need to be cruel.

(also that “he doesn't know where his—body has gone” my dudes, Dick must have, like, so many issues with bodily autonomy after all the shit he’s been through, even in a ‘verse where Bruce isn’t an abuser, and I could do a whole post about that y’all)

Alfred gets him some tea. Dick stares at it until a soft sound and Alfred sipping his own in demonstration stirs him to follow suit.

They're sitting at the kitchen island. Dick is sitting at the kitchen island, dangle of his legs off the bar stool making him feel like a kid again. Alfred stands on the island's other side, patiently watching him. Tea. Kitchen. Alfred knows. Dick has the vaguest presence of mind to wonder if they passed Jason on the way up. He's pretty sure they didn't; Jason must have moved.

[dissociation intensifies] adjf honestly I was like “oh no am I using dissociation too much in this series” because part of me always wants to highlight the different ways people can react, but IN MY DEFENSE dick has a canonical history of reacting to traumatic events like this so. yeah. Errbody dissociating.

(For the record, Jason did indeed move and they did not pass him.)

There’s a middle bit to this conversation that I don’t have to much to say about where Dick is just trying to come to terms with the revelation and completely failing to understand how Alfred can not do anything. because Fundamentally Good Person Dick Grayson reigns supreme in my heart.

and then that tension escalates to:

Dick hands clench on the tiny teacup. “He's raping kids.”

“Richard.”

From getting to chat a bit in the comments, it’s not just me, but I’ve always found that initially naming a thing can feel more shocking than the thing itself. Bruce grooms his victims (Dick included, though Bruce never raped him), and gradually submits them to more and more discomfort, and gaslights them, and that sort of slow ramp up can make things seem...less awful, or less definable, or less abusive than they actually are.

I’ve always found things seem a lot clearer in retelling (or, for fiction, in telling at all), when in the moment, in real life, there’s a lot of second guessing and ‘is this really happening?’ and ‘what exactly is happening?’ and ‘is this really what i think it might be?’ And then you don’t want to get it wrong and be jumping to conclusions.

So there’s also a power in my mind of being able to name things? The first time is really shocking and hard, but then suddenly there is this title you can group it under. And maybe you don’t know what to do about “my adoptive father who i love but is sometimes difficult is maybe carrying on a sexual relationship with my not-brother who swears that it isn’t happening and also seems to want to be there, and i don’t want to hurt anyone,” but you probably have a much clearer reaction to “this man is raping children.”

I think it takes a lot from Dick to name it as such--And there’s a reason why that is the moment Alfred snaps. “My employerson who I love has a complicated relationship with his kids” is a lot easier to be willfully ignorant towards.

Finally, the end of the conversation is just Alfred laying out why Dick can’t do anything about it and how no one will help. And also trying to guilt Dick into believing this is for the best. Alfred is happy to have all four of his boys around, and he would prefer that illusion of being whole and happy to losing any of them for the sake of helping the others.

...and, I’ll be honest, that ending explanation is also for me the author to be able to explain it. If you’ve got a purely logical viewpoint here, there’s a question of, like “why doesn’t Dick just ask Diana to use her lasso, or ask a telepath to read Bruce’s mind?” etc etc, and my hope is that it will be clear to everyone that emotion is about a million times more important than rationality when it comes to trauma reactions, and that Dick actually does even have good reason to doubt talking to any of those people would help!

Because the person he trusted most in the world to have his back re: Bruce already knew, and doesn’t want to change anything.

[smores100]

once again we’re in full agreement lol. What’s your take on s3 remakes you’ve watched? Wondering how you feel about Skam FR as it’s kind of a similar situation to me where the chemistry & beauty is there but the writing and style is iffy (overwrought &overdramatic). My favorite s3 is druck. As a wlw I had high hopes for españa but it was p slow/v desexualized—a whole discussion, but my other gay friend & I were disappointed given how remakes with guys don’t hold back in that respect.. Thoughts?

Honestly re: wtfock tho I really do wonder if they had like one good writer in the room surrounded by fools. Bc it really does feel like some group projects I’ve been in where I feel like I’m the only one who’s not a fucking fool and carry the whole thing while having to fend off bad ideas (but when the majority rules, those bad ideas/execution get put in). I wonder if that’s what happened w wtfock.

re: wtfock, lol group projects are the worst….idk what wtfock’s writing process was like, but i’d love to know it. according to their wiki there were 3 writers this season? all seem to be male, naturally. did the two other writers have good ideas but there was a main writer who overruled them and did his own thing? or maybe they’re the rl one brain cell squad, that would explain a lot :p in any case, i’m unimpressed (friday’s clips did not help with that).

as for the other part of your ask….oh damn i have so many Thoughts on that, lol. this is probably gonna get long and messy, but you asked for it!

* druck - my absolute favorite. it’s the only one i’ve watched since s1, so that definitely played a part in my emotional investment and attachment. still, there was more to it than that. it was the closest to og imo in vibe and style (it felt small, real, lowkey, quiet, natural like og, as opposed to - as you said - overwrought and overdramatic + overproduced like the others); they cast an actual trans guy to play a trans character, if you wanna talk about a skam remake doing something REVOLUTIONARY? druck is the one; i loved matteo’s and david’s characterizations, how they both had a bit of isak and even in them, and the role reversal in some scenes, made things feel fresh *and* fit their characters/story; i LOVE that teens matteo and david were played by actual teens michi and lukas!! they’ve completely ruined me for all other remakes, bc thissssss is how it’s supposed to be! thisssss is how it should look like! THEY ARE KIDDOS. and they (druck and michi/lukas) truly captured what it’s like to be young and fall in love for the first time, the awkwardness and the nervousness and stuttering and fumbling around, the softness and pureness and innocence of it all!!! also they have THE BEST dynamic - other people might prefer all the hot kissing and steamy making out and the smouldering looks, but me? i just couldn’t get enough of their dumb chaotic energy, best friends who love each other deeply and are also constantly little shits to one another. gimme them pranking each other and playfighting every day! and then being soft and THE HANDS and matteo being a clingy koala basking in david’s affection :3 i also loved how for the most part they didn’t just copy/paste og’s storyline, they made some changes and knew how to make *other* changes accordingly for it to make sense and fit the story *they* were telling - for example, replacing the ‘call your gf’ scene with matteo’s panic attack/breakdown (one of my fave scenes), or their reunion at the end of ep 7 (replacing the desperate kissing + sex with a comforting and relieved yet also bittersweet and melancholic hug), or even matteo getting advice from his drug dealer instead of the school’s doctor, lol. also THE BEST BOY SQUAD, hands down. and matteo is my favorite isak bc to me he felt like his own character instead of just another isak, he was different and reletable and a constant Mood. that being said - it wasn’t perfect and it had its issues. there were a few times when i did feel they stuck too close to og scenes and it didn’t *entirely* work for me, just felt a bit off; i will forever be disappointed that they didn’t directly address and acknowledge matteo’s mental state/depression, bc there were enough signs imo to indicate that he did suffer from something. they mentioned ‘therapy’ in mia’s, alex’s and kiki’s cases, i truly thought they would with matteo as well, but alas, they dropped the ball on that one; i was extremely upset with david’s outing, but i’ve since calmed down and have managed to see it in a more positive light, tho i still have mixed feelings about it and am not fully on board with that decision, still wish it had been done differently (but at least! it wasn’t brushed off and was addressed immediately and eventually led to david having agency and yelling out his pain!!! which was good and important and cathartic); also eps 8 and 9 were pretty messy writing-wise, things either didn’t make sense or would’ve made more sense had the clips were organized differently (that random ping pong clip….?). overall tho, the good outweighed the bad, and it remains my fave

* skam france - now that’s a tricky one. the way i felt about it in the first half of the season, is different from the way i felt about it in the second half of the season, is different from the way i feel about ever since watching druck’s s3. it’s funny you should say how similar it is to wtfock for you, bc i’ve been thinking the same thing for quite some time. those neighboring countries sure have a shared flair for the dramatic! fr’s s3 was pretty much the first s3 i watched (i gif-watched half of skamit, couldn’t get into it). i wasn’t planning to (i was extremely unimpressed by the couple of s1 eps i tried watching, and same by axel’s acting in those first two seasons), but even is the loml and they got me gooood with their eliott pov trailer, which might have affected my excitement over it during the first half. back then i really enjoyed it for the most part, despite some clips being rushed or missing the point thus not fully having the required effect (their locker room scene, for example, or the ‘generalizations are bad’ convo), or how much i hated basile (a character so obviously written by a man it’s amazing), or the cheesy piano music. there were enough good things for me to focus on instead (more in a bit) that i could ignore the things i didn’t like or weren’t as good imo. however, all the positivity got sucked out of me when yann noped tf out after lucas came out to him bc WAY TO MISS THE POINT OF SKAM!!! and things went downhill after the director’s IT’S NOT DISNEYLAND IT’S FRANCE 2019 comment. i’m getting all upset just thinking about it, but to say *that*, to explain that horrendous decision bc lowkey homophobic reactions are realistic!!! only to THEN be all ‘haha jk yann isn’t homophobic! we just wanted you to *think* he was! he’s actually an awesome friend who took several days to reflect on all his past wrongdoings while his bff was at home having a nervous breakdown bc he believed his bff hated him!’ ughhhhhhhhh, miss me with that shit. great that they had yann apologizing for his past comments, but the way in which it was done was for pure shock value and angst, completely ooc for his character (all season he was all ‘tell me tell me tell me let me help let me help let me help’ only to do *that*?? nahh), and interesting how out of everyone the only black character was the only one with a negative reaction (remind you of anyone), highlighted even more during ep 7 aka the ott lucas coming out tour. then ep 8, that should have been 100% all lucas and eliott and building up to eliott’s manic episode suddenly had that weird random pov changing clip in the middle of it which truly wtf, basile was still basile, lucas thanked chloe for outing him, more scenes felt rushed, they had sex in school where people could come and go in front of huge windows in broad daylight and luckily didn’t get poisoned from licking all that paint! and i did not like the flatshare, i absolutely hated mika and lisa kicking lucas out of his room - which he pays rent for! - and manon not even trying to put up a fight, and them being like ‘roommate isn’t just a place, it’s a way of living. that’s a family, and you’re more like a cousin.’ ‘a second cousin.’ ughhhhhh and then when eliott was recovering from his depressive episode, they *still* didn’t give lucas his room back or at least let eliott stay there, he was sleeping on the couch, i’m aldjlajdafj. can’t believe i’m gonna say it, but TAKE NOTES FROM WTFOCK. tl;dr there were some good moments in the second half, but i was feeling bitter more often than not about certain things, so my enjoyment wasn’t as high as when it first started. and after watching druck, druck’s brand is definitely much more my style. plus, i was already struggling with making myself believe axel and maxence were in their teens, but after druck it’s completely impossible, so i just pretend they’re in college or something lol. all my issues with it aside, i’d still rate it higher than wtfock, bc overall the writing was better, more coherent, and made much more sense. i also liked lucas’ friendship with the girls; i loved that instead of copying the underwater kiss + 21:21 like some others have, they came up with their own thing i.e. polaris, which i thought was lovely; the lucas/manon crying in the middle of the night together in front of the tv was one of my fave scenes of the season; also love how we were introduced to eliott on the first week! and they spent time together! and specifically the piano playing scene, ohhhh; and in general elu are sweet and i reeeeally like axel and maxence and their friendship. so yeah, it had some major issues, but i’d rather have a coherent story with something done for shock value and drama ONCE than an incoherent story with several shock value moments.

* skam espana - sorry to hear you girls were disappointed! i only watched half of it, so i can only comment on what i saw. i decided to binge watch s1 and give s2 a shot when i heard they were giving cris isak’s story - it felt a bit weird to me, but it was also something different and new, and i did have an appreciation for their decision to have a wlw season (also much more revolutionary to me than showing a gay bashing), so i was intrigued and willing to try it. sadly i didn’t really vibe with s1? it’s totally a personal preference i think, maybe even a cultural thing idk, but it felt very fast and loud and hectic to me, idrk how to explain it. i was just more into the chill more lowkey vibe of druck and skamnl. but i still gave s2 a shot, and idk, it still wasn’t my cup of tea. i thought it was ok for the most part, but there were some things that bothered me - joana/cris felt underdeveloped to me? and things b/w them felt like they were moving so fast from the second they met, like jona was so intense and forward ALL THE TIME, they had like 6 almost kisses in a really short time, like shhh slow down. i remember disliking their ‘call your gf’ scene, it felt really petty and kinda mean to me? bc i felt like joana came on to cris *really* strongly and *very* frequently, so cris was more than entitled to feel hurt and betrayed when she found out joana had a bf, but then cris was kissing a dude and joana positioned herself and her bf in front of cris so she’d see them kissing too, and i just didn’t like bc seriously?? cris is valid, just apologize to her and explain?? idr much else tbh, they had some really cute and sweet scenes afterwards, i’m still against doing the underwater kiss + 21:21 so i was kinda meh about that (tho aesthetically speaking it was BEAUTIFUL, and i’m like, fiiiiine girls deserve an underwater kiss too, i’ll allow it just this once!), and that cuddling clip in ep 6 i think was sweet and the last one i watched. like i said, i was less vibing with this remake, and iirc it was going on during druck’s s3 and skamnl’s s2 - which were my faves, plus skamfr was on too i think and i was lowkey following it too, so….there was just too much all at once and something had to go, and it was skamesp. it was also around the time when panaphobia-gate happened, so *shrugs* i’m not wlw myself so your opinion on it being desexualized is probably more valid than mine? i just know when i did watch, there was a lot of kissing and making out and being cute and touchy with each other, so i thought it was ok? as i’ve mentioned before, i don’t need to see a naked butt or anything like that to *get* it lol, i thought they were lovely! but that’s just me. i will say that my faaaave part was most definitely the cris/amira friendship. they were so wonderful! one of the best skam friendships imo. i might one day go back and finish the season just for the heck of it, but they didn’t do anything major or highly offensive that made me have negative feelings towards it, it was just a personal preference + circumstances (too many remakes!) that made me be less into it and drop it before the end.

[justin-chapmanswers]

how exactly do you write the show? what techniques do you use to write certain scenes?

Storytelling a character-work matters to me above anything else. As a result, I’m always taking notes on ideas. In my spare time, with another writer, there is constantly action. I wouldn’t spend so much time on a project that didn’t engage me in critical thought and analysis in and of itself.

Everything is 100% of the time thoroughly outlined. The remainder of the series is loosely outlined, and we know where we want each and every character to end up. Granted, some more specifically than others, but we are constantly working out the fine details. I feel that in storytelling you need to be able to maintain a balance at all times of having a close-to-vivid picture of the end-goal while leaving that mental wiggle-room to readjust ideas as new ones come up. If you lock yourself down entirely, you block off the better potential routes. If you don’t know the end goal, you’re bound to meander and not build up to something meaningful unless you get lucky. If you put all of your time into something, you CANNOT leave it to chance.

I love to live in the broader conceptual zone. Theming. Thinking through the purpose of characters and the world they live in. How do pieces connect? What matters? How would the actions of the characters reflect on the viewer and the world of the show? Why X? Why Z? Nothing makes sense, life is an illusion, how do characters make sense of that?

But also I am fascinated by character. I love to dig into a characters’ moral code and force them to question. I need to find purpose in every little quirk, whether in origin or in result over time. What pairs make sparks? How do different characters change one another? Who has a story to tell, and in the case of II, when is the best time to tell it? How does that story affect everyone else, does it create a new story? Repeat. 

There is so much to say here in regards to episode 12 alone. But, sticking to released episodes, my go-to scene is Suitcase and Knife at the dock, which you better bet started way longer. We take everything that Knife and Suitcase have been through come this point, contrast it with their brief conversation in S2E7, and force a character to question the moral values while shedding light on another. It helps helps that I think they are perfectly-suited to bounce well off of each other. And that I’m a sucker for quiet, contemplative scenes. A dynamic is constructed, we re-establish our characters’ purposes (especially in the eyes of one-another), and it leads to an intense decision- one that triggers strong effects down the line. Repeat.

To start moving into your question more specifically, like I noted earlier we have a ton of concepts going forward, and as one episode nears its end we really dig into the next one and make sure everything is set and understood (I hecking love episode 13). Before Brian and I jump into more thorough outlining, we need to have every general idea sorted out, which if I had to choose one step of the process, I’d call my strong-suit (despite loving every little detail that goes into -pre-production). We need to review:

-What is each characters’ arc (important or not) in the episode, and what events accomplish it? Who needs more focus than others? Who can sit out?

-Who is getting eliminated, and how (which is well-sorted out for the series already, but with wiggle-room)? 

-What do we need the characters to be able to do, physically, in the episode- and what are three challenges that can allow that to happen most-properly? 

-What themes and messages matter most to us in the episode? 

-What are key moments and visuals that we would like to highlight?

-What scenes NEED to happen in order to complete each arc? What scenes would we LIKE to have to strengthen those arcs and the episode?

-How does the world of the show play into the episode? What can we explore? What hints can we leave?

Then we’re onto outlining. This takes all the concepts that we initially had and breaks it down into a general beat-sheet, talking about every single important point we need to hit on, in order, for the episode to be complete- in a lot more detail. This is used as a pitch to show off the workability of the concept and how it, and likely will, play out in structure. Granted, more-so in episode 12 than in episode 11, the story that we pitch through the outline can go through many readjustments between that point and script-completion. That’s a mix between reworking concepts based on Adam and Taylor’s pitch-input and then the natural progression of the four of us (and often plus Ben) coming up with strong concepts over the scripting process that take some details in different directions.

Once we are settled on that story, scripting is on the way! By this point in pre-production I am incredibly comfortable with the characters’ mindsets and feel pretty free to go about writing out what’s in their heads. We work within the general guidelines presented by the outline, and complete scenes often as individual pieces- knowing already how they fit in and need to flow. There is so much to talk about just in terms of writing strategies, I might make separate posts about more specific types of scenes going forward. A lot of it comes down to balancing the puzzle pieces that are constantly juggled throughout my mind and the comedy that comes from the characters and their situation. It’s important to know what is necessary and when, and obviously there’s no one-way about it, but it’s a skill you can certainly build up with enough practice. A tone can sell an emotion, and emotion can sell a beat, a beat can sell an arc, and arcs are everything. Nothing is meaningless, even things about meaningless. If a story is told and a writer is purposefully avoiding making or alluding to a statement, it’s a wasted opportunity… so I see it.

A great deal of writing is rewriting. That’s a good sign. A first draft CAN be the best draft, but chances are it isn’t. Even when I have a good plan for a scene, I’ll keep the major beats at the back of mind and just let characters talk. I’ll see if they naturally hit on the beats I need them to hit on. If it goes on for long enough without meaning, the convo is scrapped, but good ideas from the scene can be retained for the next try. Retry and redirect it. A scene cannot be written so procedurally that it ruins any natural characterization that a character deserves. Again, it’s that dang balance back at-it. In writing it can be tough in the moment to entirely scrap a scene that you just worked hard on, but trust me- when you muster the strength to let go, you won’t miss it. You can always do even better.

Find a piece of yourself in every character you write. If you have trouble with writing a character, there’s a decent chance that it is because you’re connecting to them. Find qualities in the character that you can understand and empathize with, or relate it to something you’re familiar with in your day-to-day life, and focus in on that. Any character could be a good character if you use them properly and focus on what’s drawing about them.

If a scene accomplishes nothing, it shouldn’t be there. Every scene must establish a motivation, progress the action, or explain something in some manner. Understand what’s necessary, and feed into what makes a scene good.

Write what you like. Thinking about what the audience will get out of things is good when conceptualizing, but your vision should never rely on that. If you find something interesting or funny, others will too. Write what you would enjoy seeing. Occasionally when I come up with something I’ll think “this is amazing, people are gonna hate it” and go with it anyway. This goes more-so for the pre-writing stages, such as deciding character-focus degrees or eliminations, for instance, but it is still important in any step of the process.

When working with a team on a script, chances are there will be arguments. No good ways around that. That-said, embrace discussions and arguments! Every argued idea and concept deserves attention. If you are spending a lot of time on a project and are not willing to dig into what works and what doesn’t thematically, character-wise, or within the rules of the world- there is something wrong there. Be passionate about what you’re writing. Don’t shut down input until it is thoroughly discussed. Fighting does not mean something is wrong. (Although, fighting to the death is a problem).

A lot of the editing in II writing is shortening. We have a budget, we want episodes to come out as quick as possible, there’s no room to meander. Even scenes that we had deemed “perfect” at a point may still have a flaw of being too long for our own good. Although it seemed like a major limit back in the day, it quite honestly is important to learn how and when to keep writing concise. Bring everything down to the essentials. Brevity will allow your work to flow better and come across as neater. An annoyingly tedious two hour movie might be an hour long masterpiece wearing a scary costume. As someone who definitely writes extremely long on every first-go, having more than one pass to check for conciseness is wonderful.

I hope the overview of this process at least shed a little light. There are so many more details to go into, and I’ll gladly dive into them per request. Writing and constructing story for this show is what keeps me going, so I’m glad it has intrigued many of you, as well. :)