#its the characters personal and emotional journeys

[ssa-dado]

7 - Cogito, ergo Sum

Aaron Hotchner x bau!fem!reader

Genre: slow burn, sad just sad stuff, angst

Summary: On a train to Riverhead, you confront buried memories of your father’s death and the complex emotions stirred by Peter’s welcome back party, where Hotch’s past with Haley left you feeling like an outsider. Hotch, haunted by memories of his abusive father and first love with Haley, grapples with his choices and regrets. Meanwhile, Hotch and Peter clash over your safety and personal boundaries on the job, discovering the next target of a series of poisonings. Warnings: Grief, domestic violence, emotional abuse, anxiety, CM case. This is quite sad

Word Count: 4.5k

Dado's Corner: Not me sobbing like a kid while writing this haha. Poor Aaron you deserve a hug. That said, I experimented a bit with the style of this chapter - it's quite cinematic. I drew inspiration from Suits' 2×08 where Harvey goes to visit his father's grave and the narrative interlaces flashbacks, present and the characters' point of view so beautifully. Also - this has a sister chapter coming up next so don't worry.

previous chapter ; masterlist

The train rattled gently as it made its way toward your hometown, Riverhead, each passing mile pulling you deeper into a past you had long avoided. The rhythmic clatter of the wheels against the tracks was a steady, relentless metronome, marking each second that brought you closer to face your father’s grave.

You glanced up to see a little girl holding her father’s hand, her tiny fingers wrapped tightly around his as they made their way to a seat just past yours. The sight was simple, ordinary - something that happened every day - but today, it felt like a punch to the chest.

Watching them, you felt the train become a catalyst for everything you’d been trying to bury; the pain surged, raw and unfiltered, hitting you all at once. The easy affection between them, was a reminder of what you could never have again. Your throat tightened, and tears pricked at your eyes, threatening to spill as you stared at the floor, trying to swallow the ache of everything you’d lost. In that fleeting moment, the emptiness of your own hands felt unbearable, as if the absence of your father’s presence echoed a thousand times harder in the quiet hum of the train.

You stared out of the window, but the passing trees and fading buildings blurred into the background, their muted colors mingling with the fog of your thoughts. You’d taken the rare step of taking a day off to make this journey, a day that was supposed to be about finding some semblance of closure, or at least confronting the loss you’d tucked away behind your work.

But you hadn’t been able to think only of your father. Your mind kept drifting back to Peter’s welcome back party the previous week. Where you sat at the table, Gideon’s words lingering in the air, the concept of thesis, antithesis, and synthesis feeling painfully apt in that moment.

“Everyone, this is Haley,” Hotch said, his voice carefully controlled. “We… we go way back.”

Only now you could clearly see at how Haley smiled, but her eyes were constantly on Hotch, her presence radiating a sense of ease that only came from years of knowing someone deeply. “It’s been a long time, Aaron,” she said, her tone gentle but layered with unspoken memories. “I didn’t expect to see you here.”

You watched the interaction with a heavy heart, feeling like an outsider in your own team. The connection between them was undeniable, and for a moment, you felt a pang of jealousy, a sharp twist in your chest that you hadn’t prepared for.

You had just started to let your guard down with Hotch, to allow yourself to see him not just as your stoic coworker who would crack a joke every once in a while - but as someone you could trust, someone who understood you. And now, here was a piece of his past that you hadn’t been privy to, thrown in your face without warning.

As the evening wore on, you tried to engage, to laugh at Rossi’s jokes and nod along with Gideon’s stories, but your mind kept drifting back to Hotch and Haley. You couldn’t help but feel the sting of not knowing this part of him, of realizing that no matter how close you’d gotten, there were still walls between you.

At one point, Hotch caught your eye from across the table. His expression softened, a silent question in his gaze, as if he could sense your discomfort. But before he could say anything, Haley leaned in, pulling his attention back to her, and the moment passed.

Gideon, ever observant, leaned closer to you, breaking the awkward silence that had settled over you.

“You know, Y/N,” he said thoughtfully, tapping the cover of the book you’d bought for Hotch, “Hegel’s all about finding balance. Sometimes, the only way forward is to let go of what you thought you knew and embrace the contradictions.”

You nodded, but the words felt too close to home. You weren’t sure how to find balance in this moment, how to reconcile the sudden wave of emotions crashing over you. All you could do was hold on and hope that, somehow, things would make sense again.

Now your mind was buzzing with a mix of emotions: shock, confusion, and a sinking feeling of being completely blindsided. It was in the way Hotch and Haley exchanged glances, the comfortable proximity, the shared history etched in every small gesture. It hurt more than you’d ever thought it would, making everything sounded distant, muffled, like you were underwater.

The gathering had been a lively affair, full of laughter and shared stories, but a specific moment kept replaying in your mind: Haley’s warm smile as she said goodbye to Hotch, “It was really good to see you, Aaron, I’m glad you’re doing well. Maybe we’ll run into each other again sometime.”

Hotch nodded, his expression warm yet tinged with a hint of sadness. “Yeah, Haley. Take care of yourself. See you around.”

With that, she gave a small wave to the table and headed back to her group of friends, leaving Hotch standing there, momentarily lost in the past. As he returned to his seat, you could see the way he was grappling with the emotions stirred up by the unexpected reunion. He caught your gaze briefly, offering a small, almost apologetic smile that only deepened your sense of uncertainty.

As she walked away, Rossi had thrown a smirk Hotch’s way, raising an eyebrow as he quipped, “So, old flames burning bright again?”

Hotch rolled his eyes, though there was a faint, embarrassed flush to his cheeks. “Rossi, don’t start,” he warned, though his tone was more amused than annoyed.

“Oh, come on, Aaron,” Rossi continued, clearly enjoying himself. “Haley’s quite a catch. If I didn’t know better, I’d say you were a little lovestruck.”

Hotch sighed, but there was a softness to his demeanor that hadn’t been there before. “It’s not like that, Dave. We… had our time. It just didn’t work out. She wanted a family, a stable life. I was too caught up in my career, trying to make it into the Bureau. We were just… heading in different directions.”

There was a pause as the table absorbed his words, the rare glimpse into Hotch’s personal life catching everyone a little off guard. You could see the flicker of understanding in his eyes, the acknowledgment of choices made and paths taken, and it resonated deeply with you. It wasn’t just about Haley; it was about the sacrifices, the regrets, and the constant pull between duty and desire.

You had stood on the sidelines, listening, and telling yourself it wasn’t jealousy you felt, but something else entirely. Hotch and Haley’s history was full of things you couldn’t touch, memories you couldn’t rewrite.

The ease between them that felt unreachable, at least for you. It highlighted your own struggles, the way you and Hotch danced around each other’s guarded edges, each too closed off and too stubborn for way too much to admit the walls you’d built were anything but necessary. You had worked hard to break through those barriers, inching closer to something that resembled real friendship with Hotch, but seeing him with Haley made it clear how far you still had to go.

One of your coworkers, ever the instigator, smirked and raised their glass, turning the conversation light again. “Ah, first loves. We’ve all been there, right? High school sweethearts, college crushes, and then… life happens.”

They nudged Peter playfully, their grin widening. “I bet you’ve got some stories, too. You and Y/N? Seems like you two have your own history.”

The comment, though playful, struck a chord. You could feel all eyes momentarily on you and Peter, the unspoken insinuations hanging in the air. Peter chuckled, leaning back in his chair with a casual ease that belied the tension simmering beneath the surface. “Oh, come on, let’s not dig up the past. Y/N and I? We were just kids. We studied, we got into trouble, and then we grew up.”

Rossi, always enjoying a chance to stir the pot, raised an eyebrow. “Oh, really? ‘Just kids,’ huh? I’ve seen the way you two look at each other. Seems like more than just studying to me.”

Peter shot you a sideways glance, his smile both teasing and sincere. “Well, you know me, Dave. Always mixing business with pleasure.”

You forced a laugh, though it sounded hollow even to your ears. “Please, don’t encourage him. Peter was more like the annoying older brother I never asked for.”

The table erupted in laughter, and for a moment, the awkwardness eased. But underneath it all, there was a thread of unspoken tension, a reminder that you and Peter’s relationship, much like Hotch and Haley’s, was layered with complexities that no amount of jokes could untangle.

Hotch watched the exchange quietly, his gaze lingering on you longer than necessary. There was a flicker of something in his eyes—was it understanding? Regret? You couldn’t quite tell, but it was clear he was processing his own thoughts amidst the lighthearted teasing. The parallels between his past and what was unfolding now weren’t lost on him.

Then memories shifted, drawing you deeper into the party’s ambiance: the clinking of glasses, the chatter of old friends reuniting, and Peter’s infectious laugh as he moved through the crowd.

You remembered the moment he found you in the corner of the room, handing you a glass of wine with a casual, “So, are you ever going to let me take you out on that date?”

You had laughed it off, deflecting with a joke. “You’d have to catch me when I’m not buried in case files.”

Peter’s smile had softened, and he leaned against the wall beside you, his eyes searching yours in that disarming way he had. “I’m patient. You know that.”

There it was, an offer that seemed perfect on paper. Peter was kind, funny, and someone you could talk to for hours without feeling the need to perform or pretend. He had always been a constant, someone who understood your messy family dynamics and never judged you for them. Yet, for reasons you couldn’t quite name, you had hesitated.

It wasn’t just fear that a relationship might ruin your friendship, though that was part of it. No, this hesitation was something deeper, something that had started to shift within you over the months you’d been at the BAU.

The job had changed you, had made you see the world differently, and maybe that change had rippled into the way you saw Peter, too. He was familiar, a comfort you could rely on, but when he looked at you with that earnestness, you felt a strange dissonance, like you were two notes that no longer harmonized as they once did.

You shook off the thought and turned back to the scenery, trying to refocus. The landscape outside shifted, becoming a blur of rolling hills and scattered houses, but all you could see were memories of the afternoons you’d spent with Peter.

He was a piece of your past that felt safe, steady, and uncomplicated. You remembered the day he’d chosen your mother as his thesis supervisor, the excitement in his eyes as he explained why.

“She’s brilliant,” he had told you, sitting at your kitchen table, his hands animated as he spoke. “I mean, I’ve read everything she’s published. Working with her is like… I don’t know, getting to play with a master.”

Your mother had smirked from the kitchen, where she was brewing tea. “I’m not sure if ‘play’ is the word I’d use,” she said, raising an eyebrow. “But I’m glad you’re eager. I could use someone with your enthusiasm.”

Those afternoons felt like moments frozen in time, filled with academic debates that stretched into the evening. You would sit with Peter, surrounded by books and papers, discussing everything from human behavior to obscure psychological theories. Your mother would occasionally join in, her sharp insights cutting through Peter’s eager optimism, and you would feel an odd sense of belonging, of being seen and understood in a way that was rare. You and Peter fit so easily then, like two pieces of a puzzle that made sense together.

So why now, when Peter had finally asked, did you feel that familiar comfort turn into something that almost felt suffocating? It wasn’t fear, not exactly. It was something more complex, more tangled.

You couldn’t quite put your finger on it, but whatever it was, it had kept you from saying yes. Part of you wondered if it had to do with the person you’d become at the BAU, the person who had learned to live in the shadows, to thrive on the unspoken and the unsolved. There was a distance between the you that Peter knew and the you that existed now, and you weren’t sure how to bridge that gap.

As the train chugged closer to Riverhead, you let out a slow breath, feeling the weight of your own thoughts settle in your chest. This trip was supposed to be about your father, about facing the memories you’d buried along with him. But as the scenery continued to blur outside your window, you realized it wasn’t just him you were here to confront. It was yourself, and all the tangled, unresolved things you’d left behind.

.

Back in his apartment, Hotch stood motionless in front of his closet, the faint hum of the city outside barely reaching his ears. It was supposed to be a simple, mindless task: changing out of his work clothes, slipping into something comfortable to signal the end of another long case. But that morning, the weight of the past lingered in the air, heavy and suffocating, refusing to be ignored. Seeing Haley again had shaken something loose inside him, memories that he had tried to bury beneath layers of duty, responsibility, and the unyielding armor of his carefully crafted stoicism.

He stared at the closet door as if it were a portal to another time, a past version of himself that he had spent years trying to forget. His hand hovered over a hanger, hesitating before he finally pulled the door open. He reached for a pair of sweatpants, the movement automatic, but his fingers brushed against something unexpected, something soft and familiar. He pulled it out, holding it up to the dim light of the room. It was an old pirate hat, worn and faded, buried at the back of the closet like a forgotten relic.

The sight of it was enough to send a rush of emotion coursing through him, his heart tightening with the weight of memories long left untouched. It was a small, silly thing - a costume piece from a high school play - but it held the echoes of a time when life had felt simpler, when love had been a lifeline rather than a distant, unattainable dream.

Hotch turned the hat over in his hands, his thumb tracing the worn edges. It felt lighter than he remembered, the fabric frayed but still holding the shape that had once made him feel like someone else - someone braver, someone who didn’t wake up every day terrified of what the morning might bring.

Holding it now, he was transported back to those days in high school, when he had first met Haley during their school’s production of The Pirates of Penzance. He could still remember the nerves that twisted his stomach into knots as he stepped onto the stage, feeling every bit the awkward, shy boy who never quite knew how to fit in.

His father’s presence loomed over every aspect of his life, a dark, volatile force that made every day feel like a minefield. Mornings were the worst; he’d wake up before dawn, his heart pounding with the dread that his father would already be up, the stale stench of whiskey on his breath and anger simmering just below the surface.

Every morning, Hotch would lie still in his bed, his ears straining to hear the slightest sound - a creaking floorboard, the clink of a bottle, the unmistakable thud of something heavy being thrown against the wall. He’d close his eyes tightly, his breath catching in his throat as he braced himself for the inevitable: the harsh sound of his father’s voice, slurred and laced with venom, cutting through the stillness of the house like a knife.

“You worthless piece of shit,” his father would sneer, eyes bloodshot, fists clenched. The insults were always the same, a relentless barrage of contempt that felt like punches to the gut. And sometimes, they were. The bruises left behind were easy to hide, but the fear lingered, seeping into every corner of his mind.

But then there was Haley.

Haley, with her bright smile and infectious laugh, had entered his life like a beam of light piercing through the darkness. She was everything his world was not: warm, kind, and unafraid to be herself. He could still see her as she had been that first day, standing backstage with an easy confidence that seemed to light up the entire room. He had been fumbling through his lines, tripping over words as he tried to keep his hands from shaking, feeling the familiar grip of anxiety clawing at his throat. But then she had turned to him, her eyes sparkling with mischief.

“Not bad, Hotchner,” she teased, her voice light and teasing, breaking through the wall of his self-doubt.

She nudged him playfully with her shoulder, her touch gentle but grounding. “But if you’re going to be a pirate, you’ve got to look the part.” She reached up and tilted the hat on his head, adjusting it with a flourish. “There. Much better.”

He had laughed then, a rare, unguarded sound that felt almost foreign to his own ears. It was a laugh born of something deeper than humor - it was relief, joy, and a sense of being seen in a way he never had been before. That moment had been the start of everything: the stolen glances, the whispered secrets shared between classes, the way she’d lean in close, her eyes bright with something that made the whole world seem less terrifying.

Haley became his first thought in the morning, replacing the dread that had once greeted him when he opened his eyes. Instead of the anxiety that his father would be there, ready to strike, his mind was filled with thoughts of her: the way she smiled, the sound of her voice, the softness of her lips whenever they kissed, the easy way she’d tease him about his nervousness on stage. She was his anchor, the one person who made him feel like he wasn’t drowning in his own fears.

Every morning, instead of waking up with his heart racing at the thought of his father’s rage, he’d wake up thinking of Haley. He’d think of their rehearsals, of the way she’d roll her eyes when he messed up a line but would always follow it with a grin that told him she was proud of him anyway. She had made him feel safe, like maybe, there was more to life than the fear that had defined his every waking moment.

Hotch hadn’t just fallen in love with Haley; he had clung to her like a lifeline. She was the first person who had shown him what it felt like to be cared for, to be valued for who he was, not for what he could endure. She was his sanctuary from the storm that raged inside his home, and for a while, she had made him believe that he could have something good, something real.

But as he stood there now, holding the hat, those memories were tinged with the bittersweet realization of what he had lost. The love that had once saved him had crumbled under the relentless weight of his ambition and the demands of his career.

He had chosen the Bureau, chosen to bury himself in the pursuit of justice, thinking that if he worked hard enough, if he dedicated himself to the job, he could finally be free of the shadows that haunted him.

But in the process, he had lost Haley. He had lost the last piece of innocence that had made him believe he could balance it all: love, career, and a future untangled from the pain of his past. Now, the hat felt like a symbol of everything he had tried to bury, a reminder of the boy he used to be and the love that had once made him feel whole.

Hotch closed his eyes, a wave of grief and regret washing over him as he placed the hat gently back in the closet. The memories of Haley, of the warmth she had brought into his life, were still there, but they were shrouded in the painful truth that he had let her slip away. He had spent so long running from the fear of his father, trying to replace it with something brighter, but in the end, he had pushed away the very thing that had saved him

The shrill ring of his phone cut through his thoughts, jolting him back to the present. “Hotchner,” he said, masking the turmoil beneath his usual calm.

Gideon’s voice came through the line, urgent and clipped. “We’ve got a situation. A series of poisonings in Long Island, targeting public spaces. Libraries, parks, shopping centers. It’s escalating, and the unsub’s leaving messages. We need you here, now.”

Hotch glanced back at the pirate hat before slamming the closet shut. “I’ll be there in twenty,” he replied, shoving the memories aside as he grabbed his coat and headed out the door. There was no time to dwell on the past; the present demanded his full attention.

At the BAU, the team gathered around the conference table as Gideon outlined the details of the case. The poisonings were strategic, each attack aimed at places where people gathered, spreading panic through the community. The unsub’s taunts came in the form of cryptic messages, each one hinting at the next target.

Hotch’s jaw tightened as he scanned the crime scene photos, feeling the familiar pull of duty override everything else.

“We’re splitting up,” Gideon said, his gaze sweeping across the room. “Hotch, you and Peter will head to the latest crime scene. Rossi and I will cover the first.”

Hotch nodded, his face impassive as he gathered his things. He was already mentally mapping out the approach, compartmentalizing the emotional weight of the morning. But as they drove, Peter, clearly uncomfortable with the silence, tried to break the tension.

“You know, about that bet I won,” Peter began, glancing over at Hotch with a hint of a smile. “The date… with her. I’ve been trying to figure out how to make it special.”

Hotch’s eyes stayed fixed on the road, his expression tightening at Peter’s words. The mention of you - the team member who had started to break through the cracks in his own carefully guarded exterior - sent a surge of conflicting emotions through him. His grip on the steering wheel tightened.

“Have you really thought this through?” Hotch asked, his voice low, almost a growl. “You and her, both in the field, both seeing the worst of what people are capable of… it’s not as easy as you think.”

Peter shrugged, trying to maintain his casual demeanor, but there was a defensive edge creeping in. “We’ve always been good at separating things. She gets it - she’s smart, one of the smartest people I know. We can handle it.”

Hotch’s frustration boiled over, his tone sharpening. “It’s not about being smart, Peter. This job… it changes you. It gets into your head, your heart. And you’re fooling yourself if you think it won’t affect you both. What happens when you’re forced to make a choice - her safety or the job? How do you keep that from clouding your judgment?”

Peter’s smile faltered, and his eyes flicked toward Hotch, the beginnings of anger flashing across his face. “You don’t think I know that? You think I haven’t thought about it every damn day since I realized I wanted more with her? At least I’m honest about where I stand. I’m not hiding behind this job like it’s the only thing that matters.”

The tension between them was palpable, the car’s interior charged with unspoken words and unresolved conflicts. Hotch’s gaze remained fixed on the road, but his mind was racing. Peter’s words hit closer to home than he cared to admit, scraping against wounds that had never fully healed. Peter’s willingness to embrace his feelings, to take the leap Hotch had always hesitated to make, stung in a way that was hard to articulate.

“You don’t get it, Peter,” Hotch said finally, his voice quieter, more resigned. “You have no idea what it’s like to live with the consequences of those choices. I’ve seen what it does to people, how it tears them apart. This job… it doesn’t let you have a normal life, no matter how hard you try.”

Peter stared at him, searching for something in Hotch’s expression that he couldn’t quite find. “Maybe not. But I’d rather take the risk than spend my life wondering what could have been.”

They lapsed into silence, the argument left hanging between them, unresolved. Hotch felt the weight of Peter’s words settle heavily on his shoulders, mingling with the guilt and regret that had been simmering beneath the surface since seeing Haley again.

He didn’t know how to respond, didn’t know if he even had the right to. Peter’s defiance, his willingness to fight for what he wanted, was a painful reminder of the choices Hotch had made and the things he had lost in the process.

When they arrived at the crime scene, Hotch pushed all of it down, shoving the emotions into that familiar place he rarely let himself go. The crime scene was chaotic, with officers milling about, evidence markers scattered across the library floor.

Hotch’s keen eyes scanned the room, piecing together the unsub’s method, the subtle clues left behind. But something caught his attention: a bulletin board crowded with flyers and notes, too chaotic at first glance, but hiding something.

He moved closer, pulling back layers of paper until he found it: a cryptic message, written in neat, deliberate script. As he read the words, his blood ran cold, the implications settling like lead in his stomach.

The riddle painted a clear picture of the next target. Hotch’s hands trembled slightly as he stepped back, the reality sinking in.

Riverhead.

The place you were right now.

Without a word, Hotch turned and sprinted out of the building, his heart pounding with a fear that went far beyond the professional. This wasn’t just another case. It was personal, and every second mattered.

[literaryvein-reblogs]

Writing Notes: Novel Editing

Below are 4 different types of novel editing. Revising in the right order is essential if you want your book to be in the best shape possible.

Developmental Editing

Comes first.

Involves looking at the story as a whole.

Also called structural editing, or content editing.

Base components. Plot, structure, characterization, pace, viewpoint, narrative style, and tense:

Plot: Sequence of events that take the reader from the beginning to the end.

Structure: How the plot is organized. Even if B occurred after A, the reader might learn about B before the events of A are unveiled.

Characterization: How characters are represented such that we can make sense of their behavior as we journey with them through the story.

Pace: The speed at which the story unfolds. Effective pace ensures readers feel neither rushed nor bored. That doesn’t mean the pace remains steady; a story can include sections of fast-paced action and slower cool-downs.

Viewpoint: In each chapter or section, readers should understand who the narrator is—whose eyes they are seeing through, whose emotions they have access to, whose voice dominates the narrative. It also means understanding the restrictions in play such that head-hopping doesn’t pull the reader out of the story.

Narrative style: Is the narrative viewpoint conveyed in the first, second or third person? The choice determines a narrative’s style.

Tense: Is the story told in the present or the past tense? Each has its benefits and limitations.

Notes: On Developmental Editing

Types of developmental edits:

Full-novel edits in which the editor revises (or suggests revisions) that will improve the story;

critiques or manuscript evaluations that report on the strengths and weaknesses of the story; and

sensitivity reads that offer specialist reports on the potential misrepresentation and devaluation of marginalized others.

Different editors handle developmental edits in different ways.

One might include an assessment of genre and marketability; another might not.

Some editors revise the raw text; others restrict the edit to margin markup.

Check what you’re being offered against what you want.

Developmental editing isn’t about checking spelling, grammar, and punctuation.

Line Editing

The next step in the revision process; it is stylistic work. 

A strong sentence elevates story; a poorly crafted one can bury it.

This level of editing revises for style, sense, and flow.

Also called substantive editing or stylistic editing.

Editors will be addressing the following:

Authenticity of phrasing and word choice in relation to character voice

Character-trait consistency and unveiling

Clarity and consistency of viewpoint and narrative style

Cliché and awkward metaphor

Dialogue and how it conveys voice, mood, and intention

Sentence pace and flow, with special attention to repetition and overwriting

Tenses, and whether they’re effective and consistent

Told-versus-shown prose

Notes: On Line Editing

Types of sentence-level edits:

Full-novel line edits in which the editor revises (or suggests revisions) that will improve the line work;

line critiques that report on the strengths and weaknesses of the line craft; and 

mini line edits in which the editor revises an agreed section of the novel such that the author can hone their line craft and mimic the edit throughout the rest of the novel.

Different editors define their sentence-level services differently.

Some include technical checking (copy editing) with the stylistic work, while some do the stylistic and technical work in separate passes.

Check what you’re being offered against what you want.

Line-editing stage is not the ideal place to be fixing problems with plot, theme, pace and viewpoint. Fixes are likely to be inelegant and invasive.

Copy Editing

The technical side of sentence-level work.

Editors will be addressing the following:

Chapter sequencing

Consistency of proper-noun spelling

Dialogue tagging and punctuation

Letter, word, line, and paragraph spacing

Logic of timeline, environment, and character traits

Spelling, grammar, syntax, punctuation, hyphenation, and capitalization

Standard document formatting

Notes: On Copy Editing

Some editors offer line editing and copy editing together in a single pass. That combined service might be indicated by what it’s called, e.g. ‘line-/copy editing’. However, it might be called just ‘copy editing’ even though it includes stylistic work.

Check what you’re being offered against what you want.

Novel copy editing is best done in a single pass:

When an editor works on separate chunks of text, inconsistencies are likely to slip through.

One pass of a sentence-level edit is not enough to ready a novel for publication. Final quality control is necessary.

Proofreading

The last stage of the editing process prior to publication.

Every novel, whether it’s being delivered in print or digitally, requires a final quality-control check.

What a Proofreader Does

Looks for literal errors and layout problems that slipped through previous rounds of revision or were introduced at design stage.

Authors preparing for print can ask a proofreader to annotate page proofs. These are almost what a reader would see if they pulled the novel off the shelf.

Others ask proofreaders to amend the raw text, either because they’re preparing for e-publication or for audiobook narration.

Proofreaders are more than typo hunters

They check for consistency of spelling, punctuation and grammar, but also for layout problems such as (but not limited to) indentation, line spacing, inconsistent chapter drops, missing page numbers, and font and heading styles.

The art of good proofreading lies in knowing when to change and when to leave well enough alone.

A good proofreader should understand the impact of their revisions—not only in relation to the knock-on effect on other pages but also to the cost if a third-party designer/formatter is part of the team.

Notes: On Proofreading

A proofread is rarely enough, no matter how experienced the writer. It’s the last line of defense, not the only line of defense.

Be sure to clarify with an editor what you want and which mediums the editor works with. Proofreading designed page proofs requires an additional level of checking that a raw-text review doesn’t. And some editors work only on raw text, some only on PDF, and some only on hard copy.

Proofreading is about quality control. The proofreader should be polishing the manuscript, not filling in plot holes or trimming purple prose.

PROOFREADING CHECKLIST

Author:

Title:

Prelims

Title page. The title of the book, the author’s name & the publisher are correct

Copyright page. Check that author name and date of publication are correct, and that the copyright statement is present and correct

Dedication. The spelling/punctuation style are correct & consistent

Acknowledgements. The spelling/punctuation style are correct & consistent

Foreword. The spelling, layout and punctuation style are correct and consistent

Preface. The spelling, layout and punctuation style are correct and consistent

Table of contents. Check against all chapter titles & subheadings in main text for consistency of spelling/capitalization; Check page numbers against main text

Figures, tables, maps, plates. Check against all entries in main text for consistency of spelling/capitalization; Page numbers against entries in main text

List of contributors. Check consistency with chapters in main text Are the names spelled correctly and rendered consistently (e.g. A. B. Smith, AB Smith, A.B. Smith, Alan B. Smith etc.)?

Pagination. Check that all prelim pages are numbered consecutively and correctly in Roman (i, ii, etc. unless brief specifies Arabic); Check that size and position of page numbers is correct and consistent

Running heads. Check that running heads in prelims are correct and consistent (size, font, colour, position on page)

Main Text

Pagination

Check that all text pages are numbered consecutively in main text

Check that size and position of page numbers is correct and consistent

Check that first page of the first chapter starts on a recto (right-hand page)

Check that all odd page numbers are on rectos

Running heads

Check that running heads match chapter heads (or abbreviated forms of them)

Running heads are correct/consistent (size, font, colour, position on page)

Running heads and folio numbers have been removed from landscaped figures and tables

Check that running heads have been removed from part- and chapter title pages

Chapter titles and headings (incl. subheadings)

Consistency of font, spacing, colour, size & position on page for each heading level

Check that capitalization is correct and consistent for each heading level

Check that each chapter drop is consistent

Check that space above and below is consistent within heading level

Lists

Check that spacing above and below lists is consistent

Ensure line spacing of list entries is consistent

Check that bullet style is consistent within list type

Check that end-of-line punctuation is consistent within list

Page depth

Check page depth is consistent throughout

Look out for uneven page depths on facing rectos (right-hand pages) and versos (left-hand pages)

Page margins

Is the text area consistent throughout/adequate for printing/readability purposes?

Notes and cross-references

Ensure all notes are cued/numbered consecutively by chapter or through the book

Check that the note numbers given match the in-text note markers

Check each note appears on the appropriate page; if footnotes run over to the next page, there should be a short rule above the continuation (or other indicator as given by house style)

Check any cross-references in the text to chapters, figures or tables

Highlight any cross-references that still need to be completed

Ensure that in-text citations are presented according to preferred style and can be located in the book's references or bibliography

More layout problems to look out for:

Uneven spacing and leading

Irregular indentation of extracts

Crooked lines, especially in captions and headings

Wrong or inconsistent typefaces or type sizes

Bad word breaks that might trip the reader (e.g. cow-orker, trip-od)

Widows and orphans

More than two end-of-line hyphens stacked on top of each other

Paragraph indentation (first paragraphs in a chapter or section are often not indented)

Hyphens that should be dashes (e.g. when used parenthetically/in number ranges)

Double spaces after full stops (periods)

Rogue spaces at the beginning and end of paragraphs

Extracts

Check punctuation of sources

Check that extracts are set consistently (size, font, colour, position)

Query any missing acknowledgements/permissions

Figures, tables, maps, plates

Check that quality is acceptable

Is numbering correct and consistent?

Is the design consistent (font, size, colour, spacing)?

Check captions against lists of figures, tables or illustrations in the prelims

Check spelling, punctuation/grammar of figure labels and table column headings

Check alignment of columns in tables and positioning of ruled lines

Check that all illustrations provide a credit/source acknowledgement and query if any appear to be missing

End Matter

Notes

Ensure all notes are cued & numbered consecutively by chapter/through the book

If notes are grouped at the end of the book, check the text and the page numbers given alongside to ensure they match the main text and the contents page

Check that the note numbers given match the in-text note markers

If running heads include cross-references to page numbers, check these are correct, or fill in if required

Glossary

Is the list in alphabetical order?

Check that the layout is consistent

Afterword

Check that the spelling, layout and punctuation style are correct and consistent

Appendices

Check that the layout is consistent

Check that the numbering is consistent and matches any in-text cross references and the contents list

Bibliography/references

Is the list in alphabetical order?

Has the preferred reference style been used correctly and consistently?

Pagination and layout

Check that all text pages are numbered consecutively in the end matter

Check that size and position of page numbers is correct and consistent

Page depth

Check page depth is consistent throughout

Look out for uneven page depths on facing rectos and versos

Page margins

Text area is consistent throughout & adequate for printing & readability purposes

Running heads

Check that running heads match chapter heads (or abbreviated forms of them)

Check that running heads are correct and consistent (size, font, colour, position on page)

FINAL NOTES

Authors need to take their books through all the types of editing.

That doesn’t mean hiring third party professionals for each stage.

Writing groups, self-study courses, how-to books, and self publishing organizations are all great sources of editorial support.

If you decide to work with a professional, invest in one who can help you where you’re weakest:

You might be a great structural self-editor but prone to overwriting. Or you might have nailed line craft but need help with story development.

Pay attention to the order of play when it comes to revision.

Fixing plot holes at proofreading stage might damage previous rounds of editing.

Source

[yuurivoice]

Hi Yuuri I just wanted to say I miss Howell. That’s all I hope you have a good day😊

I do too! There's still a lot about him I want to know and figure out. I was able to delve into him a bit more (and get some much needed closure) with some friends. I don't think he's really a character that I want to do various iterations of in different worlds and campaigns, because it's that specific story of his that I love. If it's removed from that world and story, I'd rather have another shot at a new character.

I was able to salvage a couple of relationships out of the rubble from the entire ordeal surrounding TnD, and I've got no beef with anyone who wasn't literal human trash, so Howell's place in my heart is unscathed in terms of being attached to a really shitty time and situation.

Reflecting on those days, that shit was a nightmare scenario. Obviously my own emotional turmoil pales in comparison to the literal criminal and victim in our midst, don't get that twisted because those most directly impacted by one asshole's actions should be the primary concern. It is a hell of a pill to swallow having something that dear to you go up in flames in such a public and grotesque way.

I don't blame anyone who feels any type of way about how it was handled and the aftermath of it. The truth of it all is, one person's really fucked up actions had widespread effects on a lot of people. The radius of that bomb was no joke.

Howell is very dear to me, and those Sundays were genuinely the favorite day of the week for me over that time. The backlash, anger, resentment, and then emptiness of it all really took its toll, as I'm sure it did on everyone caught in the blast zone.

The bad guy got got in the end, and I'm thankful for the folks who made sure that happened.

That year as a whole was really difficult. That wasn't the only heavy thing I had to work through that year. There was a stretch of six months that were probably the worst of my adult life in terms of interpersonal turmoil. The universe really took a bat to my kneecaps.

Saying ALLLLLLLL of that to say, if I had lost my love for Howell, it would have taken a significant toll on me creatively. I would not so freely share the parts of myself it takes to create the stories and characters I do now. I can pretty confidently say that something like Echoes or Shattered would never happen.

I struggled mightily with BitterSweet Chapter 3 for that reason. It was hard to want to carve out pieces of myself to share with the world, and certainly very difficult to work with anyone else out of fear that their bad actions could rob me of my passion even more.

But I learned a lot, and over that time I also think I was able to show my community how serious situations get handled while I'm at the helm. I hate that me and the team have been on the frontlines of a few really serious community PR nightmares, but I do think we've been able to exhibit an ability to treat things with maturity, respect, and direct action.

So Howell means a lot to me. We've been on two journeys, one fictional, and one real...and boy we've gotten our asses kicked more than a few times.

There is a chance, albeit a small one, that there's a DnD story to be told with Howell and some friends, for the world to partake in. Don't know if it'll happen, but the chances aren't 0%...

[angerofangels]

The Narrator was not an asshole at the start like he was kinda sweet. He hated his job, he hated the apathy which everyone else at the company had with regards to letting people die for capitalism. He practiced things in his head before speaking to people like his little comment about "single use friend". Narrator came up with that because he was bored and lonely so he had to keep himself occupied. Or when Marla noticed his words to her seemed practiced. He just spent a lot of time alone ok!

And then Tyler comes in and makes fun of him for it and he laughs it off like haha yeah that was stupid but already from the first (second in the book) meeting Tyler is being a shitty friend. The Narrator accepts it because he has poor self esteem and craves to be made into the likeness of something else by the first person to just listen to him.

The course of the story was supposed to be Narrator discovering the support groups, learning to express his pain healthily by crying and then meeting Marla and no longer being alone, eventually healing. Tyler ruined all of that by taking him down the path of catharsis via inflicting pain on others and isolating yourself. It wasn't Marla it was Tyler who ruined everything.

Something that kills me about fight club is that all my fave things from a period of time reflect me at that time and my mindstate. I remember being the Narrator I remember feeling disconnected and depressed and looking for catharsis. I remember the weird awkward person I became from spending so much time alone and I remember wishing for some charasmatic person to come along and change all that. God. He was desparate guys. Tyler took advantage of him because he was desparate.

[crowsgrudge]

fionna's world being represented by a dandelion makes so much sense ... they're weeds. yet people make wishes through them, changing their whole meaning from something meant to be destroyed to something hopeful.

dandelions are also resilient and it makes sense that something associated with them would. you know. perservere despite the destruction caused by the scarab.

but ultimately i think what REALLY made me tear up over this is that dandelions are really boring plants. when you're a kid you blow on them and make your wish but they're not eyecatching or anything but still, fionna's final wish was for her old world to still exist as it was when she left it (> plain and simple. boring even).

like the moment she realized she would lose her friends, and that her friends might forget each other if the world got its magic back, she immediately decided she didn't want it and I think that ties back to the dandelion metaphor so well... like, do you really need magic to be real to find it everywhere? or can you turn something boring into something magical?

[immamapletreekid]

when haikyuu gets brought up in conversation and i have to actually hold a semi professional conversation bc its coworkers

[theambitiouswoman]

How to Be The ✨Main Character✨ of Your Life 👑

Being the main character of your life means taking charge of your own narrative, making intentional choices, and living authentically. This doesn't mean life will be perfect. It means you're actively participating in your journey, making choices that align with your values, and striving to live a fulfilling life.

Understand yourself. Your desires, strengths, weaknesses, and emotions. What you like and do not like. Reflect on your actions and decisions regularly.

Figure out, decide and commit to the life you want.Both short term and long term. Break these goals down into small steps.

Take action. Don't wait for things to happen; make them happen.

Every main character faces obstacles. They build you. They show you, and others, how bad you want it. Instead of avoiding challenges, face them head-on. They're opportunities for growth.

Physical, emotional, and mental well-being are crucial. Regular exercise, a balanced diet, meditation, and adequate sleep can make a huge difference. How you treat yourself is how much you do or do not love yourself.

Surround yourself with positive influences and people who uplift you. Limit exposure to negative media or toxic individuals.

The world is full of knowledge. Always be curious. Read books and take courses. Always learn.

Connect deeply with others. Genuine relationships add richness to life.

Be true to yourself. Don't live to meet others' expectations. Celebrate your uniqueness.

Regularly acknowledge and appreciate the good in your life. There is always something to be grateful for. It shifts your focus from what's lacking to what's abundant. How you look at life is what you will attract.

Find balance in work, relationships, and personal time. Create a life that is fulfilling. You are not just one aspect of your life.

Imagine yourself succeeding and achieving your goals. This positive visualization can be a powerful motivator. Live your life as if it is already done.

Life will have its ups and downs. Resilience is the ability to bounce back from setbacks and keep moving forward.

[stellarwhisper]

Random Astrology Observation

The fact that Mars is in the first house suggests that confidence, physique, and self-image are highly valued. These people appear to focus their energy on keeping up a powerful, alluring persona. Being eager to give people more self-assurance points to a helpful and inspiring personality.

Mars's position in the ninth house presents an exciting and daring image. The love of adventure, philosophy, and travel fits very well with this placement's expansive character. Extreme sports fervor is indicative of a will to push limits and experience life to the fullest. A desire to disseminate knowledge and a broader viewpoint are reflected in the goal of education and teaching. Adhering to specific values gives their approach more depth and makes the journey lively and meaningful.

Sagittarius Mars traits indicate a great dislike for anything that restricts their freedom or stifles their independence. They don't like to wait around and value efficiency, thus being on time is crucial to them. They cherish their autonomy, therefore any attempts to limit or control them may encounter opposition. People in this role may also become frustrated by unreasonable responsibilities and rigidity.

The variety of characteristics that people with Leo moons exhibit, from a difficult connection with trust to creativity, forgiveness, and a craving for attention and giving. The knowledge of their inclinations, driving forces, and educational experiences deepens the comprehension of this lunar positioning.

Even though it can occasionally come out as judgmental, Virgo Sun people's honesty is valued for its directness. Their readiness to be open about their true emotions and to offer candid counsel is indicative of their dedication to truth and authenticity.

People with Jupiter conjunct Moon are described as having a strong and alluring emotional presence. They seem to have a significant influence on people around them if they can control emotions and use their auras to create a spell. Through their artistic or intellectual endeavors, individuals appear to have secret knowledge banks that open up when they communicate their feelings. The secret to revealing the depth and richness within is found in the allure of their bursting emotions.

In fact, the 10th house in astrology is frequently linked to one's profession and public life. It stands for a person's reputation, accomplishments, and career goals. The planets and signs that make up the 10th house, along with any aspects that they may form, can provide information about a person's attitude toward their work, public persona, and desired global influence.

The depiction of Pisces Mercury in a relationship creates a lovely image of profound understanding of their partner and nearly psychic communication since they have sensitive energy to sense whether something is off. When words are utilized they will use it to bring out the most understanding and sensitive parts of their partner, they love a connection that appears to be a source of consolation and healing. They want their friendship or relationship to take on a lyrical and inspiring dimension due to their appreciation of arts especially music and they have the possibility of writing or even dedicating songs for their loved ones.

Mars in the seventh house frequently denotes a forceful and proactive approach to interpersonal connections. People that have this placement tend to be direct, aggressive, and passionate in their relationships. They can be looking for a companion who can have lively conversations and is just as vivacious. They might have a strong desire to take the lead in relationships and relish the excitement of working together on projects. Direct communication and a desire to resolve conflicts amicably are two possible components of conflict resolution.

Venus in the Ascendant, sometimes referred to as Venus in the First House, frequently improves a person's attractiveness, charm, and relationship style. People that are placed in this position typically have a friendly and cheerful disposition. They could be naturally magnetic, capturing the attention of others with their charisma or beauty. Their identity is greatly shaped by their relationships, and they may place a high importance on harmony and aesthetics in their self-expression. A great desire to establish and preserve lovely relationships in the social and personal domains may be present.

[sunlightnmoonshine]

I don't know whether anyone has talked about this yet but wasn't the main point about the Jet storyline, that fire nation ppl shouldn't just be killed off as revenge?? Wasn't it also supposed to be an instance of comparison between what a good leader is and what an edgy leader is aka sokka being the former and jet being the latter?? Wasn't it also supposed to be an instance that made katara sad because she bonded with jet over the loss of their family and nearly went down a dangerous path because of him??

1. How is replacing it with oh let's kill the scientist guy that's helping the fire nation and use that as an opportunity to kill the royals too a good change? Thereby taking away substantially from the whole innocent "fire nation" ppl shouldn't be punished for the actions of, plot point which is very relevant to the thematics of the story?

2. Why take away sokka's intuition as a leader and instead turn it into a sibling squabble where sokka has literally no role in the Jet storyline except that he appreciates Sai and doesn't think he should be killed? And instead have katara through one tiny whip of water save the day?? Thereby taking away a part of sokka's growth, even though this live action loves shoving it down everyone's throat that sokka's personality trait is that he's obsessed with being a leader?

3. Why take away from katara's emotional range? And how her fight with jet was fuelled by rage that she's coming to terms with and how betrayed she felt?? What does having jet say her waterbending is good because of him and have her say, no its because of her, add to the story??? It's like the live action is obsessed with highlighting that katara is a master water bender (which is incorrect since she trained hard and got very good at it) and that she doesn't have the emotional bandwidth to express mixed emotions?? Also their interaction, was supposed to highlight how even if two ppl suffer the same way, their approaches in response can still be very different and that revenge is not the answer, which is foreshadowing to katara's journey in the story.

I just don't understand why the story had to go in this direction and I certainly don't understand how one can be okay with how much they chipped off in relation to characters and thematics??

[mizu0xox0]

Fei Xiao and Ruan Mei x reader with Oshi No Ko star eyes

[Both characters are written as separate hcs, might be OOC]

🦊Fei Xiao

-Shes definitely fascinated by how unique your eyes look, I mean sure some Xianzhou folks have unique eye colors but your eyes that look like they hold the galaxy in them now that's something she could stare into daily

-Fei Xiao will definitely introduce you to Jiaoqiu and Moze. And you bet she'll always bring up how beautiful your eyes are well everything about you is beautiful but your eyes stand out the most

-Fei Xiao will do anything to see your eyes light up. Compliment you? Of course she doesn't mind. Train with you? She is on her way. Maybe even sparring with her? Gladly plus she gets the bonus of seeing the passion burning in your eyes

-Speaking about compliments I feel like Fei Xiao would say something along the lines of "You're my world and I mean it quite literally you have a whole galaxy in your eyes."

-This will get worse when she is drunk and her words start to slur. There may even be occurrences where either Jing Yuan, Jiaoqiu or Moze may have to witness such occurrences as they bring her back to your shared house and see Fei Xiao saying extremely cheesy compliments about you which makes the average person cringe

-All in all sure your eyes are unique but Fei Xiao finds all of your unique

🧬Ruan Mei:

-As someone who wishes to understand lifeforms well she's seen many eyes of different lifeforms but no lifeform has eyes as interesting as you

-She tries to recreate your eyes with her experiments such as the cat cakes but the cat cakes eyes just aren't like yours a whole galaxy

-If you ever want that cat cake she'll gladly let you take it since well its a mini you sort of

-Whenever she spends time locked up in her lab and needs some new inspiration she may just go to you and look at your eyes. Something about your eyes may give her ideas. Maybe the various sparkles and twinkles in them.

-Ruan Mei who in her journey of understanding lifeforms doesn't seem to grasp the understanding of your eyes and why she gets lost in those eyes for yours. It's as if your eyes hold the whole galaxy in them that she could get lost it

-Every once in a while she may be doing some embroidery work and may embroider your eye color in her work after all it is quite a sight

-She will have difficulty expressing her emotions and compliments are rare from her but you can tell she's definitely somewhere between fascinated and amazed by your eyes since she looks a little more intent into your eyes as compared to when she's with other people. But be patient with her as time goes on who knows.

Note: Thank you for reading! I finally decided to write about two of my favorite female characters in HSR, I really love Ruan Mei a lot esp since her release. Really wishing that she'll achieve her goal of becoming an aeon. Hopefully sometime in the future I'll have a firmer grasp on these two characters and write more for them.

[anotherlibrocubicularist]

So, from TC to everything TOA, everyone expresses their distaste for Apollester's haikus. I believe that they don't actually hate on the technical execution (he's usually adhering to the form pretty well, unless you take into account that haikus are usually nature-themed in some way, but there's such a thing called artistic freedom, so it shouldn't factor in that much). Most people not liking his haikus don't have that knowledge on the technicalities of it anyway.

But any haiku, even the very first one in TC, was just Apollo "going through the motions". It seemed as if he did it because he felt like he had to, like it was expected of him as the god of poetry (and I can understand this, as there are soo many mentions of him being tied to the sun in the pjo!verse, and just as many of him being the god of archery, but not as many about poetry, so of course he wants to remind people). It's performative, and not in a good way.

Art is always best if it's coming straight from the heart. And any time Apollo does perform something heartfelt (like he did about Daphne and Hyacinthus and Jason), it is well-received.

In my opinion, Apollo's journey as Lester Papadopoulos isn't just about changing his character's personality, it's also about him redeveloping appreciation for art and its ability to put your emotions on display in any way, shape or form you desire.

Quick disclaimer: I've read the reblogs (and loved them, first time someone reblogged my posts and adding their own thoughts, so yay 🥰), and I just want to clarify that my post was never meant to say that I think Apollo's haikus suck, I just wanted to get to the bottom of why they're not well-received by the in!verse characters.

[luniise-kel]

thinking about how cool and awesome moon stone cassandra couldve been if she wasnt given the world’s worst villain motivation

dropping my whole au / rewrote of season 3 below

uh preface is im sleepy and its almost midnight, so like sorry if some parts dont make sense or whatever

uhh basically, instead of cass trying to like reach her destiny or whatever as like her Main motivation and the only reason to why she Evil and Malicious ive changed it so its more mixed in with her desire to protect rapunzel. i think moonstone cass is cool and i like the idea of her but i really just think her execution was poor mostly because it wasn’t built up as much as it shouldve been.

rewrote cass’s character slightly just so there more empathize on her idolization of her mother, and so when she learns the truth of why mother gothel left her, the knee jerk reaction to blame raps makes a little more sense.

Anyways, Season 3 cass deals with a lot of her issues, i think on the journey to get the moonstone something something happens and cassandra is told that if rapunzel comes in contact with the moonstone she will Implode. Like die. Return to being the sundrop. and cass is like oh fuck, shit, balls, I need to Protect her from Dying. So out of her intense Need to protect Rapunzel she yoinks the moonstone, and (still slightly pissed at raps for stealing her mom but not really she’s just trying to figure out her emotions + rapunzel needs to get away away from this rock) she goes into Evil mode.

Her villain arc is partly fueled by her anger at her own situation, always in second place. her desire to feel love and cherished and important rather than being the 2nd option. However, it is also fueled by her need to provide safety to her friends ,, even if it’s not the smartest choice. Moonstone Cass devotes her entire identify to being the cliche villain, so no one feels bad if like the solution to destroying the moonstone is killing her. she knows that logically the Zhan Tiri is manipulating her but 1. she idgaf and 2. she needs to learn how to control the moonstone’s power so she doesnt hurt her friends.

Tbh boiled now, it’s just cass isnt obsessive with mother gothel and mother gothel leaving her to kidnap a baby because it made like no sense for her character. like instead, moonstone cass grabbles with her identify and place in the world, who she is outside of rapunzel. Also she wants to learn more about her past, yknow, who mother gothel was and is she Worth getting upset over. spoiler she figures out that no, her bio mom sucks booty

Anyways, throughout my version of season 3, cass is trying to figure out a way to destroy the moonstone. She visits Rapunzel often too and pretends to be evil just so she can check in. She angry at her mom but not so much on rapunzel, maybe a little bit but probably more to with simply trying to crave out her identify outside of rapunzel. Same general plot beats happen in s3, but shes more grief driven than anger driven i suppose.

Theres probably a lot i forgot to like, reformulate in this especially w s3 bc i havent had the time to rewatch it and collect my thoughts that well. But, uh, hope u enjoyed. might yap more about my personal gripes with the show and how i think it shouldve been written.

also to add on i suppose, at the end of the series she gets exiled from corona officially, but lowkey comes back to hang out and after like a year every1 is like yeah okay i guess.

[yet-another-greek-myth-gay]

Once again sitting here thinking about how, for all the remorse August felt about the video, for how shitty of a person he felt like he was for posting it, for all his efforts (however subpar they were) to try and apologize to Wille about it...Simon never got a fucking apology.

Which makes sense, and shows how, at August's core, he's still an elitist, superior prick, even if he's more cognizant of his flaws and more uncomfortable with them than he's ever been. He could not be bothered to apologize Simon, doesn't even have the thought cross his mind—why? Because Simon's a nobody. Simon has no power. Like, let's be clear, August has fucked up his life irreparably. There is literally no future where the video will not haunt Simon. (I read a great fanfiction I have to find the link for, where Simon says that he was fucked the minute August hit "post," no matter what Wille said or did, and like...yeah.) That shit was all over the news in Sweden. We see, already, people recognizing him out in public. Beyond even just the emotional turmoil that comes with that video existing, we see, through the posting of his address and the rock through the window, that its existence physically endangers Simon. Even if Simon were to leave the country, move somewhere new and try to start over, it would take one google search of his name to uncover that blight on his life.

That's not to say that Simon couldn't process its existence emotionally, or that he won't be able to lead a happy, fulfilling life with the video existing, because he absolutely can and will! It just incenses me that not once in August's journey of feeling this guilt and shame over the video, and reaching some sort of understanding and peace with Wille, does he once consider giving Simon any sort of apology. (The settlement doesn't count, of course.) It makes sense for his character, and Simon probably wouldn't have accepted the apology, and by no means should be expected to, but the fact that he didn't get one still makes me so angry.

[alexprime]

The episode 'Plato's Stepchildren' is such an amazing episode, but I don't see it get talked about nearly often enough. As a Hurt!Spock fan, Amok Time is THE episode for whump, no question about that. But I'd say second place goes to 'Plato's Stepchildren'. (Also on this list: This Side of Paradise, The Naked Time, Operation - Annihilate!, and Journey to Babel.) Features some amazing Spock moments: - Spock being forced to display emotions. - Spock emotionally and mentally shutting down as a result. - Jim sitting at Spock's side to comfort him. - Spock confessing to feeling hatred. - The way McCoy jumps to Spock's defense when he's forced to laugh. - The tender way Jim says Spock's name as he gets up off the ground. - Gems of dialogue like this: — "Then you must release it, gentlemen, as I must master mine. I might have seriously injured you, Captain, even killed you. They have evoked such great... hatred in me. I cannot allow it to go further." — "That may be, Doctor, however I have noted that the healthy release of emotion is frequently very unhealthy for those closest to you." But Spock aside, it featured the first interracial kiss on TV, which was so massively daring for its time. The resulting influence it had on culture cannot be overstated. Also Kirk's empathetic, compassionate treatment of Alexander, who is among my top ten favorite non-crew characters in the show. It is also one of the few episodes that is difficult for me to watch. It is legitimately uncomfortable for me to see Kirk being forced to crawl around like a This episode broke all the goddamn rules. It is genuinely difficult to see Kirk being forced to crawl and neigh like a horse. The severe humiliation is just gutting to watch. Jim Kirk is such a disciplined, confident, strong man, and to see him be brought so low in such a degrading manner is painful The entire time it's happening, I feel almost sick. It's not played for laughs, it's not amusing to watch it happen. In 'Patterns of Force', even when Jim and Spock are getting whipped, it's followed up by moments of light amusement (Jim straining to hold Spock up). There is no amusement following Jim and Spock's humiliation. Just rage and hatred. Spock and Jim have been tortured, interrogated, shot, beaten, drugged, and pretty much any other kind of harm there is. But I'd say this episode really takes it to another level, and demonstrates that physical pain is not the worst kind of hurt a person can suffer.

[aashi-heartfilia]

Deku and Ochako: Two threads running in parallel

MHA has a vibrant cast with each character having its own quirks and perks. We often find ourselves shipping them and rooting for them to become cannon but in the midst of these shipping wars, we often overlook their personal journeys become true heroes.

One such pair is IzuOcha.

People often view it as a straight vanilla ship and ignore everything that makes it special/different from the other so-called vanilla ships. The fact that their journeys were always running in parallel, fighting side by side, inspiring each other in a give and take relationship...but let's start from the very beginning....

.

.

Chapter 3: The first time we meet Ochako, she saves Deku from falling on his two feet. She's nervous, but not as much as Deku. She wishes them both good luck and leaves. Now, this was their first meeting, and this is where their "Do your best" starts.

They both did their best in the exams, where Deku saves Ochako from the giant robot and Ochako in turns saves Deku from falling, like literally saving his life this time around.

Chapter 4: Then, the next time we see her, she was vouching for Deku, even at the cost of her own points. This also parallels her speech later in the manga.

Chapter 7: They enter UA, finally meet each other again, and become friends. In fact, on the very first day, Ochako says that she likes the name Deku, as it kinda gives a "You can do it!" vibe. Another fun thing to note here is that in Japanese she refers to 'gambare' which literally means "Do your best!".

She changes the meaning of his name, from an insult to something inspiring and it might have looked like a comedy gag moment at that time, but when you look at future chapters, it was much more than that.

Chapter 8: The very next chapter, we see Deku facing off Bakugo and saying "He's the Deku who does his best!". And we even see the importance of what Ochako said as she inspired him to do his best. In that test, they both pass with flying colors.

Chapter 22: Then not after too long, we find out about Ochako's motivation to be a hero, which was to earn money so that her parents can have easier lives. Some might say, there are other ways to make money, why choose heroism?

Well, you need to look deeper into the character, especially for someone like Ochako that has layers to her character. She's not someone you can tell by looking at first glance. From outside, she might be all sweet and cherry but from the inside, there's a storm. She has an iron will, and that she depicted again and again, be it her battle with Bakugo in sports fest or her quirk awakening and battle with Toga in the 2nd war. She has always been like that.

On the surface, she presents herself to be your average girl next door, but when you look behind that facade, you'll see a plethora of emotions.

She laughs with everyone but cries alone.

Her crying after Deku leaves (ch 37) or her thoughts about "who saves the heroes", or her "I didn't know the first thing about Toga" thoughts...

She has thoughts and emotions that are deep and not for not everyone can comprehend them. Some people might still see her as nothing more than a blatant love interest but we know that's far from the truth and that's why we'll deep dive into her character a little more.

Ochako has a lot of self-respect >>>

Despite what inspires her to be a hero, she refuses to take help from anyone. This is depicted when she refuses to take help from Deku in the SF. She felt embarrassed when Iida challenged Deku as that made her question her own ideals.

They were all there to become heroes and that makes them all rivals, even if they are friends and thus she challenges him to meet her at the finals.

I think that was a very underrated Ochako moment. (can't present all the pictures because Tumblr only allows less than 10 pics, but you can see it in the collage above)

From the very first day, her "let's do our best!" moment to their battle with Toga in the final war, she has been challenging / inspiring Deku but due to her soft personality, it gets overlooked very often.

It parallels Bakugo in a way and I love the parallels between Bakugo and Ochako but that is for another day.

So it's safe to conclude that just like Bakugo who has been a hardcore rival in power and ideals, Ochako has also been a friend / rival both in terms of power and ideals, although it might be more of her morals that inspire him the most. He even thinks about her in his final battle with Shigaraki, because she was the only one that resonates with his idea of saving villains but more on that later.

Chapter 37: After her loss, Deku goes to check on her and it turns out she was doing fine. She has taken it very positively or so it may seem but as soon as Deku leaves, she starts crying and Deku overhears her. He even feels guilty about not being able to do anything for her.

And that shows you how perceptive Deku really is. He's not some dumb, dense MC that has no clue how others are feeling. He's very sensible and wouldn't cause unnecessary trouble.

Chapter 45: After the sports fest, we see everyone choosing their hero names and Izuku chooses Deku. We even get a reaction panel of both Ochako and Bakugo. Bakugo always looked down on Deku and used it as an insult to call him 'useless' but Ochako changed its meaning to some positive, more meaningful.

Then in the following chapters (ch 46) they both go for their internships where Deku learns to control his 5% from Grand Torino and Ochako learns combat from Gunheads and I might say, IzuOcha might be the only people who learned the most from their internships, lol.

From then onwards, they both continue to grow in terms of power, as the story starts focusing on other characters as well, and we see less of her. Plus, her slight crush starts to develop from that point on, which made most people overlook her entire story.

But let's go over some of the key moments from that time:

Aoyama and Ochako vs 13: Aoyama teases Ochako about Deku, and this might be the first mention of her having a crush on Deku (ch 67)

Izuku encounters Shigaraki at the mall: If it wasn't for Ochako, everyone in the mall, including Deku would have died, making it the 2nd time Ochako saved Deku's life, quite literally (ch 68 and 69)

God knows what would have happened if Ochako didn't come back at the right time. She called the police and alerted everyone. Ochako doesn't get enough credit for her responsible and mature nature.

Chapter 76-77: Deku vs Muscular and Chapter 80: Ochako and Tsuyu vs Toga 1.0 where Deku and gang's interference saved them kinda like how Ochako's presence in the mall saved Deku from Shigaraki, although that was more serious.

Chapter 100: Ochako, Iida and Deku meet Hatsume. Yeah, that iconic encounter that has another parallel.

Chapter 102: Ochako realises her feelings for Deku.

Chapter 105: Deku realises it's not Ochako.

The thing is, Deku knew from the get go that the stranger is not Ochako. He even says "Ochako has been training to use her quirk and now she can float herself for some time, ignoring the side effects. In a situation like this, she wouldn't forget to use it and to reveal herself to the enemy without a plan?"

No, you're not the Uraraka I know.

And that, says volumes out there relationship! Even though, we saw how Ochako had romantic feelings for Deku in the previous chapters, she still kept on improving and Deku acknowledged that!

Even if we don't see him analysing her quirk again and again like Bakugo, he always keeps an eye on her, because note that in the manga, she never specifically tells him about her improvement but he still noticed it!

He knows Ochako enough to know that she's smart and strategic and that she would never reveal herself in front of the enemy without a solid plan. So when he saved Toga (disguised as Ochako) he knew that it wasn't Ochako!

And that's pure respect.

It is one of the examples of "Show, don't tell".

Chapter 107: Ochako quickly followed Deku's idea because she trusts him so much.

Chapter 109: And later, we see her struggling to keep her feelings under check. Because she's so inspired by Deku to do her best, it becomes an internal battle of emotions. At one point, she wants to compete with him, on the other, she has feelings for him that she can't control.

After that, it's a brief period of self-reflection from Ochako. We start seeing her less and less. She gets busy with her internship with Ryukyu and the team and we later see that they help defeat that giant villain in ch 156.

We later see that one of the biggest developments of Ochako comes from ch 163, where she regrets not being able to save Sir Nighteye.

In the class 1a vs 1b arc, she saves Deku when his quirk blackwhip goes haywire. If it wasn't for her quick thinking, again God knows what would have happened.

She may not have numerous power quirks like Deku but she's a capable hero in her own right and that is depicted in the Joint training arc when not only does she save Deku, but also manages to KO 3/5 people in the opponents team (Monoma, Rei, Poltergeist). She was literally the MVP of that arc.

Plus we get to see more of what runs inside her brain. Her ideology about forms the basis for one of the greatest arcs in the story.

"Who saves the heroes when they are in pain?"

After JTA, they again go to their internships and when they come back Deku apologises for what happened during JTA. Note that even though it was never shown, he was still concerned about Ochako.

He was sad that he unknowingly hurt her (much like how he says thank you very later after her speech). But Ochako on the other hand brushes it off, saying it's not a big deal and it inspired her to use wires much like Sero and Deku.

So, we see this relationship of give and take come into play again and again where they both inspire the other to do their best. Then they share a cute fist bump.

On Christmas, out of pure coincidence (wink** wink** Horikoshi) they both receive each other's presents.

Also note that, Ochako gets her hero costume upgraded after JTA, where she starts using those grappling hooks to grab and throw stuff, much like Deku and also attaches tiny rockets in her heels for more mobility.

Plus, that cute tiny pocket where she keeps her AM plushie❤️(that she got as Christmas gift from Deku). I think, after Bakugo and Deku, she has the most useful costume upgrade in the entire class!

Also, when Deku has a battle with Shigaraki in the 1st war, there is an entire chapter dedicated to Ochako vs Toga. Plus, she also gets to witness the aftermath of the war and her face, even now serves as the highlight for that chapter (ch 295).

The ragged blanket of heroism shed that day and what was left was the remains, of what it means to be a hero.

And for someone who was initially there for the money, it is especially important that she gets to witness this. It was the true horrors of hero society. She witnessed all this and still chose to stay in that line of work already says that she is way past her old thinking.

She's not some government agent like Hawks or Nagant or training to become the No 1 hero like Deku, Bakugo or Endeavour. Her life is simple, much like the citizens she saves, but it still matters.

And that's what makes her a People's Hero.

And finally after the first war, Deku leaves UA and Ochako rethinks "Who saves the heroes when they are in need?" and after that point onwards there was no looking back as her character arc takes a great turn!!

We get an entire arc of Dark Deku, indulging more and more into the darkness of his own powers and almost 10 chapters later we see a completely different Ochako.

I still remember people talking about it when ch 319 dropped.

This Ochako is ready to take action and takes shit from no one! One of the greatest character developments if you ask me. Ochako in a way is more like Lucy from Fairytail. Gets ignored most of the time but their moments are just as important.

Even though Deku went around saving people for days, people started viewing him as a villain. Ochako's speech brought him back to being a human.

Not a hero, not a villain, just a human.

And then we see her thinking about Toga, and how she didn't know the first thing about her in ch 342. She had a chat with Deku, where she confided in him. I think that kind of emotional intimacy is what makes their relationship interesting.

Her morals matter a lot to Deku, believe it or not! And that's why when she asks him to leave and take care of Shigaraki in ch 348, he thinks back to this conversation and unwillingly obliges.

Because he has faith in her, the kind that cannot be expressed in words. That comes from a long time understanding of each other...that is beyond comprehension for many people and that's why her "Do your best!" matters because that's what they have been doing since the day they met!

~Sunshine

[night-raven-tattler]

What's your ideal type?

A/N: This is a series where I write what I think is the ideal type for all the boys of the main cast. Enjoy!

Characters: Heartslabyul dorm (Riddle, Ace, Deuce, Trey, Cater) ×GN!Reader (separate, romantic)

Other parts of the series: Savanaclaw, Octavinelle, Scarabia, Pomefiore, Ignihyde, Diasomnia

Warnings: food (Trey's first bullet point)

By opening the document, you agree to Mx Tattly's terms of source confidentiality.

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Riddle's ideal type would be...

Someone who can gain his respect. A way into Riddle's heart is to catch his attention, either through your extensive knowledge about your favorite topic or a very solid sense of self. He likes people who can hold their head high so their crown won't fall off.

Someone who can understand his need to stick to the rules. His journey of self improvement made him understand he can't always force people to stick to all rules. But he still has a long way to go until he can break out of his bad habits, and if you wait for him to catch up, he'll appreciate it.

Someone who allows him to feel his emotions. Always forced to listen and never argue, Riddle has a lot of pent up emotions that spill out through anger at every inconvenience, but no one really taught him how to sit down with himself and understand what bottled up emotion is making him react. He needs someone who can at least nudge him towards trying to understand what and why he's feeling.

Someone who takes him out of his comfort zone. The rigid routine he has been stuck in over the years left its mark on Riddle, making him fear trying out new things. He fears the consequences of failure. But it's natural to be bad before you are good at something, and if you can push Riddle towards trying new things you get to see him at his most vulnerable: someone who simply loves to learn about the wonders of the world around him.

『••✎••』

Ace's ideal type would be...

Someone he can get a reaction out of. Ace is a major tease and a bit of a jerk, but that's part of his charm. From annoyance to fluster, if he can get himself to stay into your mind longer than expected, he'll gladly extend his stay there for as long as possible.

Someone who is not afraid to call him out and keep him in line. Ace doesn't just nod and agree: he likes to make a statement, to be honest and call people out, but his thoughts don't always go through any filters before leaving his lips. He appreciates when you can be honest in return and tell him that he is going too far.

Someone who doesn't get offended from every honest thing he says. Like I mentioned above, Ace doesn't really use his mental filter, and things just come out of his mouth sometimes. He doesn't always mean harm, he just wants to get his point across and be as straightforward as possible. He likes when you're willing to take his feedback before commenting on his lack of filter.

Someone who pays attention to him. It's a surefire way to gain Ace's affection. Rewarding him in just the right ways will have Ace following you like a puppy, if he's not doing that already. Save him a seat in the cafeteria. Get him those cherry flavored candies. Cheer for him during a basketball match. Soon enough he'll reciprocate the gestures.

『••✎••』

Deuce's ideal type would be...

Someone who is comfortable with change. Deuce is always working on ways to become a better person, a better student, a better son, even a better boyfriend. If you can understand why he always needs to seek ways to change, you'll be a welcome presence in his life.

Someone responsible. Deuce is not the most reliable student out there. He's trying, but not always succeeding. So, if he has someone to look up to, it will motivate him and won't let him dwell on his shortcomings for too long.

Someone he can make mistakes with. He deeply regrets his past as a delinquent, so he holds himself to a standard that always seems to be out of his reach, and kicks himself up when he doesn't reach it. If you can teach him that baby steps are more important than huge change, you'll earn a place in Deuce's heart.

Someone who finds family important. This might sound weird, but you won't always be Deuce's top priority. His mom, Dillah, is the only person who was in his corner no matter what while he was growing up. He wants to do everything he can to repay her for everything she did. Someone who understands the importance of family in Deuce's life reassures him that not only you'll fit in his family, but you'll be on a similar page when he decides it's time to bring up you two making your own.

『••✎••』

Trey's ideal type would be...

Someone who appreciates baking. You don't have to be good at it. You don't even need to know too much about it! Trey likes the attention you give him whenever he bakes, especially since he does it very often.

Someone who doesn't push him to be more than what he is. Trey has a very solid sense of self, and knows exactly what he wants to do to live a comfortable and satisfying life. Just trust him and let him know you are confident he knows what he's doing, and don't bring up any "wasted potential" talk.

Someone who calls him out when he jumps to conclusions. Trey is observant, kind and compassionate; however he also tends to underestimate the people around him, in the way that he thinks everyone who has his sympathy needs his support. Don't hesitate to remind him how that backfired for him, and he'll appreciate it.

Someone who can enjoy a small prank war with him. At the end of the day, Trey likes teasing people and a good, harmless practical joke has him smirking at you for days. You can always try to put salt in his coffee or misplace his notes, but you also need to be prepared for the consequences.

『••✎••』

Cater's ideal type would be...

Someone who doesn't wear their heart to their sleeve. They say a bit of mystery makes someone more attractive, and Cater totally agrees. He does find the honest types adorable, but to catch and keep his attention on you, you have to leave some cards close to your chest. It will leave him curious and eager to unravel you, piece by piece.

Someone who enjoys aesthetic things. Cater often takes out his phone to snap pics of various things he finds cool or interesting to post to his Magicam. Don't be afraid to send him pictures you've taken as well! Just don't send too many pink things.

Someone who gives him space when he needs it. It's no secret Cater is pretty closed off emotionally and doesn't really like to make close relationships. While it's good to bring him out of his shell in the emotional department, overdoing it will overwhelm him and push him away. You have to do it bit by bit, leaving him enough space to decide when it's okay to seek you out himself.

Someone who is willing to be more emotionally open first. Creating a safe space is key. You will have to make the first step if you want you two to develop a deeper connection. If you extend your hand first, he'll at least consider taking it.

『••✎••』