#like ??? you have to craft a whole backstory

[starleska]

i think ‘Big’ Jack Horner is Disney, and here’s why

many of us have had the pleasure of seeing the incredible Puss in Boots: The Last Wish by now, and were blown away by its clever writing, enchanting animation and emotional character arcs. yet there is one character who booted the trend of having a reason for his behaviour, and outright refused to experience any growth whatsoever.

let’s talk about ‘Big’ Jack Horner, and why i think he’s supposed to represent Disney:

‘Big’ Jack Horner isn’t just an antagonist in The Last Wish - he’s a villain. a self-obsessed, exploitative, murderous, petty, cruel bastard of a man whose awful behaviour isn’t just motivated by personal slights or childhood trauma: he sincerely enjoys hurting other people. whether it’s cheating his goons (’The Serpent Sisters’) out of a fair payment for their services or being excited about shooting a puppy in the face, there’s no denying that Jack delights in causing others pain and suffering. but what does he have to do with Disney?

let’s answer that question with another question: do you think that Jack, when placed next to the other antagonists - Goldi, The Three Bears, even Death - sticks out like a sore, plum-coloured thumb?

of course he does! but why? well, let’s look at Jack on a surface level. Jack is a monolith of a human being. not only is he physically huge and intimidating, he is the inheritor of an enormous pastry fortune and operates in the manner of a mob boss, with countless resources and a whole variety of powerful magical items at his disposal. indeed, Jack employs a crack team of bakers/assassins called ‘The Baker’s Dozen’ to carry out many of his tasks. although Jack does harm others himself, it is because of these resources - including the people who work for him - that he is able to bypass many of the obstacles faced by our protagonists in an honest and character-developing way (e.g., the Pocket Full O’Posies in The Dark Forest). Jack doesn’t need to have a character arc the way the other characters do, because he is so wealthy and owns so much.

but Jack’s reason for owning so much and being obsessed with magic and magical items isn’t through intellectual curiosity, or a traumatic backstory where he needed to learn how to wield magic. do you know what Jack’s covert motivation for owning all of the magic in the world is?

it’s money.

when we get the flashback of Jack’s childhood, dancing for the entertainment of an audience using his nursery rhyme, we see him becoming jealous of Pinocchio - and we see Gepetto in the back, absolutely raking in the cash. if we consider this flashback as that crucial moment within which Jack decided to become what he is today - and the presence of our off-brand Jiminy Cricket inclines us to think so - then we can understand that Jack decided that from that moment forward, he would own all of the magic. 

let’s go back to The Baker’s Dozen for a moment. this team of highly-competent, multidisciplinary artisans do everything for Jack, whether it’s baking the pies which make him rich, or laying down their lives at his service. we aren’t given an in-universe reason for why they do this. yes, Jack is feared, but he is still the subject of mockery due to his humble beginnings as a nursery rhyme character. it certainly isn’t due to being treated or paid well. however, if we view the Baker’s Dozen as a metaphor for overworked, exploited artists whose views are routinely dismissed by the money-hungry, powerful corporation who owns their craft...things start to add up, don’t they? considering historic allegations of worker abuse at the hands of Disney, having Jack Horner literally step on their spines and encourage them to flex takes on a whole different meaning. 

it doesn’t end there. do you recognise the items that Jack pulls out of his Mary Poppins bag when his Baker’s Dozen are being destroyed by the Pocket Full O’Posies - the items that he calls ‘the big guns’? it’s the broomstick from Fantasia, the spinning wheel from Sleeping Beauty, the size snacks from Alice in Wonderland, and a knock-off Jiminy Cricket from Pinocchio - all references to some of Disney’s earliest and most famous films.

still don’t believe me? well, let’s recap more of the items Jack has in his repertoire:

a hook-hand (referencing Captain Hook in Peter Pan)

a trident (referencing King Triton in The Little Mermaid)

poison apple bombs (referencing The Evil Queen in Snow White)

a glass slipper (again referencing Cinderella)

remember what happens when the knock-off Jiminy Cricket (interesting that there are so many Pinocchio references specifically, huh?) is horrified that Jack is losing so many men? Jack says he isn’t worried about losing the manpower, because he has a bottomless bag full of magical weapons. Jack literally gets his power off of the backs of his workers. sounds a lot like a big company justifying worker layoffs and exploitation because they have so many properties and are too big to fail, doesn’t it? 

hell, Jack doesn’t even know what half of these items do! when he’s using the unicorn horns as ammo, he is surprised that they cause people to explode in a shower of confetti. viewing Jack through this lens, it’s difficult not to think about enormous corporations gobbling up properties and churning out content with little to no regard for their artists (looking back at The Baker’s Dozen - some of whom do perish in the fight with the unicorn horns) or what the properties are about. we haven’t even touched on Jack coveting the Wishing Star, a recurring motif in countless Disney movies as representing magic, dreams, and boundless creativity. 

now, i hear you saying, ‘but Star! why would DreamWorks bother writing their bad guy as a metaphor for Disney?’ believe it or not, this isn’t the first time that DreamWorks have done this. in case you didn’t know, Lord Farquaad is a caricature of Michael Eisner, former chairman and CEO of The Walt Disney Company. the production of Shrek was actually quite troubled; animators who were perceived as having failed on other projects were ‘Shreked’, or sent to work on Shrek, instead of working on other (presumed to be more lucrative) films. of course, DreamWorks was co-founded by previous Disney CEO Jeffrey Katzenberg, hence the animosity towards Disney and its works evident in the Shrek franchise. this is what formed the story of Shrek: an ugly, crude outsider character taking on the clean-cut moralising of a dictator hell-bent on a so-called ‘perfect’ world, all created against the creative backdrop of a painful separation from Disney and a great deal of pent-up rage. 

the irreverent, crass and sometimes adult humour of Shrek was a middle finger to Disney’s high-censorship control on animation. this is why Lord Farquaad (which you may have noticed sounds a bit like ‘Fuckwad’) is so obsessed with Duloc being ‘perfect’, and why he couldn’t stand the freedom of the fairy tale creatures who are the heroes of the first Shrek movie.

in fact, this kind of meta-commentary permeates the Shrek franchise: 

The Fairy Godmother from Shrek 2, despite being a fairy tale creature herself, is highly prejudiced against characters who break out of their perceived social norms: i.e., Shrek marrying Princess Fiona and getting his Happily Ever After. she is an expansion of the control left over by Lord Farquaad, and rich because of her monopolisation of fairy tale creatures and their stories. 

Prince Charming in Shrek the Third fails miserably to capitalise on these themes, but we’ll get back to him! 

Rumpelstiltskin from Shrek Forever After tackles the gluttony of franchise reboots, and how soulless and rooted in corporate greed attempts to reboot often are. whilst not necessarily Disney-specific, Shrek Forever After follows the box office bomb that was Shrek the Third: a movie which noticeably fails to write a compelling narrative approaching any of the themes of the previous two films. the writers learned from their mistakes and wrote a movie which satirised their own selling-out of the franchise, becoming hollow and unnecessary and ‘perfect’ - the very thing they were making fun of in the earlier Shrek films.

there is one more area i’d like to touch on: Jack Horner’s source material. we know that Little Jack Horner is quite obscure: an 18th-century English nursery rhyme involving a boy who pulls a plum out of a pie with his thumb, and congratulates himself for his fortitude. but did you know that from its earliest conception, Little Jack Horner was associated with foolishness and dishonesty?

it’s true: the simple yet inexplicable nature of the poem was lambasted for being infantile, and quickly became the subject of revision, moralisation, and even political satire. it is no mistake that to ‘be under one’s thumb’ (as many of the characters in The Last Wish are to Jack, both literally and figuratively) means to be under one’s decisive control. the choice of Jack Horner for the villain of The Last Wish is a clever one, because we could easily have ended up with a sympathetic Jack, whose ostracisation as ‘not even a fairy tale’ may have led to a justifiable motive, even for his specific brand of cruelty. but instead, the writers of The Last Wish have gone one step further; they’ve transformed a source affiliated with idiocy and deception into a metaphor for a global multimedia conglomerate...all while portraying him as simultaneously terrifying, powerful, and ridiculous. 

it has been over a decade since Shrek Forever After was released, and Disney has changed dramatically in that time. a global giant, Disney now owns more enormous money-making properties than ever thought possible, and consistently capitalises on nostalgia for its early properties to make more money and accumulate power. since breaking out of its exclusive licensing agreement with Disney in 2016, DreamWorks has had no official connection to Disney, making the ground for mockery and satirisation of the company which spawned the studio all the more fertile. ‘Big’ Jack Horner is not just a glamorous return to form for the dreadful, unapologetically evil villain which Disney has eschewed in modern times - he’s a hulking, egocentric monster whose avarice rivals that only of the corporation he’s inspired by. 

and those are my thoughts on ‘Big’ Jack Horner! of course this is by no means the definitive interpretation - we should all just have fun with the movie and come up with whatever theories we like 🥰💖 i’d love to hear your thoughts on him and The Last Wish in general - he’s definitely one of my favourite bad guys to be released in the past few years!

thanks so much for reading, and have yourselves a wonderful day 🥰

[llilyrose]

So, you know that ISAT au I mentioned in my yass-girlboss King post??

HHHHHEEEERE WE GO .... info below keep reading!!! lots of words!!!! In Stars And Time FULL spoilers!!!!!

(Note: The Reset AU will be posted on @slowlysoluminary but i will be reblogging from my main)

There are some really interesting Siffrin-Meets-The-King-First aus that float around. I see them sometime! they're great! But I, as an adoring King fan, had to sit down and ask myself:

"So, uhh, like why?"

AND I DID SOME THINKING!!!!!

The King notices you're looping in Act 3. That's great! Not for Siffrin, but great narratively. If he notices it in that loop specifically, I feel like he would notice in other loops, too.

So, Act 5. The King notices how much of a formidable opponent siffrin is (among other things), acknowledges he's from the same country, recognizes wish craft, yadda yadda yadda.

He wants Siffrin to understand and resonate with his reasons for trapping an entire country in time, and while Siffrin is busy in his mind space fighting Mal Du Pays, the King makes a wish. AND HE LOOPS!!!!!??????

... Uhh, kind of? Not really. It resets the timeline all the way back to when the country was erased, but instead of the King having full memory, they're more like... vague snippets that hint at what he once was.

So, um! The first part of the AU is about the King's 10-year-long descent into madness. It's heavily condensed but it's there!! there's lore there!! I'm a king fan he needs a backstory.

"His name is Lazare" HE HAD TO HAVE A NAME BEFORE HIS KING DAYS... it's heavily implied the King wasn't his original name, and my headcanon helpfully supplied that he underwent a Change inside the house during his rise to power. I think there's like, a Head Defender? And the King was Head Defender, with full access to all libraries inside the house, when he started going crazy.

At 22 he loses all his memory while travelling in Vaugarde. Nobody knows his name so he comes up with one! He meets Siffrin 4 years later and they both travel Vaugarde together.

He becomes a defender at 29 because we see firsthand how INVESTED this dude is in Vaugarde. He wants, NEEDS this country to be safe!! he has a lot of patriotism!!! He's not actively searching for what happened to him or his country, he's just accepted it and is building himself up as a person.

oh boy .. when he turns 31 he becomes Head Defender.... And when he starts reading higher-access books throughout the house documenting a disappearing country? He gets MORBIDLY curious. And... well... this fixation leads him down the rabbit hole that got him where he is today! Except, this time, with Siffrin on his side...?

Yup! Siffrin is here! They've been here the whole time! Siffrin watches a man he's grown to love and adore fall into the Deep End. And he would find the strength to be mad about what he's doing if it weren't for the fact he was super sympathetic!!! ugh!!! sympathy!!!

Siffrin agrees with the King... but not really? He agrees with his reasons but completely disagrees with the way he's going about it. The change from Lazare to King was gradual, but towards the end he treats Siffrin more like an object of study than a friend.

The King takes his cloak and hat to study the stitching, the King won't let him cut or dye his hair again because he wants (NEEDS) this still image of his culture, etc.

Siffrin pretends his behavior doesn't bother him (because the King goes full Mansplain Manipulate Malewife on him if he voices his dissent) and keeps sneaking away from the King using his hat-less/cloak-less disguise.

In doing so, he meets a wild Mirabelle! It becomes a habit to visit her and the villagers under this "disguise" (it's only convincing in the way that Clark Kent is convincing) and he's feeling that same friendship with them that he used to back when the King was Lazarus.

... Until the House gets frozen? And the king starts Freezing People In Time For Real? No warning? Siffrin is HORRIFIED, rightfully, and also super upset. Partly because Mirabelle "got frozen" (she did not get frozen) and partly because the king has TOTALLY LOST HIS MIND NOW. no trace or remnant of who he used to be. but siffrin wants to hold on.

and then Siffrin gets stuck in a time loop! Whoops! Honest mistake!

"How does he get stuck in a Time Loop if there's no party to stick with?" ok so. of course he's going to learn Wish Craft from the King, duh. The King tells him literally everything about rhe country as he discovers it (albeit, in incoherent rambles.). And he also has his own muscle memory to draw from!

In desperation, he makes a wish: Save Vaugarde/Sav the King.

"Which one of those two is it?" Idk! That's what he spends the timeloops finding out!

Oh, wait, now that I've talked about the time loops, I CAN TALK ABOUT LOOP!!! LOOP IS NEW AND DIFFERENT!!!

^^ This was the initial ref sheet i made while brainstorming for this au (and also the sheet that birthed King In Magical Girl Poses)

"So what's loop's deal?" yeah, um, that's the thing? Loop doesn't know either!

Loop is not hiding their identity! Much like King, they domn't remember anything until afterthe Reset. They're Siffrin, yes, but not Siffrin from SASASA:AP. They're Siffrin from In Stars and Time. They're THE Siffrin that the King's wish Reset!

Thus, Loop looks very different!!!! And acts a little bit different!!! Siffrin is the only one who can see Loop, for the time being, and they follow him throughout the loops instead of staying stagnant under the Favor Tree.

They don't like the idea of not knowing who they are, or where they're from. Siffrin sympathizes with the star, initially thinking that they just... had the same thing happen to them that happened to the king? But the reason Loop follows Siffrin through the house is because they NEED to know who they used to be, and what in the Universe happened to them. Certain things trigger certain memories, and... it certainly doesn't help that the party enters the fray.

"So was the King's wish not important?" THE KING'S WISH WAS VERY IMPORTANT.

Not only did it CAUSE the reset, but it gave King the precise tools to get a timeline that fulfilled his wish (It's not the Universe's fault he lost himself and his only chance).

BUT ALSO!! ALSOOOOOOO!!!! THE KING'S WISH CORRUPTED THE WHOLE TIMELINE.

Loops are meant to reset to the day before, with no one"s memory remaining except for Siffrin's.

This loop completely Reset the timeline.

The King kept hints of his memories from the past.

The party gets dejá vū from the moment they meet to the moment they step foot in the house. They feel like something is missing.

Loop shouldn't be here. Loop should be... Loop. Loop didn't wish to be here - it's a direct violaton of his initial wish to stay with his friends, but it's a wish that technically got overwritten when the Reset happened?

Ironically, Siffrin is the only one Out Of The Loop (hehe)

,,,,,,,,,

"okay so what's the stuff IN the timeloop?" you see. you seeeeee. I've been worldbuilding so that I can figure that out. And I still don't know..... I'm setting it up with this post so I can elaborate on anything later (asks are appreciated)

"You should write/draw about this" I am! Ao3 is llilyrose but idk if I'll end up posting anything there. Of course, my tumblr is llilyrose, too....

"You stole this from user llilyrose on ISAT discord!" um, look at my url again. thx

"What if I have questions about the worldbuilding/characters/etc." send an ask, fool.... I'd really appreciate it .....

[artydonsgf]

hi everyone here is art, tashi, and patrick with random headcanons i have of them<3 i have first time saying i love you headcanons coming up!

Art Donaldson

- incapable of fixing his face

- for example, if you guys are at a party n someone says something wild, he reacts SO viscerally

- literal whole body reaction

- extremely ticklish

- you found this out on accident, you were cuddling in bed and your foot poked him while you were adjusting yourself

- he reacted without meaning to and kicked you (not that hard)

- he felt so bad but you were dying from laughter, ofc he’s the ticklish type

- likes to bite you whenever you cuddle

- it started off as a joke but he genuinely loves to gently bite when you don’t expect it and hear your soft gasps in response

- it’s half because he thinks it’s cute n half because it kinda turns him on

- wants to impress you so bad that he’ll read up on something you like n then carefully drop it in the conversation

- he does it as nonchalantly as possible except it’s impossible for him to be truly nonchalant so he’s very obviously glancing at you with a small smile

- would unironically wear the i ❤️ my gf shirt

- little spoon champion

- likes when you’re little spoon but he LOVESSS when you’re big spoon

Tashi Duncan

- also totally incapable of fixing her face

- she can hide shock but she cannot hide dislike, if she doesn’t like something you will know

- hyperfixates on meals

- like she ate this breakfast wrap you randomly made for her for a month straight

- likes when you cook for her because she’ll stand behind you and hug you the whole time

- so dead serious about game night

- you are the love of her life but during game nights you are the enemy

- likes horror movies so she can cuddle up with you

- she’s not really that scared but it’s nice having you next to her when a jump scare pops up

- loves hand holding, she’ll seek out your hands n doesn’t even realize she’s doing it

- cute thing she does is she’ll craft backstories for random people you see walking down the street

- it’s hilarious because she gives very fleshed out background to people you see briefly

- “that guy? cheating on his wife with his secretary who’s also married and has a kid his age” she likes to make the stories messy

- will do anything to make you laugh, really truly obsessed with your face

Patrick Zweig

- he cannot whisper for the life of him

- sees a girl you had beef with in high school n he basically yells “oh my god is that the girl?? the one who had sex with your boyfriend??”

- it’s a mix of not caring n also just not being aware

- extreme tease but if you tease him back he’s heartbroken

- started doing this 👉🏽👈🏽 ironically just to fuck with you but he can’t stop doing it now

- “hey babe, can you please put my bag in the car?👉🏽👈🏽”

- it has consumed him

- extremely stubborn

- also very prideful, it absolutely kills him when he has to speak up n ask for something

- extreme staring problem

- if something crazy is happening in public, he’ll just stare even if it’s really obvious

- doesn’t let you carry your bag

- he can have 100 bags in his hands and he’ll still find a way to carry your little purse

just silly thoughts, enjoy!

[whenmemorydies]

See this?

Carmy is about to pull this shit. He is really about to go in and likely blow up one of the only good relationships he has left from The Beef. After yelling at Tina from the pass. After stressing out everyone and their fucking dog cos he thinks this is acceptable behaviour if its all in service of a star?

This part of 3x03 Doors was such a jagged scene for me because of a few things (including what I've said above). What else got me:

Tina is someone Carmy knows, that Carmy loves (go back to their scene in 1x08 Braciole talking about Mikey. Go back to Carmy's soft "hey Tina you go ahead, you take the night off okay? I got you.");

Tina is an older woman of colour who has made the commitment to skill up so that she can work at The Bear after working at The Beef. Carmy has seen the work she has put in but in this moment, he pays none of it any mind. Imagine being T. Imagine how that would feel. Imagine how it would feel knowing all we know after watching Tina's journey in 3x06 Napkins. The thing is, Carmy doesn't need to know all of T's backstory to know his behaviour is unacceptable. The fact that he knows some of it and proceeds to act in this way is just more evidence of his white privilege showing its ass.

Carmy does not have the self reflexivity here to look at his young, white, male self yelling at this older WOC and see how fucked this is: how he's become another white guy in a litany of white men barking at workers of colour, not seeing Tina for the whole human she is but reducing her to a means of production. The racial dynamics on this show are so evident but don't get talked about nearly enough. I know the writers have crafted those dynamics on purpose because as beautiful a character as Carmy is, he's also a product of his environment as a white chef trained in a highly racially segregated field. This has repercussions for his relationships in season 3, particularly with the BIPOC characters in his life. @november-rising speaks about Carmy's behaviour in relation to Black women's experiences of love and professional recognition devastatingly here. Read their post and the reblogs.

While this shit made me so mad this season, it was also in character - as I've said here - for a white guy trained in fine dining to revert to established patterns of behaviour. Though, I'm gonna need the writers of the show to show US that they did this on purpose and have Carmy ATONE for this shit in season 4. Otherwise, what kind of redemption arc will this man have? This shit is hurtful to the BIPOC characters and BIPOC viewers of this show in no small part because white men the world over have a LONG history of using BIPOC people as a means of production and as a means of production alone. If you're unsure about this, please go look up the Transatlantic slave trade. Please go look up the history of colonial indentured labour. Please go look up The British East India Company. Please look up the forced labour regime in the modern prison industrial complex. Please go read a fucking book. And no I'm not saying Carmy is responsible for the slave trade (LMAO please hold fire if this is where your mind is going). I'm saying BIPOC folks carry with us a long ass history, an intergenerational history of this shit. But guess who else does too? White folks. So don't act like they dont.

This shit is also hurtful because we know how respectful Carmy can be. We’ve seen him in seasons 1 & 2. We know he knows what being a practical ally looks like (even if he may not have the language to name what he was doing) when he made sure to bring the staff of The Beef with him to The Bear and invested in them accordingly. We know he loves and respects them, none more so than Sydney. But there were so many times where he did not act like it in season 3. And when folks have got histories - not just personal but cultural too - as long and as loaded as we ALL do, actions account for a lot. What you do is the shorthand for who you are in the world, whether you like it or not.

Ok back to the scene.

Who comes in and simultaneously saves Carmy's ass and ANOTHER of his relationships? Who protects Tina and keeps the kitchen from exploding AGAIN?

Who supervises her sous chef like a fucking pro?

Sydney. Sydney. Sydney.

And who knows that he's in the presence of greatness but doesn't know how to articulate it cos he's not integrated, not by a fucking long shot. Who needs to attend some anti-racism training along with Al-Anon and therapy (so he can get the benefit of understanding his role in this system and get a better understanding of his own mind)?

Yeah you Carmen, you.

Better get on that shit before you lose the woman who is the beat to your whole heart another means of production to a chef who's going to pay her better, give Syd insurance from the jump and total creative control. Just saying.

[salteytakesonmanga]

Your explanation about retconing made me think Oda's way of writing is exactly what bring people to think he has every single thing planed down from the start, even if he didn't.

The story has been going on for 20 years, and Oda himself has admitedly had ideas along the way that he added. But the fact he's still able to connect every new idea instead of having to retcon things is what makes one piece feel so perfectly planned and tied.

Anon, you innocently sent me this ask to share your thoughts and unknowingly triggered one of my rants. I’m sorry/thank you.

Anon is referring to this post.

Oda is just a good writer! He is good at the craft of writing! Even if you don’t like the story (I’m assuming you do, but for people who don’t…) it’s just WELL WRITTEN. People really aren’t used to seeing good writing anymore, to seeing tropes deployed effectively and having plot lines actually connect. This isn’t just me being cranky and old, it’s just truth. People are talking about this in film, TV, books… One Piece has been around so long that it comes from a generation of storytelling that is vastly different from our modern media landscape.

I think people are burned out on the way modern storytelling never delivers (looking at you, JJ Abrams) or constantly jerks people around to elicit a reaction, all for the sake of nabbing that viral moment. When they see Oda deploy a trope or a storytelling device they’re immediately suspicious and fearful that it’ll turn into another unsatisfying gotcha. They rush to look for proof that it’s either all part of a detailed master plan, or it’s just a cheap trick to sell more issues.

In both cases, people are looking for a reason to be LESS INVESTED in the story. If he has a master plan, they don’t need to get worried or excited because it’s all heading to some inevitable conclusion that’s been clearly telegraphed and once you’ve cracked the code then you can already tell what the ending will be, so you don’t actually have to care. If he’s winging it, then the story is just a sequence of loosely connected meaningless scenes whose only purpose is to get you hype about a plot leading nowhere, so you don’t actually have to care.

And it breaks my fucking heart.

When it comes to One Piece, so many people are insistent that One Piece is EITHER 100% planned in advance down to every minute detail, or Oda is completely winging the whole thing. But the real answer is somewhere in between, in some muddy grey area that people find really unsatisfying. They want one clear answer that they can hold up as “The Right One,” but life is not made up of black and white answers.

Honestly it makes me really sad that people can read ALL THIS - pirates are evil except actually pirates are good and the Marines are evil except the Marines are trying to protect civilians by keeping countries stable so that's good except the rulers are evil tyrants so that's bad except when they’re not and then they’re good but only sometimes and… - and what they come away with from it is, “Okay but what’s the RIGHT answer.”

The thing that makes One Piece feel like it’s so cohesive despite Oda constantly changing his mind and making shit up is that he has a very strong and clear idea about what’s actually important to the story and what’s flexible. Because he has that as a guide, he can add the Shichibukai and change Vivi from a villain to a princess and make up who Ace’s parent is without diluting what he wants to say.

That’s what it MEANS to be a writer. Foreshadowing isn’t “boring,” it’s good writing. A plot twist you didn’t see isn’t “cheap,” it’s good writing. Fleshing out a backstory isn’t “reconning,” it’s good writing.

[essektheylyss]

I keep lingering on the fact that Chetney says that the only thing left when he came home was toys, because on its face it's such a strange detail.

He says it as though he feels like it was an indication that his family left the one thing that was associated with him, that he cared about, that he has essentially crafted his whole identity around, which indicated to him that they were left there because the family didn't want them—and by extension, didn't want him.

But what if there was something else? What if he'd misinterpreted? What if they were trying to leave them as a point of connection, like a coded note that they were thinking about him as they fled? What if a misunderstanding left Chetney alone for his entire life, and it was entirely his fault?

It's like, god, his confession feels so concrete (in a way that Travis is very good at when talking around backstory) such that it really starkly outlines what he doesn't say. And gnomes live such long lives that, yes, you could have relatives walk in and out of your life with some regularity and spend a lot of time independent and distant without ever severing the connection, and it doesn't feel like the circumstances in the family were so bitter that the family cared so little as to simply abandon him entirely, at least not without extenuating circumstances.

I just keep thinking about it and the more I think about it the more I want to know what happened, because there's something else there—but the thing is, a large part of Chetney as a character is that sometimes you do feel such resentment for so long that by the time you even think to reconsider, things (or people) have changed or passed, and there isn't always a satisfying answer to be had.

[reidmarieprentiss]

Bridges to Belonging

Part One Part Three Part Four Part Five Part Six Part Seven

Summary: Spencer struggles with being lonely, the team goes out for drinks.

Y/n is not in this part, but she is talked about ;)

Pairing: Spencer Reid x fem!reader

Category: Slight angst, backstory

Warnings/Includes: mentions of virginity (16+), feelings of being lonely, teasing from friends

Word count: 1.8k

a/n: i whipped out part two quick as fuck boi ,, i actually really like this story and will definitely be making it multiple parts! i tried really hard to capture the characters personalities, please lmk what you think!!!!

main masterlist

Spencer Reid was not a loner. He had plenty of friends, his mother and her care team, his teammates at the BAU, the friendly old bookkeeper at the library, the nice young barista who made his coffee just right, and not to mention the hundreds of characters on his favorite shows and in his books. 

However, Spencer was lonely. He came home to an empty apartment every night, woke up to an empty bed, and shared experiences with only his journals. Each night, the silence of his apartment seemed to grow louder, echoing the emptiness he felt inside. The walls, lined with books, stood as silent companions, offering knowledge but no comfort.

Spencer desperately wanted someone to spend his time with, and talk about his day with, discuss his readings, and findings with. He just wasn’t all that good at sparking conversation with people, especially people who hadn’t committed crimes or needed help understanding material. He could talk someone's ear off about his interests, but those weren’t usually shared by people of interest. 

Morgan had suggested he try online dating, if only to practice talking to potential partners before stepping out and trying again in the real world. Spencer despised this idea, the thought that people were now giving up face to face contact to seek love on the internet hurt his brain. It’s not that he was avoiding yet another friendly suggestion to seek partnership, he just wanted to come across it organically. 

The rich aroma of freshly ground coffee beans envelopes Spencer as he enters the café each morning, a comforting ritual that momentarily eases the ache of solitude. The barista who makes his coffee is very attractive, but of course Spencer doesn’t want to have to find a new coffee shop if things went south with Sam. This one is right on his way to work, and besides, he doesn’t even know if Sam is interested in men. And Spencer does not possess the social skills nor ability to ask and find out without potentially offending yet another perfectly fine person. 

“Morning, Spencer! The usual?” Sam asked, flashing a warm smile as he expertly crafted his coffee.

“Yes, thank you,” Spencer replied, hesitating for a moment. “You always get it just right.”

“Well, I try,” Sam laughed, handing over the cup. “See you tomorrow?”

Spencer nodded, feeling the familiar flutter of nerves. “Yes, see you.”

Alas, Spencer Reid has resigned to living a very lonesome life as a 27 year old virgin. Not that he is willing to share this information with anyone. He had accidentally confessed to Morgan one night under the false security blanket of alcohol a few years prior, and Derek made it his life mission that night to get Spencer laid. This led to some very awkward and uncomfortable conversation between Spencer and many bar goers, none of which ended in him losing his tightly attached virginity. He thinks, and truly hopes, Derek had forgotten the whole thing as he never mentioned it again. Thank Spok. 

Now when Spencer was invited to group outings he rarely agreed, it wasn’t that he didn’t like spending time with his team, but he was afraid of letting some personal information slip again. And around profilers, even the smallest slip of tongue can be detrimental. He does agree occasionally, especially if Hotch agrees, because he knows that Aaron will act as his security blanket in place of alcohol. Hotch never lets the team's friendly teasing of Spencer get too far, easily reading his body language and sensing when Spencer is genuinely perturbed. Hotch also does not drink often, needing to get back to Jack and Haley, so Spencer does not feel as much of the odd man out when he now avoids alcohol or leaves earlier than the rest of the bunch. 

Tonight in particular, Emily and Derek have laid into each other about their romantic pursuits, or lack thereof. The whole gang is seated at a rounded booth in a bar after closing a case in Virginia, Hotch and Spencer included. Rossi has offered to pay for everyone’s cab fares home to ensure that they can enjoy themselves and let loose. Reid is still skeptical as he remembers his loose lipped blathering to Morgan, but upon seeing even Hotch order a whiskey and coke, he orders himself a dirty Arnold Palmer to sip on. 

The bar was alive with the hum of chatter and soft jazz music, the dim lighting casting a warm glow over the gathered team. The clinking of glasses and occasional bursts of laughter from nearby tables added to the lively ambiance, creating a cocoon of camaraderie around their booth.

Across the table, Emily and Derek continued their playful debate over who had the better dating escapades. Their laughter was infectious, but Spencer couldn’t help feeling like a spectator in a world of easy social interactions that seemed just out of reach.

While Emily and Derek compare conquests and bedroom stories, Rossi and Aaron talk about the highs and lows of marriage, JJ and Penelope corner Spencer into a conversation about his own dating life. 

JJ leaned in with a teasing smile “So, Spencer, are you seeing anyone special these days?”

Spencer fidgeting with his drink, eyes darting around answered “Um, well, not exactly. I mean, I’ve been quite busy with work and, uh, reading. Lots of reading.”

Penelope nudged JJ with a grin “Come on, Boy Wonder, don’t be shy! You must have someone catching your eye. What about that barista you mentioned once?”

Spencer blushed slightly, stammering “Oh, Sam? He’s just… he’s just good at making coffee. I wouldn’t want to complicate things, you know?”

JJ and Penelope both raised an eyebrow at him. JJ retorting “Spencer, complicating things is half the fun. Besides, you’ll never know unless you try.”

“Exactly! You can’t let those books keep you from finding love. Think of it as an adventure, like your favorite stories.” Penelope said, waving her hand dramatically 

Spencer smiled faintly, a hint of wistfulness in his voice “I suppose. But it’s not as simple as turning a page or solving a case. People are… complex.”

JJ nodded in understanding. Spencer laughed softly, relaxing a bit and realized his friends were only trying to help. At least they weren’t trying to set him up with anyone here tonight. “Thanks though, guys. I’ll think about it. But for now, I think I’ll just enjoy the evening.”

JJ and Penelope exchange a knowing glance, satisfied that they’ve at least planted a seed of thought in Spencer’s mind. 

Spencer felt a surge of gratitude as he looked around the table. Despite the teasing, he knew JJ and Penelope genuinely cared about him, just as much as Hotch’s quiet presence offered reassurance. It was moments like these that reminded him of the family he had found within the BAU.

Morgan had abruptly ended his conversation with Emily casually leaning in to listen to the girls talk to Reid about his favorite topic, the genius’ love life. Derek raised his voice to be heard over the bar noise and with a mischievous grin said “Hey, Reid, I couldn’t help but overhear you’re looking for someone interesting. You know, you should meet Y/N.”

Spencer was caught off guard hearing Morgan, and realizing he had heard some of their conversation about the barista. Still, now he was intrigued, Spencer raised an eyebrow, curious “Y/N? Who’s that?”

Morgan sat back, feigning nonchalance “Oh, just one of the coolest people I know. She used to be Jack’s nanny, and now she’s a child psychologist at the local hospital. Super smart and amazing with kids.” He was smirking by the time he finished, knowing he had cast his hook. 

Now even JJ was joining in with a nod “Yeah, she’s great! Remember that charity event we went to last month? She was the one organizing the whole thing. She’s really passionate about her work.” Charity event? Organized the whole thing? Spencer was getting a little hot under the collar, and he didn’t even know who this Y/n person is. 

Penelope began clapping her hands excitedly again, loving that Y/n’s name was brought up. She was eager to add in her own two cents “And she’s got the most amazing style! Always looks like she walked right out of a fashion magazine.”

Emily was now smiling, having caught on, and chiming in “Y/N is definitely someone worth meeting, Spencer. She’s also got a wicked sense of humor—she can hold her own in any conversation, which is pretty rare these days.”

“I would have to agree with Prentiss, I had the pleasure of chatting with her about classic literature—she knows her stuff.” Rossi added, smiling knowingly at Emily. 

Emily chuckled, “I remember the first time I met Y/N, she had the entire room laughing within minutes. Trust me, Spencer, you’ll find her refreshingly different.”

Spencer was very intrigued, but cautious “She sounds… interesting. How come I’ve never met her?”

Line, thought Derek. 

Hotch finally chimed in, looking genuinely pleased “Y/N’s been a family friend for years. She was fantastic with Jack, and now she’s doing incredible work at the hospital. I didn’t realize she hadn’t met you yet, Spencer. I think you’d get along.” 

Sweet, thoughtful Aaron was unaware of the plans his team was cooking up. And yet, the team exchanges knowing glances, silently encouraging Spencer’s interest.

Emily leaned forward, her eyes sparkling with enthusiasm. “You two would have a lot to talk about. I’d love to see you guys meet—you’d probably end up debating over which classic novel is the best.”

“Maybe I should meet her. It would be nice to talk to someone who appreciates literature and has another PhD.” Spencer said, scolding himself slightly for showing his interest so quickly, he hopes no one teases him later.

Spencer was deep inside his own world for a second, thoughtful, mulling over the information. His heart raced at the thought of meeting someone who held such high regard from his entire team, especially the big man himself, Hotchner. The idea of forming a connection both excited and terrified him, his mind racing with doubts.

Will she share all of my interests? I’m not as outgoing as the rest of the team. What if she doesn’t like how awkward I am. What if she doesn’t find my facts interesting? 

Morgan smirking, satisfied, sinker “Absolutely, Reid. You should definitely meet her. Who knows, maybe you’ll have more in common than you think.” 

Yeah. Maybe.

The conversation shifts back to the group’s ongoing banter, but the seed has been planted in Spencer’s mind. The team continues to subtly encourage his curiosity throughout the remainder of the evening, each eager to see how this new potential connection might unfold. 

As the night wore on, Spencer couldn't shake the thought of Y/N. Her name lingered in his mind, a promise of something new and unexpected. The possibility of meeting her felt like an unwritten chapter in his life, waiting to unfold.

[a-blog-for-kat]

DRDT CAST ALPHABETICAL ASSOCIATION NUMBERS AND THEIR MEANINGS

IE; Ace (1), Arei (2), Arturo (3), ect.

DRDT SPOILERS AND KAT RAMBLING ABOUT NUMBERS BELOW!! BEWARE!!

1 - Ace is the first name alphabetically in the DRDT cast first name wise because "Ace" means number one, or to be the best at something. Ace is also the first “normal” person on the cast list website, as Teruko is first (protagonist) Xander is second (Support) Charles is third (Antagonist) but Ace is fourth without being extremely tied into the story at this point. It also can signify confidence, something Ace shows in chapter one a little but eventually it got overtaken by just anger and fear.

2 - Arei is number two in the cast, she's the ch2 victim, second person to have her sobbing session before dying (Xander didn’t cry a shocker), or maybe she'll always be second place compared to her sisters, which she has two of? If my memory serves me right (Future Kat here, it does), she’s also the second shortest of the cast after Eden, according to the new biometrics.

3 - In more religious settings, the number three can represent perfection and completeness, which for Arturo is ironic since he doesn’t even have a complete design shown, as we haven’t seen the whole him, only most of him physically (in the sense of we don’t know what his whole face looks like, only the upper part.) Three also represents problem solvers and people who are optimistic in nature and can also be childish. Not like Arturo, but maybe Felicity as she’s three to four years younger than Arturo?

4 - Funnily the first thing that popped up was “earth, wind, water, and fire” so CHARLES IS AN ELEMENT BENDER /j. On a serious note the number four can signify stability and strong foundations. Knowing a little bit into Charles’ backstory (his family spoiled him, he was quite sheltered, he doesn’t remember anything about his brother) he probably had a “stable” homelife until Elliot died, ruining that stability and basically crumbling his foundations, even leading him to gain hemophobia (the fear of blood) and necrophobia (the fear of dead bodies/corpses).

4 cont. - Another meaning to the number four is hard work, which Charles is constantly shown doing. He doesn’t half-ass anything, hell he works as hard as he can to reach his goals. He is the reason the students haven’t absolutely gotten their asses killed yet this trial since he called out Teruko’s wrong.

4 cont part 2. The number four is also a bad omen in East Asia, commonly associated with death. Now, Charles might be Latino, but someone else he's heavily associated with, Whit, is Chinese. Even in the LGI MV, Whit has tetraphobia as a word assigned to him, which is the fear of the number four, possibly hinting to either Charles' or Whits death in the near future.

5 - The number five can symbolize freedom, curiosity, and change. Let's start in order with these three examples, David doesn’t have freedom over his branding and basically his entire public persona. It’s been crafted by his manager to show to the world, the only reason he even was able to escape it was because his secret of being a “manipulator” got revealed and he just had to drop it. There's no point in keeping it up, after all. Curiosity is a bit tricky, but it could mean that he’s curious as to why people do the things they do? Why don't all of them don’t even try to understand Xander’s true intentions with why he stabbed Teruko. Change, well, his entire ideology is “people can’t change.” He believes you’re born either a good person or bad person, and that’s how you’ll stay. If you “changed” you were always a good or bad person to begin with.

5 cont. - One more thing, David’s association with stars, which have 5 points. But all stars burn out eventually, so maybe this symbolizes how David was so burnt out from keeping his public persona that it “died” and the real him is out.

6 - The number six can represent trustworthiness, lovingness, and sympathy. Eden is very trusting, that's actually her entire theme, being very trusting towards others and trying to show Teruko that trust is good. Eden is a very loving person in general, she loves others quite a lot and her secret revolves around kissing a girl, most likely with feelings involved in that. And sympathy. She's a sympathetic person in general. She's basically the glue that holds the cast together.

7 - The number seven usually signifies luck in many modern cultures. It can also signify indecisiveness, which is shown when Hu defends Nico in the class trial but is extremely condescending towards Arturo, even though they have extremely similar situations. (I am not defending either Arturo or Nico, they were both in the wrong for their situations.) It can also be associated with moodiness, which is very much shown in the last two episodes with Hu snapping multiple times.

8 - The number eight can signify being straight-talking and blunt, which we see in J quite a lot. If he doesn’t like something, he’ll state it. When Arturo’s being a creep towards him, he’s justifiably mad and has said multiple times that he wants to be left alone. When he tried to use the remote on MonoTV in episode 4 of Chapter One, he stated that, at the very least, he wanted it to die. He’s also pretty confident, I mean, look at the remote scene. He’s very clearly confident in what he can do.

9 - The number nine can signify humanitarianism and compassion, both things Levi can lack. He’s, at the end of episode 12, revealed to be a remorseless murderer who holds no guilt for his past actions. He is also shown to not know how to feel emotions like grief in situations and even consults Eden about it.

10 - The number ten can mean someone who’s ready to take a new phase in life, this could mean Min was ready to die for Teruko to take a new phase in her life, aka becoming much more untrusting and throwing her into that negative arc. It can also signify order and law, something Min might’ve studied. Also the number ten is a Pythagorean symbol, perfection. Something Min aims to become. Perfect.

11 - The number eleven can symbolize spiritual journeys which….. Unless Nico is going to have some form of spiritual journey, I don’t think this could pertain to them. But it could also be just a journey revolving around their character, becoming someone who’s not afraid to speak their word.

12 - The number twelve is associated with the heavens but can also be cosmic order and perfection, something you strive for as an artist. Being perfect. Which is also a good representative of Rose’s memory, it’s perfect, she won’t forget a detail. But that’s also her downfall, if she sees something awful it won’t leave her memory.

13 - (Has spoken about 13 in the past. Read here.)

14 - The number fourteen can signify new beginnings, a fresh start, and harmony. The last one being ironic as she usually only brings chaos and destruction. New beginnings could mean her using her talent as a new beginning or new outlet instead of hurting herself (if that really is her secret) and a fresh start could mean her starting anew in this killing game? Or even her getting a character arc in the future, though I doubt it.

15 - The number fifteen tends to be associated very sensitive and caring individuals who prioritize the well-being of others over their own. Which can be applied to Whit in a sense, he puts others feelings over others in situations, like trying to make Teruko smile by sacrificing Charles’ dignity. He’s also just a very caring person in general, as it’s shown how he comforted Charles in Chapter One (Sibling Core) or Eden in Chapter Two. Another thing could be how all luxury is in life, Whit seemed to live a relatively normal life before his mother passed, but still tries to make the best of life and make it a luxury.

16 - The number sixteen is a number associated with karma, what goes around comes around. Xander, stabbing Teruko, has done a bad thing, therefore paying with his life. It could also signify pushing others to their life purposes, Xander, after stabbing Teruko, pushed her to her “purpose” of being a cold protagonist. It can also mean a smart mind but Xander isn’t that smart to be honest-

TYSM FOR LISTENING TO MY RAMBLING <3

[torchstelechos]

i looove act 3 because the King convos are so. inch resting. especially since Siffrin iirc pretty much just completely ignores the party while talking to the King

imagine being anyone else with Siffrin on this whole journey and then as soon as you meet the King, the big bad evil guy, your bestie Siffrin just. starts talking to him? he doesn't pay attention to you trying to figure out why he's doing that. he's just talking. about what? remember what? all these questions about King? why are they talking like they know each other? why does the King get so sad about Siffrin and why does Siffrin seem to care so much about King?

none of this gets answered for the party because as soon as Siffrin is done suddenly chatting up the King they go in for the kill again like That Didn't Just Happen and then they have more pressing stuff to deal with

like huh. what. what just happened there.

bonus points for the entire "SAY IT BRIGHT ONE...!!!" event. if the timelines continued on without Siffrin i would pay money to be a crab in a fishtank listening in on however the hell the party is freaking out once Siffrin and King mutually KO each other trying to say "it". whatever the hell "it" is.

the party would lose it oh my god, that's like an assisted suicide action. They won but at what cost? The whole country is safe! And they'll never know why they were saved, or how, and neither will the party. The party will always be lost behind Siffrin as Siffrin goes forward in a direction they can't follow, because Siffrin won't let them. The leader who guides but won't let them follow. Do they think it was premeditated on either side? Do they think Siffrin gave them self up on purpose? Do they think the king made him do it somehow through craft? Did they wrestle with the body and pour healing craft after healing craft down his throat and beg for it to work? Did they cradle their body as it lay limp? Asking him why, why, why? Did Odile cry and whisper cold things to the kings corpse? Did Isabeau scream in denial before crying over a cloak that is now stained dark? Did Mirabelle stay frozen, her hands on Siffrin's neck, as she realized she couldn't save him and that is the worst thing she has ever done to him? Did Bonnie cry and cry and cry over the fact Frin did it again? But this time with a cost too high? Did Euphrasie come to check on them only to jerk back and clutch her face, as something is failing, rotting, breaking?

Now for less serious;

Aauuggghhhh, in the loops where it's not the SAY IT BRIGHT ONE I bet Odile is thinking back on that assassin thing and going, hmm maybe they're ex's?? Instead?? And Isabeau who is the other theorycrafter of the party is like MADAME PLS, PLS LET ME HAVE THIS. DO NOT SAY THEY WERE EXS I DONT THINK I CAN HANDLE IT. Mirabelle definitely is like... The backstory!!! The lore!!!! What is going on!!! Are they friends?? Past allies now enemies??? FAMILY???? WHAT AM I MISSING??? Bonnie thinks Siffrin is a crab and doesn't want to think about the king more than they have to. Siffrin is debating whether or not to use the dagger or just talk to Euphrasie. Euphrasie is like, hmmm, same shit as always :)

[soupbitch-moneybitch]

you know what's so gd impressive about ofmd? like, maybe the most impressive part of the whole already very impressive show? how well-rounded the characters are for how little time they have to be on screen

i spent many years in the fandom of another ensemble cast show that had a million seasons and hour-long episodes, and maybe like, five of the characters were worth the time of day. ofmd, tho, not only has an incredibly quality core cast, but even the characters they introduce for five seconds manage to have depth and appeal

take ned low's crew for example. we have a bunch of people who take up maybe a third of the episode's screen time, but by the end, the script and acting are so good that you're rooting for them as they unionize and sail away to greater pastures

then you have characters that are great on their own, but also enhance the main characters in the span of like six seconds

evelyn? a godsend, 11/10, want her back, and she was the impetus for mary taking control back over her life. steak "steaky" knife? rip big man, we knew you for two minutes but loved you, and you gave us slight insight into izzy's history/influence on the republic of pirates. hornigold wasn't even really hornigold and yet we /still/ managed to get backstory about him and learn things that added context to how ed turned into blackbeard

honestly, the amount of talent it takes to be able to make almost every character on the screen someone who either 1. drives the plot forward somehow, 2. is just delightful and entertaining, or 3. is a combination of both, all within a space the size of a needle tip is fucking astonishing. as a professional writer i am horny for how well these mother fuckers hone their craft, and as a fan of the show i'm just extremely well-fed

i've said it before, but this is genuinely so much more than a gay little pirate show (although it is also that, and i love that about it). it has so much artistic depth and everyone involved has talent coming out every orifice. i am so glad i have the privilege of watching it. every part of it is so refreshing, i am genuinely in constant awe

[hayatheauthor]

How To Get Away With Murder Part Two: Writing Murder Mysteries

Murder mysteries are possibly one of the most complicated genres in fiction. Unlike other genres, authors need to create a very comprehensive backstory and worldbuilding that seamlessly ties into the present story while also creating intriguing characters that move the plot forward. As an author, you need to weave a complex web of clues, red herrings, and twists that ultimately lead to the big reveal, all while maintaining the integrity of the story.

Writing a good murder mystery is a daunting task, but with the right tools and techniques, you can create a gripping tale that keeps your readers on the edge of their seats. In this blog post, I'll be sharing my personal tips and insights on how to craft a compelling murder mystery that will leave your readers guessing until the very end.

Establish The Rules 

Before you jump into your murder mystery it’s important to first set the scene and establish the ‘rules’ for your murder mystery. Your readers need to know what’s at stake here. Who was murdered? What is the most likely reason for their murder? Why is this particular character investigating their murder? You need to set up a clear foundation for your story. 

Authors should also attempt to establish some semblance of a ‘stage’ for where the story will take place. If a character was murdered in their hotel room the hotel itself would likely be the ‘stage’ for your book’s murder mystery. This is where the detective will live and uncover clues until the end of the book. 

Once you have a clear story and setting, move on to the characters and their role in the murder. Who is the investigative figure? Do they have to face any obstacles or follow certain rules while investigating? A great example of this would be Pip’s legal restrictions in A Good Girl’s Guide To Murder. Her position as a teenager significantly limited her investigative methods. 

Plant The Seeds 

Foreshadowing is the key to a good murder mystery. You need to start foreshadowing as soon as possible. As a writer, you need to plant subtle clues throughout your narrative that will keep your readers engaged and guessing.

But it's important to strike a balance between too much foreshadowing, which can make the plot predictable, and too little, which can make the conclusion feel like it came out of nowhere. Start foreshadowing early on in your story, and use a mix of subtle hints and more overt clues to keep your readers engaged without giving away the ending. Remember, the best foreshadowing is often invisible until the reader looks back on the story as a whole.

The Repitition Rule 

Writers are often advised to repeat foreshadowing at least three times to help readers remember it. While this can be a helpful guideline, it's important to use your own judgment and avoid overdoing it. After all, if you repeat the same clues too often, you risk telegraphing the ending and ruining the suspense. 

Instead, aim for a mix of subtle and overt foreshadowing that will keep readers engaged without giving too much away. Remember, the goal is to keep readers guessing until the very end.

Misdirect The Reader 

In order to keep readers engaged and invested in the mystery, it's important to misdirect them from time to time. This means leading them down one path only to reveal that it was a dead end, or presenting a red herring that turns out to be unrelated to the actual crime. 

There are many ways to accomplish this, from introducing false suspects and motives to using clever misdirection to steer readers away from the truth. One effective technique is to present conflicting evidence that suggests multiple possible solutions, forcing readers to constantly reassess their theories and stay engaged with the story. 

However, it's important to avoid overdoing it or making the misdirection too obvious. You want readers to feel challenged and intrigued, not frustrated or misled. Ultimately, the goal is to keep readers guessing until the very end, when all is revealed and the pieces fall into place.

Add Depth To Your Characters 

Developing your characters is crucial in murder mysteries. Not only does it make them more interesting and relatable, but it also helps to create a sense of connection and investment in the story. Make sure each character, even minor ones, have a distinct personality and backstory that ties into the plot.

When it comes to suspects, be sure to give each one a clear motive and opportunity to commit the crime. Think about their relationships with the victim and other characters, and how those dynamics could have played a role in the murder. Consider adding red herrings, false leads, and hidden secrets to make the investigation more complex and engaging.

Adding depth to your characters also helps create an emotional connection. This is especially important for the victim, you need to show your readers why they should care about this character’s death. 

In A Good Girl’s Guide To Murder everyone’s illtreatment towards Sal’s family made the readers empathetic and had us rooting for Pip. It is important to establish some semblance of this empathy, or any other emotion such as anger, for your victims. 

Use The Setting To Your Advantage 

In a murder mystery, the setting can play a crucial role in providing clues and red herrings. Think about the location where the murder took place, and how it could provide hints about the killer's identity or motives. Perhaps there's a hidden object or a peculiar feature of the setting that only the killer would know about. 

On the other hand, you can also use the setting to throw off the reader's suspicion, by including false clues or misdirections. For example, a character may have a motive to commit the murder in a particular location, but it turns out that they were actually somewhere else at the time. Overall, the setting is a powerful tool that can enhance the suspense and intrigue of a murder mystery, so make sure to use it to your advantage.

In addition to using the setting to provide clues and red herrings, it's also important to use it to create a mood and atmosphere that supports the murder mystery genre. Consider using a dark and moody setting, like a creepy old mansion or a foggy alleyway, to create tension and suspense. 

You can also use the setting to create obstacles for your characters to overcome, like a hidden trapdoor. By making the setting a key part of your story, you can enhance the overall experience for your readers and make your murder mystery even more memorable.

Tie Up Loose Ends 

Tying up loose ends is an essential part of writing a murder mystery. The reader expects a satisfying conclusion, and that can only happen when all loose ends are resolved. It's important to address any unanswered questions and resolve any plot holes.

Plot holes can be frustrating for readers and can ruin the entire reading experience. As a writer, it's your responsibility to make sure that there are no unresolved issues in your story. If there are any inconsistencies or plot holes, they need to be addressed and resolved.

To ensure that all loose ends are tied up, it's helpful to create a list of all the questions that need to be answered by the end of the story. Go through your manuscript multiple times, checking to make sure that each question is answered and that all loose ends are resolved.

By taking the time to tie up loose ends and address any plot holes, you can create a satisfying conclusion that will leave your readers feeling impressed with your attention to detail.

Practice Makes Perfect 

To write a good murder mystery, you need to practice. Writing a successful mystery requires a skill and experience, and you can't expect to get it right the first time. Practice by reading other murder mysteries and taking note of how other authors structure their stories, how they use clues and foreshadowing, and how they misdirect the reader.

When you're writing your own murder mystery, don't be afraid to make mistakes. It's common for writers to encounter plot holes or inconsistencies in their story. The important thing is to recognize these mistakes and fix them as soon as possible. One way to do this is to get feedback from other writers or beta readers.

Remember, the more you practice, the better you'll become. Don't get discouraged if your first attempts aren't perfect. Keep writing, keep learning, and keep honing your craft. Eventually, you'll be able to write a murder mystery that will keep your readers guessing until the very end.

I hope this blog on how to get away with murder and write a murder mystery will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and marketing tools for authors every Monday and Thursday

[novlr]

could you maybe do something on characters becoming serial killers? I’m was originally going to have some sort of characters going insane thing, but I think that the whole “insane people killing” is a little stupid and borderline dangerous (saying that insane people kill all the time) so could you give me some pointers?

How to Write a Serial Killer: A Quick Guide for Writers

Crafting a convincing serial killer requires a lot of research, imagination, and an understanding of the genre. Let’s dive into some quick tips to help you create a serial killer who is gripping, unique, and emotionally complex.

Develop their backstory

The key to crafting a convincing serial killer is in understanding their past to shape their present. Explore their backstory in detail — were they subjected to abuse or neglect? Did they endure a life-altering traumatic event that set them on this dark path? Developing a compelling backstory is essential, not only to justify their actions but also to cultivate a degree of empathy, allowing readers to connect with the character on a deeper level.

Give them unique motivations

Serial killers act based on what drives them; they commit their crimes for a reason. This reason could be a need for control, a hunger for power, or a wish to spread chaos. By connecting their reason for doing things with their unique personality traits and backstory, you can create a well-rounded and consistent character.

Include misdirection and plot twists

To maintain suspense, make use of narrative devices like red herrings designed to divert your reader's attention. The clever use of these diversions can delay the unmasking of the killer, increasing tension and anticipation. Additionally, unexpected plot twists that abruptly shift your story's trajectory can not only alter your reader's perception but can also reconfigure their theories keeping readers on their toes.

Draw parallels with your protagonist

Creating a unique perspective by establishing similarities between your serial killer and your protagonist can add multifaceted layers to your story. This might involve drawing connections in their backgrounds, aligning their motivations, or uncovering shared personal struggles. These parallels not only make the plot more engaging but also heighten the intensity of the conflict between the two characters.

Use foreshadowing

Foreshadowing serves as a powerful tool in constructing suspense and subtly hinting at future events in your story — carefully place clues that can suggest the identity of the killer or indicate their next victim. But remember to maintain an air of mystery by not unveiling too much prematurely. The goal is to keep readers engrossed, continually making and remaking their guesses about the unfolding plot.

Include an emotional subplot

Adding an emotional subplot in your narrative significantly enhances the relatability of your serial killer. This could range from them harbouring deep-seated love for someone, to grappling with a fear that surpasses the dread of getting caught. These contrasting aspects of their otherwise sinister nature serve to give the characters greater depth and dimension, thus enriching their complexity.

Did you know we have a Spotify account with lots of great playlists for writers? Here's one to inspire your next serial killer novel!

[pianokantzart]

Something I love about the Mario movie is how is basically squashed any kind of ideas of Luigi being jealous of Mario from the get go that fans have come up/theorized throughout the years.

The whole “Luigi is jealous and tired of living in Mario’s shadow” has no leg to stand on when it comes to this movie.

In fact, Luigi is actively the one singing praises towards Mario, he knows that his brother dreams big and has a big heart, he knows his brother is amazing and he loves him for that.

Does he have low self esteem? Absolutely. But there is absolutely not a single bit of jealousy/envy towards Mario, Luigi loves and adores him far too much to ever be jealous and angry at Mario, someone who means the absolute world to him.

Oh don't you get me started.

Too late, I’ve gotten started. YOU ARE SO RIGHT. The movie did to theories that Luigi's “bitter and jealous” what it did to theories that Mario’s an antisocial asshat.

There are two things I can point to that are to blame for the theories that Luigi is bitter and jealous:

The description of his Negative Zone final smash from Super Smash Bros. Brawl:

"Luigi's final smash. As exotic music plays, he performs a dance befitting a sorcerous incantation. A barrier envelopes him, negatively impacting all in his area. Random effects include getting launched, sleeping, moving in slow motion, tripping, fainting, and losing attack power. This technique is a reflection of the dark side he embraced in his brother's shadow."

2. His characterization in Paper Mario

But there’s like… almost 40 years of games to glean from. You can literally pick and choose whatever you want to form any sort of theory (like a certain internet man did when arguing that Mario is an animal abusing sociopath). But 99% of the games show about as much evidence that Luigi is bitter as they do that Mario is a bad person– none at all. Quite the opposite, in fact.

As for Paper Mario, it's the only time Luigi is directly characterized as envious... NOT jealous. He still loves his brother and sees him as worthy of the praise he gets, but he feels bad being stuck at home, and desperately wants to be brought along for the adventure– to have his opportunity in the limelight. But Paper Mario is kind of its own thing, established to be a separate universe from the mainline Mario games. In the Super Mario Brothers RPGs– which delve deeper into the bros character while remaining more aligned with the classic "canon"– the dynamic is quite the opposite! Mario dives headfirst into danger while Luigi desperately avoids it unless there is no other choice. In Super Mario Brothers Superstar Saga he tries his darndest to not be taken along for the adventure, confident that his brother can handle the task.

But one consistent across the Mario games is Luigi being the underdog of all underdogs; unlucky and clumsy, the butt of the joke, and constantly undermined. Naturally this causes people to get defensive of him– get angry for him, and project their feelings onto the character himself.

But tHEN WE HAVE THE MOVIE!!!!

Nintendo is given a chance to craft Mario and Luigi into fully fleshed-out characters with motivations and backstories, not just plucky videogame personalities for people to project themselves into, and boy oh BOY did they knock it out of the park.

While Mario is still a headstrong hero with a never-say-die attitude and a heart of gold, everything he does is for his brother. Mario has insecurities about feeling small and wants to prove himself to his father, but in the end his love for Luigi is his main motivator. Mario can handle being threatened, made fun of, and told he’s crazy, but if you want to truly hurt him, tell him his actions are hurting his brother. Try hurting Luigi directly, and Mario will tear you a new one.

In return, everything Luigi does is for Mario! Lu’s not the willful ball of determination and gusto that his brother is– he has always been nervous, softhearted, and sensitive, which is why he lets his brother lead the way. Luigi’s not living in Mario’s shadow, he’s thriving off of his confidence! He recognizes Mario as his best friend and greatest source of strength, and will follow him absolutely anywhere.

There is no sense of Mario being treated like the beloved star of the show while Luigi gets the short end of the stick. They are both downtrodden, both learning, and both dependent on each other. It's not just Super Mario, it's the Super Mario Brothers, who equally inspire each other to be the best version of themselves.

[knight-a3]

So, in the midst of drawing transformers, I got it in my head that I must turn it into a character design project and start making human designs.

Naturally, I start with my favorites. Which is Blitzwing, Astrotrain, and my beloved OC, Smokestack. More about them HERE and HERE

Smokestack's human design came instantly. Then he became a kid so I could have Blitzdad. Then I started crafting backstories, and it became a whole thing. I'll make another post to get into more detail with that.

More notes under the cut.

Overall, this managed to escalate into something separate from transformers and these are now all OCs in their own right.

Gunther Arnold Kriegsler, aka "Blitz" or "Blizter". He's a veteran with PTSD, particularly from the time he spent as a prisoner. He escaped with the help of Andrei Tomaski. The two are now best bros and roommates. Then social worker people call and tell Blitz that his now-deceased girlfriend had a kid while he was away, so now he's suddenly a dad of a four year old son he didn't know he had. And he doesn't really know what to do about it.

Samson Kohler (he has his mom's last name). Born while Blitz was a prisoner, mom dies when he's four. He bounces around foster homes for a little while until Blitz returns and gets to move in with his dad. He LOVES trains, hyperfixated actually. He is autistic about them, and I don't use that description lightly. He especially likes steam trains. He can tell you all about the 4-4-0s and the 2-8-0s and what the various personnel do. He taught himself math so he could count the wheels, and he could read the word train before any others. Blitz always has the Thomas the Tank Engine theme song stuck in his head now. Their house has become overrun with train stuff.

I'm unsure of if I should still be tagging this as transformers since it sorta evolved itself out of it. But I am for now. Maybe I'll stop after I post the various other human designs I've come up with.

[talesandfluff]

completely grateful and obsessed with how Brennan-led the whole Sandra Lynn fiasco is, like I can only imagine the extent of Emily's input about Fig's family situation must have been "tiefling who just found out she's not full elf" during the planning stage of the campaign and then every damn other thing was Brennan playing with his little mom-shaped toy. He made her start dating Jawbone without any player ever nudging them together, he chose to give her self esteem and commitment issues and to explain them he crafted that whole backstory of her starting off the spiral of infidelity when she was young and it really breaking her, he chose to have her hit on Garthy and presumably get a nat 20 flirting check, he purposely led the players into thinking Jawbone might be upset about her hooking up with Garthy even though he knew he wasn't, he even seeded tension between Kristen and Tracker because of it, made Fig doubt her mom, made Sandra Lynn break up with Jawbone because she hates herself, and all that for what? for drama? cause Jawbone mentions from the start he's okay with her hooking up with other people, and reminds them of that in the end, it was never an issue in the first place and yet I'm so invested 😭 thank you Brennan

[silviakundera]

Oooh I like duke su from the show but the one from the novel sounds so much more interesting tbh I love a morally grey character with his own goals who doesn't give a f*ck what the lead is trying to do but has their own agenda and it's a much slower burn. Though with how Chinese dramas operate these days it's no wonder they made him like the FL and start helping her extremely early I don't think they know or even can with how netizens are write anything else.

Though I too love novel Su guogong, I think we're in a real quandary for the adaption.

The censors won't let him be characterized as black as the novel version AND be allowed to survive (see: Eternal Brotherhood where we can have a main character who is a dark schemer with blood on his hands that adores his wife -- only because he's doomed, doomed, doomed!) Boooooo!!! I do not agree that this softening was required for this work nor Story of Kunning Palace. Grr!!

But the change to make the FL and ML interact much more and work together in the 1st half, rather than him observing coldly and uncaring about her life or death -- imo that's a quandary about different mediums and how the audience reacts to them.

I wrote a lil meta post previously about the live action adaption of MDZS and why imo the production was forced to change the WWX and LWJ backstory. Once they decided on a linear storyline, imo the otp had to eventually be friends in his first life with a mutually acknowledged bond. The audience simply CANNOT be asked to wade through 20+ hours of episodes before LWJ as love interest isn't repeatedly rejecting the protagonist. 25 episodes and weeks in real-time of him being only cold & standoffish is too much for most viewers. When consuming the novel, the reader both won't have that stretched out real time delay until the couple are on the same page. And it won't take them 20 hours of reading to get there.

Things hit different for a crafted romance on page than performed live on screen for a 40-50 episode drama.

I can still see the adaption's struggle with this. Su suogong is truly a minor character in the novel and frankly not an active participant in most of the problem > scheme > resolution sub-arcs. He has this whole other full life of his own separate interests happening..... somewhere else. The novel mostly leaves his weekly activities as a black box, an obscured mystery. Drama boy is out there somewhere moving his chess pieces & murdering people for power but the reader often just sees glimpses of him ominously sipping his tea & ordering his minions around. In order raise him to a main, the drama is forced to make him involve himself in the play much earlier - to give him a reason to be on screen that is fully tied in with the main plot & its themes. He has to care about FL by the 9th hour in, and want to support her.... or give up ML status to Ye Shijie. 🤷

We can see the strain of this as 3 episodes may happen and all the screenwriter can do is have Su guogong show up for 5 minutes just to flirt a little and remind viewers he's alive 😂😂 but that's what you gotta do with 40 episodes tbh. I can't disgree that this is a more enjoyable viewing experience.