soon it'll be dawn again
transcript under the cut ⏬
page 01
Fig: no way? - you're still up?
Riz: Wh– yes?
Riz: Why'd I not be.
page 02
Fig: I me~~ean - that took.
Fig: whole day.
Riz: Yeah?
Fig: 'm beat.
Riz: you should sleep.
page 03
Fig: nah. my guy's still up
Fig: I wanna hang out.
page 04
Riz: That's really nice.
Fig: Hah! - Nobody ever expects an Archdevil rockstar to be nice.
Riz: … yeah. - 's just budget work tho. (the stuff I'm working on) - I've heard it's boring.
page 05
Fig: yeah, but you do it…
Riz: It keeps things going, right? - Nothing happens if nobody sits down and - does the thing.
Fig: That's right… - though. Yeah.
page 06
Fig: sometimes it's someone else who - doesn't want the same thing to happen.
Riz: … - mm.
page 07
Riz (off screen): …It took me a long time to get that not everyone likes doing what I do. - 's probably because you guys are so nice– - or. - kind.
Riz (off screen): to anyone too, not just. - the people you /love/.
page 08
Riz: that's not how it is elsewhere. - The world's– not. hostile. - but 's not like it's kind.
Riz: So I'm doing as much as I can now…
page 09
Fig: Hey.
Riz: ?
Fig: Go dig some dirt with me.
page 10
Riz: [blank speech bubble] - oh you meant like - actual dirt. (not incriminating information)
Fig: o yea.
Fig: there's clay in the backyard soil. - sometimes when I'm sun deficient or something I go touch dirt for a bit.
page 11
Fig: here u go
page 12
Riz: uh
Fig: now we make a thing! - 'm pretty good at freehanding a bowl.
Fig: I'll show u
page 13
Fig: just– yep, flatten that out as evenly as u can, then–! - actually ur nails'd be so good at cutting out the strip. [larger than usual space] wait. - wait. wait u can carve patterns with them! we HAVE to try
Riz: uh - What. do I carve?
Fig: anything!!!
page 14
Fig: and– yep just seal the inside uh. seam?
Fig: yep that works - okay time's up! all contestant hands up
Riz: [blank speech bubble] - okay - wh. what's next?
Fig: haha - watch this.
(sound effect text): FWOO—MP
page 15
Riz: WH– DON'T JUST DO THAT???
Fig: Now it's fired!
Riz: THAT WAS NOT SAFE
Fig: (actually it's just dry. if u add water rn it'll dissolve)
Fig: ok catch!
Riz: [blank speech bubble] - careful!!
Fig: dw no need haha
page 16
Riz (thought bubble): oh - it's warm…
Fig: now I want you to throw this.
page 17
Fig: u gotta do it - c'mon
page 18
Riz: wh– - It's like 3AM right now
Fig: oh it's not /fired/ fired it's not gonna make a loud noise
Riz: And then just? leave a pile out here?
Fig: pour water over it & it'll be gone I told u
Riz: but
page 19
Fig (off screen): RIz.
page 20
Fig: I've done all this before.
Fig: Can you trust that at least?
page 21
Riz: no, I– - I do. - I trust you.
page 23
Riz: okay what happens now
(sound effect text): glob
page 24
Fig: we do it again!
page 25
Riz: wh. [larger than usual space] What do you mean. (this clay's too wet also)
Fig: see! you're already learning
Fig: [blank speech bubble] - there are flows that are futile to fight. - The world changes.
Fig: Things change.
page 26
Fig: I've learned my lessons with "forevers". - But - as an artist
Fig: I can give you one thing: - You can always do it again.
page 27
Fig: most of everything depends on the rest of the world, - but this. - making new. - that's yours as long as you want it.
page 28
Fig: So?
page 29
Riz: Yeah. - Yeah! - let's make another one.
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i've seen a couple people in the notes of this very good post about fictional polyamory by @thebibliosphere say things along the lines of "oh, i've been doing it wrong :(" or "how do i know if i did this right??" or "i should probably give up and start over, i wrote this badly :(" and. no!!!!
(i AM seeing far MORE people say "oh, this clarified and helped me so much, i think i know how to fix issues i've been having with my own story" which. YES!!!!)
listen. if you're a monogamous person who's writing a polyamorous relationship, and you've been focusing mainly on The Triad and All Three Together All The Time as the endgame, that's literally fine. that's a perfectly acceptable and strong starting point for your plotting, imo. you do not need to give up on a story that you've started like this.
but the things discussed in the post Can and Should improve your execution!
you can keep the same plot beats and overall relationship arc 100%. polyamorous relationships are infinite in their formations, every one is unique. "basically a monogamous romance but with three people" Does exist, as a relationship type. you're not hashtag Misrepresenting (TM) poly people with it
BUT i do think it will help to read up on some poly people talking about how their relationships Differ from monogamous ones.
so i have outlined some basic important concepts about polyamory.
MORE IMPORTANTLY though, i've broken down some questions that you can answer throughout the writing process to strengthen your individual dyad relationships, your individual characterization, & your characters' individual feelings/experiences. this is a writing resource have fun
future kitkat butting in to say i spent over two hours writing this and it definitely needs a readmore. it is also NOT comprehensive. but everything should be pretty simple to follow! feel free to reblog if you find it helpful yourself or just want to reward me for how gotdan long this took KSLDKFJKDL.
i've grabbed quick links for a couple of the important concepts, some have SEO pitches in them but the info largely seems to be good. (if i missed anything Egregiously Gross on these sites i should be able to update the links with better ones later, since they're under the readmore.)
sidenote: this is NOT meant to be overwhelming, despite the length. if you can't read all of this, that's Okay. you do not need to give up on your writing.
here we go:
compersion!
compersion is a BIG thing in a lot of polyamorous relationships. it's joy derived from seeing two (or more) of your partners happy together, or joy derived from seeing your partner happy with someone else.
compersion is really important as a concept because it highlights that every individual relationship within a polycule is different -- and that that's a GOOD thing. it's sort of the inverse of jealousy.
by the "inverse of jealousy," i mean that instead of feeling left out and upset and possessive, you feel happy/joyous/content.
i can use personal experience as an example: it's a Relief for me when my partners receive joy/support/sex/romance/etc that i can't (or prefer not to) give them. and i love seeing my partners make each other laugh and be silly together.
it's 100% okay for a poly triad not to be together 100% of the time, it doesn't mean that the third member is being left out or not treated equally when two people do things alone together.
(i have individual dates with my partners all the time! PLUS larger 3-and-4-person date nights.)
if the third member DOES feel jealous or left out, then the polycule can have a conversation to figure out what needs/wants aren't being met, and solve that. this happens semi-regularly in my polycule, as it will happen in any relationship (including monogamous ones)! it's just part of being an adult, sometimes you have to talk about feelings.
metamours!
a metamour is someone who is dating your partner, but ISN'T dating you. this may not be relevant for people writing closed three-person romantic sexual triads, but it's a super helpful term to know.
the linked article also lists different types of metamour relationships with some fun phrasing i hadn't heard before. the tl;dr is: sometimes you'll be domestic cohabitation friends, sometimes you'll be buddies with your own friendship, sometimes you might not interact much outside of parties, every relationship is different.
there's no one-size-fits-all requirement for metamour relationships. sometimes polyamorous people will end up dating their metamour after a while (has happened to me), sometimes polyamorous people will break up with one partner for normal life reasons, but remain friendly metamours.
the goal of polyamory is NOT for EVERYONE to fall in love. it is 100% okay if this happens in your story, it happens in real life too! but it is also 100% okay for characters to be metamours without ever becoming "more than friends."
(sidenote: try to kill any internalized "more than" that you have when it comes to friendship. friends are just as important and special and vital as partners.)
of course there are a million ways for messiness to occur with metamours within a complex polycule, exactly like with close-knit platonic friend groups. however this post is not about that! there's enough "here's how polyamory can go wrong" stuff out there already, so i'm focusing on the positives here :)
open versus closed polyamorous relationships!
i'm struggling to find an online article that reflects my experience without directly contradicting at least SOME stuff. so i'll give a quick rundown
google has a bunch of conflicting definitions of open relationships and whether open relationships are different from polyamory. the general consensus seems to be that an open relationship prioritizes one partnership (often a marriage), but that each partner can have extraneous flings or long-term commitments (most often sexual in nature).
this is not typically how i use the term wrt polyamory. the poly concept is pretty simple. a closed polyamorous relationship is one with boundaries like a monogamous one. there are multiple partners in the polycule, but they are not interested in having anybody new join said polycule.
an open polyamorous relationship tends to be more flexible -- it just means that IF someone in the polycule develops mutual feelings for a new person, it's fine for them to become part of said polycule if they want to! the relationship/person is open to newcomers.
some groups will need to negotiate this all together, others will just go "haha, you kids have fun." just depends on the individuals!
with open AND closed polyamorous relationships, the most important thing is making sure that there's respectful communication and that everyone is on the same page. but there's no one-size-fits-all way to do that.
i wish i could give you guys a prescriptive "You Must Do It This Way" guide, but that's.... basically the opposite of what polyamory is about, HAHA.
feelings for multiple people!
i was gonna tack this on to the previous section but decided it warranted its own lil bit.
a defining feature (....i'm told?) of monogamous relationships is that a monogamous person only has feelings for One individual at a time. they only want a relationship with one individual at a time. or, if they DO have feelings for multiple people simultaneously, they're still only comfortable dating one person at a time & being exclusive with that one person.
this is perfectly fine!
the poly experience is generally different from this. but once again..... polyamorous people all have different individual perspectives on this.
for me, i have never been able to draw hard boxes around romantic vs sexual vs platonic relationships, & i love many people at once. my personal polycule lacks many strict definitions beyond "these are my chosen people, i want to forge a life with them indefinitely, whatever shape that life takes"
some poly people feel explicit romantic or sexual attraction to multiple people at once, some poly people feel almost no romantic or sexual attraction at all. i'd say that MOST poly people feel different things for different partners, which is not a bad thing!
some poly people are even monogamous-leaning -- they have just chosen one romantic partner who is themselves part of a larger polycule. (so this monogamous-leaning person has at least one metamour!)
or alternatively, they might have one romantic partner AND a qpr, or other ways of defining relationships. (this is a factor in my own polycule!)
i made this its own point because if you're writing a straightforward triad, this is unlikely to come up in the story itself -- but it's worth thinking about how your characters develop/handle feelings outside of their partnerships.
like, is this sort of a soulmateship, 'these are the only ones for me' type deal? in which they won't fall in love with anyone else, and can be fairly certain of that?
that's pretty close to typical monogamous standards but you Can make it work. just be thoughtful with it
alternatively, can you see any of these characters falling in love Again after the happily-ever-after? and how would the triad approach it, if so? what would they all need to talk about beforehand, and what feelings would everybody have about the situation?
it's worth considering these questions even if the hypothetical will never feature in your actual canon, because knowing the answers to these questions will help you understand all of the individuals & their relationship(s) MUCH better.
i've been typing this for nearly two hours and there's a lot more i COULD say because... there's just a lot to say. i'll close out with some quick questions that you can ask yourself when developing the dyad dynamics within your triad
first, take a page and create a separate section for each individual dyad. then answer these questions for every pair:
how does each pair act when alone?
how do they act differently alone compared to when they're with their third partner?
are there any elements of this dyad (romantic, sexual, financial, domestic, etc) that these two people DON'T have with the third partner?
if so, what are they?
are there any boundaries or hard limits within this dyad that aren't shared with the third partner?
if so, what are they?
partner 3 goes out of town alone for a few weeks. what are the remaining two doing in their absence?
(doesn't have to be anything special, it's just to get a sense of how the two interact on a day-by-day basis without the third there)
what is something that each partner in the dyad admires about the other -- that they DON'T necessarily see in the third partner?
what problem do These Two Specifically need to solve in the story before their relationship will work?
how is that problem DIFFERENT from the problems being solved within the other two dyads?
doing this for ALL THREE dyads is VITAL imo. that way, you develop complex and nuanced and different relationships that all have unique dynamics.
those questions should be enough to get you started, i hope
then After you've charted the differences in relationships, you can start to jot down similarities in the overarching triad. what does one person admire in Both of their partners? what are activities that all three like to do together? what are boundaries or discussions that all three share?
but the main goal is to figure out how to Differentiate each relationship!
a polycule is only as strong as the individual relationships within it. if two people are struggling with their own relationship, adding a third person won't fix that.
(UNLESS the third person is the catalyst for those two to, like, Actually Communicate And Work Their Shit Out. i just mean that the old adage of "maybe if we just add a third-" works about as well to fix a miserable non-communicative marriage as, uh, "maybe if we have a baby-")
AND FINALLY.
if you're not sure whether your poly romance reads organically to poly people, you can hire a sensitivity reader with poly experience. if you can't afford that, you can read up on polyamorous resources like a glossary of terms & articles actually written by poly people. (and stories written by poly people!)
you can also just.... ask poly people questions, if they're open to it. i like talking about polyamory and my own relationships so you're welcome to send asks if u want, i just can't guarantee i'll answer bc my energy levels fluctuate a lot and i don't always have time.
polyamorous people are in an uphill battle for positive representation right now & so the LAST thing i want to see is authors giving up on their stories bc they're worried about getting things Wrong. well-meaning and positive stories that treat this kind of love as normal, healthy, & aspirational are So So So Needed. even if you guys end up with some funky-feeling details.
seriously, if you're monogamous then you probably don't have a full idea of Just How Nasty a lot of people can get about polyamory. i wish it DIDN'T mean so much for you guys to want to write nice stories about us, but it does mean a lot. and it means a lot that you want to do it WELL.
in conclusion. this is not a prescriptive guide, it's just a way to raise questions. and also, you all are doing FINE.
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the thing about art is that it was always supposed to be about us, about the human-ness of us, the impossible and beautiful reality that we (for centuries) have stood still, transfixed by music. that we can close our eyes and cry about the same book passage; the events of which aren't real and never happened. theatre in shakespeare's time was as real as it is now; we all laugh at the same cue (pursued by bear), separated hundreds of years apart.
three years ago my housemates were jamming outdoors, just messing around with their instruments, mostly just making noise. our neighbors - shy, cautious, a little sheepish - sat down and started playing. i don't really know how it happened; i was somehow in charge of dancing, barefoot and laughing - but i looked up, and our yard was full of people. kids stacked on the shoulders of parents. old couples holding hands. someone had brought sidewalk chalk; our front walk became a riot of color. someone ran in with a flute and played the most astounding solo i've ever heard in my life, upright and wiggling, skipping as she did so. she only paused because the violin player was kicking his heels up and she was laughing too hard to continue.
two weeks ago my friend and i met in the basement of her apartment complex so she could work out a piece of choreography. we have a language barrier - i'm not as good at ASL as i'd like to be (i'm still learning!) so we communicate mostly through the notes app and this strange secret language of dancers - we have the same movement vocabulary. the two of us cracking jokes at each other, giggling. there were kids in the basement too, who had been playing soccer until we took up the far corner of the room. one by one they made their slow way over like feral cats - they laid down, belly-flat against the floor, just watching. my friend and i were not in tutus - we were in slouchy shirts and leggings and socks. nothing fancy. but when i asked the kids would you like to dance too? they were immediately on their feet and spinning. i love when people dance with abandon, the wild and leggy fervor of childhood. i think it is gorgeous.
their adults showed up eventually, and a few of them said hey, let's not bother the nice ladies. but they weren't bothering us, they were just having fun - so. a few of the adults started dancing awkwardly along, and then most of the adults. someone brought down a better sound system. someone opened a watermelon and started handing out slices. it was 8 PM on a tuesday and nothing about that day was particularly special; we might as well party.
one time i hosted a free "paint along party" and about 20 adults worked quietly while i taught them how to paint nessie. one time i taught community dance classes and so many people showed up we had to move the whole thing outside. we used chairs and coatracks to balance. one time i showed up to a random band playing in a random location, and the whole thing got packed so quickly we had to open every door and window in the place.
i don't think i can tell you how much people want to be making art and engaging with art. they want to, desperately. so many people would be stunning artists, but they are lied to and told from a very young age that art only matters if it is planned, purposeful, beautiful. that if you have an idea, you need to be able to express it perfectly. this is not true. you don't get only 1 chance to communicate. you can spend a lifetime trying to display exactly 1 thing you can never quite language. you can just express the "!!??!!!"-ing-ness of being alive; that is something none of us really have a full grasp on creating. and even when we can't make what we want - god, it feels fucking good to try. and even just enjoying other artists - art inherently rewards the act of participating.
i wasn't raised wealthy. whenever i make a post about art, someone inevitably says something along the lines of well some of us aren't that lucky. i am not lucky; i am dedicated. i have a chronic condition, my hands are constantly in pain. i am not neurotypical, nor was i raised safe. i worked 5-7 jobs while some of these memories happened. i chose art because it mattered to me more than anything on this fucking planet - i would work 80 hours a week just so i could afford to write in 3 of them.
and i am still telling you - if you are called to make art, you are called to the part of you that is human. you do not have to be good at it. you do not have to have enormous amounts of privilege. you can just... give yourself permission. you can just say i'm going to make something now and then - go out and make it. raquel it won't be good though that is okay, i don't make good things every time either. besides. who decides what good even is?
you weren't called to make something because you wanted it to be good, you were called to make something because it is a basic instinct. you were taught to judge its worth and over-value perfection. you are doing something impossible. a god's ability: from nothing springs creation.
a few months ago i found a piece of sidewalk chalk and started drawing. within an hour i had somehow collected a small classroom of young children. their adults often brought their own chalk. i looked up and about fifteen families had joined me from around the block. we drew scrangly unicorns and messed up flowers and one girl asked me to draw charizard. i am not good at drawing. i basically drew an orb with wings. you would have thought i drew her the mona lisa. she dragged her mother over and pointed and said look! look what she drew for me and, in the moment, i admit i flinched (sorry, i don't -). but the mother just grinned at me. he's beautiful. and then she sat down and started drawing.
someone took a picture of it. it was in the local newspaper. the summary underneath said joyful and spontaneous artwork from local artists springs up in public gallery. in the picture, a little girl covered in chalk dust has her head thrown back, delighted. laughing.
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