#lots of writers can keep going without interaction

[mikuchan]

I've been thinking about your post on fandom misogyny vs societal heteronormativity and the whole "I only write m/m because I'm Progressive! Ew, straights, yuck" stance (I will ignore the underlying biphobic vibes and how these people don't write f/f either for the sake of this post, but these are also issues), and I think people need to be reminded that you don't have to write romance at all?

You can write a man and a woman having an adventure/a meaningful conversation/a fun bonding scene/complex antagonistic relationship and not have them have sex or fall in love. They can happily return to their same gender partners when the story is over.

It also addresses a lot of other excuses people have for not writing women. "I headcanon her as ace/aro/lesbian, and don't ship her with anyone." Write a genfic about her. "I love the dynamic between these women, but I see them as sisters and not lovers." Write a genfic about them. "I don't want to write about vulvas/lesbian sex." Write a genfic, or a fade-to-black story (or headcanon one or both of them as trans, which f/f writers also do). "She's too good for any of the potential love interests." Write a genfic about her. "I can't write stories without my main male blorbo and I only ship him with my other male blorbo." Write a genfic where he interacts with a female character platonically.

Whenever the topic of fandom misogyny comes up, so many people throw their hands in the air, offer up One Reason why they just Can't write women/het/femslash and keep on going, but there are many different stories out there. Just a thought.

post for context

you said it... it really is an "I've tried nothing and I'm all out of ideas!" kind of vibe

[acowardinmordor]

you mentioned that more people are subscribed to your fics than leave kudos, I assume those people are like me who desperately want to read a fic, but can't actually start it unless the cathartic/happy ending is already a finished published part of it. I do it for lots of fics.

Writers have Absolutely No Obligation to update. Never, ever, period. but! that sometimes leads to cliffhangers/unresolved stuff I can't handle, so I just subscribe and wait.

please take it as a compliment!!

I realize as I type this that it might sorta seem like a "you must finish something before it's considered worthy" thing and I want to promise you that that's not the case. we (well, me, and I'm gonna assume a lot of others) are just setting up a notification system so we can binge read responsibly on people's heavier fics.

You know, that's completely fair. I write dramatic angst, that's fair.

It is also so far from my approach to fic that it wouldn't occur to me. I'll read anything if its intriguing, Wip or not, anything I'll hit kudos on as a Wip, I'll subscribe to. If its never updated, I headcanon the rest.

And please don't take this as a complaint, because I don't think writers are owed interaction -- I've written things that I knew before I posted them were not going to get much, or any love.

That said, lack of interaction is dispiriting as a writer. I see more interaction on ficlets on Tumblr than on ao3. Even though they cut off with worse cliffhangers than anything I post as proper chapters. I've been in fandom for several decades, and there is a measurable decrease in interaction for Wips. Which means fewer finished fics.

I've gotten comments before that bridged the gap. They read the first chapter, subscribed, and left a comment that said some version of 'love this, but I know how you are, and I cannot handle your cliffhangers until its complete, so I'm subscribing'

This is fair to me, I'm brutal in long fics. You should not trust me to deliver a soft story. If I used a Chose not to Warn, thats me telling you that you're going to doubt how it goes. I WILL get you a happy ending, but its gonna be a ride. Not everyone can do that in pieces.

I just... Comment. Please. If you liked the idea enough to subscribe, at least hit kudos so they don't have to cope with that itching doubt that someone is waiting to see if it sucks. kudos on a first chapter cause you like the premise is no different than liking a post here. Shit, come find them on tumblr and message the same thing if you want.

I have really thick skin as a writer. I find the discrepancy fascinating, not upsetting. So, so, so many young writers don't have that confidence, and I don't want to lose more of them because they think no one cares.

[derinwrites]

Plotting a story -- inductive and deductive plotting

When it comes to plotting habits in writing fiction, there’s a scale. Most people label the ends of this scale ‘gardener’ and ‘architect’, although the terms ‘plotter’ and ‘pantser’ are also in use. If you’re a writer, you probably know this scale, but I’ll briefly explain for those who haven’t and then get into my model.

An architect, or plotter, is a writer who thrives with a lot of planning. Like an architect planning a house, they assess what story they’re telling in advance and what needs to happen to tell it. They assess the materials, plan and measure the acts (if they’re using an act structure), decide on the climax and how the characters will develop and map those onto the plan. Then, with a plan, they write.

A gardener, or pantser, by contrast, writes ‘by the seat of their pants’. Pantsers may or may not know where their story is going in broad terms, but they certainly don’t know in any detail beyond ‘this’ll be a cool scene if I can get it there’. To these people, writing is less like architecture and more like gardening – you can build your beds and plant your seeds, but a whole lot of what’s going to happen next depends on how the plants grow, and all you can do is keep an eye on them and prune or train them as necessary. You can dream about what your garden will look like in the spring, but you won’t know until you get there.

Plotters and pantsers are not two distinct categories of writers, but ends on a scale. The writer who ad libs sentence by sentence with no goal at all is extremely rare, as is the writer who starts from an overall view of the plot and cuts it down and down until they’re planning on the sentence level. Most writers tend towards one end of the scale to a greater or lesser degree, but very few write completely using one method and none of the other.

The plotter/pantser scale is one that many writers find incredibly useful to help them understand their own process. By knowing where you are on this scale, you can better understand how you write and better understand how the habits and advice of other writers may or may not be useful to you. (A pantser trying to meticulously plot their story in advance following some formula they found in a writing advice book is wasting their time.) However, this model has little utility beyond that, which is why I find it more useful to address the phenomenon not as a scale, but as the manifestation of two separate skills, that I like to call deductive and inductive plotting.

In logic, deductive reasoning is when you take broad rules or generalities and apply them to specific circumstances to predict things – you start big and go little. “Things fall when you drop them, therefore if I drop this rock it will fall” is deduction. Inductive reasoning is the opposite – you start with small observations and build them into a pattern to predict something bigger. “I dropped seventeen objects and they all fell; therefore, perhaps when you drop things, they fall” is induction. (There’s also abductive reasoning, but that doesn’t fit into our plotting skill metaphor.)

In my experience, these skills match to the habits of plotters and pantsers. Plotters, or architects, assemble a big picture of the story they want and then deduce their individual scenes and fill in the lines to map to their overall general picture. They are deductive plotters. If you ask a deductive plotter to start writing without an outline, they become lost and their output seems directionless and erratic – how can they know what to write if they don’t have an outline to break things down from? Deductive plotters tend to think of stories in terms of overall structures and themes that can be broken down into characters and events and put on the page.

Pantsers, or gardeners, are the opposite. They’re if-then writers, and build the plot upwards from the individual actions of their characters and create the story from the sum total of those interactions. They are inductive plotters. Brandon Sanderson often describes a pantser’s first draft as just a really thorough outline, and he’s not wrong; a pantser needs the scene-by-scene minutae to know what happens next. How are they supposed to build an outline if they don’t know what happens next? If you ask an inductive plotter to build and follow a thorough outline, their writing often comes out as wooden and arbitrary as they have to force the actions of the characters between the restrictive rails of predetermined plot. Inductive potters tend to think of stories in terms of characters and discrete events that build up into something bigger with a consistent mood or theme. Inductive plotters sometimes complain of their characters having a life of their own and defying the plot – this is the effect of their moment-by-moment if-then reasoning of the character’s next action not matching their initial predictions, and surprising them.

Again, the vast majority of writers have some rudimentary skill in both inductive and deductive plotting. A strong deductive plotter (architect) can usually sit down and infer line-by-line a scene that their outline lists as “the three characters meet in the coffee shop and share evidence, Rosemary sees Harold’s notes and realises where the gun went.” Similarly, a strong inductive plotter (gardener) usually has some idea of where their story is headed next even if they don’t know how long it’ll take to get there or what complications will pop up in the meantime. But I’ve never met a writer who is equally strong in both inductive and deductive plotting; most writers specialise heavily in one, and tend towards one end of the scale. I think this is because there’s such a huge overlap in utility; when we start learning to write, we start plotting in whatever way is easiest for us, and train that specific method over decades. There’s little reason to invest even more decades into getting just as good with the other method when your favoured method already achieves everything you want.

I find that viewing this scale as the result of two skills, inductive and deductive plotting, can be very helpful in understanding specifically how we write. Thinking of myself as a heavily inductive plotter with rudimentary deductive plotting skills has really helped me understand why some methods of writing work for me and others don’t, as well as help nail down specific weaknesses in my writing. I also find it useful to think of writing styles and strategies not as some unchangeable characteristic we were born with (as the plotter/pantser scale is frequently envisioned), but as skills that can be built. You don’t write the way you write because you happen to be a plotter or pantser – you write the way you write because that’s what you learned to do! And it was hard! And you did it! Be proud of your skill!

[f4ggydog]

dark!lottie drugs your food with shrooms then proceeds to fuck you in your hut

the song and its lyrics are kind of darkly fitting for this “we can spend the night popping pills like it’s nothinggg…”

minors and dark content avid haters do not interact

You try to stay as calm as possible. Your surroundings are spinning circles and blur after blur, but it’s fine. You’re totally keeping things cool.

No, you’re freaking out. You don’t know what the fuck has happened to you and you don’t wanna know. You roll around in the hut, swearing you’re seeing dark figures creeping up on you and seizing you from behind. The trees are screaming. There’s animal noises in the distance and the sound of crows. Everything is way too fucking loud.

It takes Lottie some time to properly restrain you, to the best of her ability of course. She rips off your clothes to speed up the process before pinning your arms behind your back. You don’t know who the hell is there. And you’re not sure if you wanna know the answer.

“Fuck, I’m dying!” You cry out. “I’m gonna die! It’s fucking taking me! Everything hurts.”

Lottie covers your mouth with her other hand and slides inside of you. The sensation of being fucked open doesn’t help when you’ve been drugged. If anything, it burns worse than a normal sex session without lubrication. Your stomach is in knots and you feel like a fire has been ignited in your belly.

Finally, you call her name, wondering if she’s come to guide you. And it’s in such a sad voice that Lottie feels bad. Almost.

“Lottie?”

Lottie shakes herself out of it. Who gives a shit? You’re just a hole. A stupid fucking hole she can abuse while the others are sitting by some shitty campfire.

You want to punch yourself. You want to slap yourself. You want to completely melt down and rock in place. When you try to cry out, your screams of terror are muted by Lottie’s hand. This wouldn’t stop. You couldn’t make it stop. Everything in your environment was overwhelming. There was too many colors and too much blur all mixed together. It was disgustingly messy.

“Stop moving,” Lottie complains, like you were an animal she was trying to get a grip on.

“Lottie.” You ask again, as if she’s some guardian angel coming to rescue you and not some demon taking human form.

“Speak one more time and I’ll go rougher,” Lottie swears, keeping on her promise and already moving her cock faster. “God, I didn’t think you would be this difficult when I slipped it in.”

What? Her cock or the shrooms into your drink? Doesn’t matter. You’re just meat anyways.

“Sorry,” you sob into the floor, waiting for Lottie to be satisfied with your tight body, knowing you’d forget it all the next morning.

(sometimes I wish I could make these longer and I worry these aren’t satisfactory enough but unfortunately I do have a lot of requests so I need to unfortunately save time for those because I have bad time management as is) (seriously idk how other writers on here do it)

[complete-clownery]

Hahaha okay rant about this amazing fanfic (you probably heard of this one already but still)

So whenever it comes to explaining and writing under my posts I just get lazy but I need to push through this cuz I need to talk

So the fanarts were made for the lmk fanfiction sunbreak, that a lot of you (probably mostly shadowpeach shippers) had read, and it is amazing, I read trough it as fast as my brain let me and as you can see it has pleasantly scratched my brain so much so that I even (attempted) to make fanart for it

Ngl if I wasn't a major pussy I would try to illustrate the whole thing or make covers for each chapter but Im unable to work on something more than 2 hours and I would want those to look good, but good looking art (if I don't mess up) takes 6 hours ughh--- annoying much---

Anyways I'm not good with literature but man is this fix a masterpiece *chefs kiss* its everything its amazing, I was unable to put it down once I started it

Okay i dont think I have the brain capacity to explain how much I worship the writer of this masterpiece @ladygreenfrisbee , so i'm just going to talk about the drawings a tad

So first picture with Red Son and MK its sort of like an au in the fic where the whole lbd plot is somehow nonexistent and after Macaque gets to his sisters domain they settle down and raise the kids together without much of an issue aside from assassinations keep happening and trying not to get in trouble with the heavens

Id like to think that Gongzhu still wouldn't let the court tailors to put any form of red or gold on MKs outfits and only allowed the yellow after when MK was old enough to declare that yellow was his favorite color, but even now she would insist on some form of purple and shadow motives to let others know who the mother is

We also got baby MK and toddler Red Son and sassy LIF and Mac

Third pic with the lion: I don't know what it was or why but I just love general Song so much--- he's a major dickhead but sgvshshsevkdididhr (actually I kinda love all the original characters in this one, from the generals to the old lady in the beginning of the book, (gosh I also wanna draw some scenes from those chapters I loved how Mac and she interacted hshsjsj))

so chapter 34 was probably my favorite so far I re read it about two more times cuz it was amazing to see Macaque being the schemer he is and try to piss of Song lol

Last picture: its a sketch/a wip or whatever (probably not going to finish it but im still putting it there cuz its somewhat decent looking)

Its the part where Wukong remembered of Macaque finally finding him and asking for him to come back to flower fruit mountain.

I tried to make Macaque look more unhinged on this one but since I didn't finish it I dont think its that noticable so fuck that but I also gave him a halo like the saints to symbolise his suffering and what not (thought it looked cool and fitting think whatever you want about it lol)

And that all ((((hollly mother))))

If you read this trough, thank you and congrats👏👏

[literaryvein-reblogs]

Writing Notes: Dialogue

A Guide to Writing Better Dialogue

Consider the following criteria:

The dialogue must move the story forward. After each conversation or exchange, the reader should be one step closer to either the climax or the conclusion.

Reveal relevant information about the character. The right dialogue will give the reader insight into how the character feels, and what motivates them to act.

It must help the reader understand the relationship between the characters.

Tips for Better Dialogue

12 tips to writing forward-focused dialogue:

Keep it brief

Dialogue shouldn’t go over for pages and pages. The best dialogue is brief.

You don’t need to go into lengthy exchanges to reveal an important truth about the characters, their motivations, and how they view the world.

Pair the dialogue down to the minimum that you need for the characters to say to each other.

Avoid small talk

In the real world, small talk fills in the awkward silence, but in the world of your novel, the only dialogue to include is the kind that reveals something necessary about the character and/or plot.

How’s the weather? doesn’t move the plot.

If you’d like to show that your character doesn’t like awkward pauses, work on characterization and scene description.

Instead of using mind-numbingly long exchanges, show the character’s discomfort by describing how she taps her fingers against the window pane, or takes a series of sharp sighs.

Small talk can water down the effectiveness of your scene.

Instead, pick exchanges that capture the essence of the moment, and bypass small talk altogether. Let that be an understood nod between you and the reader, and dive right into the action.

Don’t info dump

While you can certainly use dialogue to learn more about your characters, you shouldn’t use it to dump a whole lot of information on the reader.

If you must info dump, don’t do it in dialogue.

It may slow dialogue to a grinding halt. It may sound awkward.

What’s the difference between info dumping and revealing relevant information?

Info dump is a large amount of exposition given all at once, and left for the reader to sort out.

Relevant information is more subtle, and it’s dispensed a little at a time.

Give your characters a unique way of speaking

Every character, just like every person you know, will have a unique way of speaking and delivering their thoughts.

Some people are more forceful and deliberate.

Others are more passive and meandering.

You can honor these (and other) different styles without rambling.

One method is to focus on word choice.

Example: To show that someone is rather gruff or abrupt, go towards single syllable or somewhat quick words, like “yeah.”

Same basic concept but different delivery, based on character.

Of course, word choice alone can’t dictate character.

You’ll do most of this through characterization, but word choice should subtly support and reinforce characterization.

Also establish a pattern of speech:

Does the character speak in a sharp staccato, or a deliberate, flowy manner?

By knowing how the character (especially the protagonist) speaks, you can create consistency whenever the character dialogues with others.

Be consistent

Remember to be consistent with your characters.

Someone who speaks in a self-depreciating and shy demeanor won’t automatically become bold and acerbic.

When your characters speak, they should stay true to who they are.

Even without character tags, the reader should be able to figure out who’s talking.

Create suspense

Use dialogue to increase the suspense between characters.

It’s human nature for people to withhold what they’re truly thinking or feeling.

People leave a lot unsaid, and this is also true for the characters in your novel.

To create a realistic interaction between your characters, you must honor the fact that most people leave a lot of things unsaid.

But that doesn’t mean that the reader can’t be privy to what’s being left unsaid.

As a writer, you can build the scene, show the characters’ motivations and desires before the scene, and let it play out, with the reader wanting a resolution that doesn’t quite happen.

Answer the following questions to setup your scene for suspense:

Does one character have the upper hand in the scene?

Is the other character seething just under the surface?

What does the reader find out through the exchange?

You can control all of this through dialogue.

Honor the relationship

Characters tend to speak differently based on who they’re speaking to.

A character will speak to his mother differently than he does to his best friend. That’s not a shift in consistency.

It actually gives more depth and realness to the character. You can still stay true to the personality you’ve created by using the same speech pattern.

Show, don’t tell

“Show, don’t tell” is the writer’s mantra.

When writing dialogue, it’s easy to start “telling” what the characters are feeling instead of showing it.

Instead of your character saying, “I’m angry!” describe how the character’s body is closed--tight lips, narrow eyes, deep breaths.

Don’t underestimate your reader.

The reader likes to see the scene, pick up the cues and come to the conclusion, instead of being told what to think. Your dialogue shouldn’t be completely on the nose, and explain exactly what the character is feeling.

Most people -- including your characters -- aren’t always aware of how they feel.

And sometimes, what they say they feel is different from what they truly feel.

Use dialogue to reveal characters, but not directly.

Body language is also an important part of dialogue, and should be written into every scene. It gives the reader important clues that they’ll use to recreate the scene in their mind.

Minimize identifying tags

“He said, she said” gets boring after a while.

And the answer isn’t to switch out those “said” tags with other words like “enthused” or “shouted”. (When it doubt, “said” wins out.)

Not only is it boring for the reader to constantly see “he said” or “said she”, it may be disruptive.

Identifiers take the reader out of the immersive world of your story and reminds them that you, the author, are relaying a story.

That can be pretty jarring, and it can happen if you use identifiers too often.

Of course, you can’t not use identifiers.

They’re vital for establishing who’s speaking, but can be minimized by doing the following:

Creating a unique pattern of speech.

Using descriptive follow ups. (e.g., “That’s not what I said.” Vincent reached for the rock.)

The second option can show what the characters are doing to further emphasize their words, or add context to the scene.

Greetings and goodbyes aren’t always necessary

While it’s only polite to say hello and bid adieu, it’s not necessary in novel dialogue to document these courtesies.

You can use exposition for salutations, but do avoid writing a blow-by-blow.

Set up the scene by describing how the character enters or leaves the scene.

Avoid speeches and soliloquies

Most people, in conversation form, do not have the privilege of extended speech.

They’re almost always interrupted because who wants to listen to someone natter on and on?

Read it aloud

During the editing process, you should always read your manuscript aloud, but do pay special attention to your dialogue.

If the dialogue doesn’t seem to flow, or you’re tripping over your words, it’s not going to sound right to the reader.

Even though you’re not capturing every part of a conversation in your dialogue, everything that’s written should sound like an actual person said it. If not, it’s time to erase and try again.

Source Writing References: Worldbuilding ⚜ Plot ⚜ Character More: Formatting Dialogue ⚜ Children's Dialogue ⚜ Dialogue Prompts

[rqgnarok]

Hello! I loved your Jamie Tartt angst and would love more angst that leaves you hurt but resolves itself (I’m too mushy for things ending at angst) maybe self sabotage? I feel like season two Jamie would be good at that since he does want to be better but doesn’t fully believe in himself. Or Jamie is still into Keeley and reader likes Jamie and is icing out Jamie to protect their self? Literally anything there is a Jamie angst deficit 😩 mwah <3

hi anon! sorry it took me so long, school and then writer's block kicked my ass. full disclosure, i didn't read this after i wrote it so sorry for any mistakes! enjoy <3

“Thought you left.”

You close your eyes in despair, thankful at least that Jamie can’t see you. You’d been sure your escape had been a subtle one but here he was– the very person you were trying to avoid following you to the balcony on the less crowded side of the restaurant.

You didn’t think he’d notice. He hadn’t yet– looked at you or talked to you since he came into the team event with Keeley wrapped around his arm, looking gorgeous and worthy of his attention. She had smiled at you, genuinely happy to see you, which made this whole thing entirely more ridiculous. 

You’d thought this was a date. After replaying the interaction between you and Jamie for the umpteenth time, you’ve come to the conclusion that your own excitement blinded you to the reality of it all. When Jamie had asked, all nonchalant without making eye contact, if the PR team would be at the annual team dinner in a non working capacity, you’d let yourself imagine something you couldn’t have only to be left a fool. 

Well. Here you are now, paying the price.  

“Just needed a second,” you try to sound like there’s a smile gracing your lips despite how close you are to tears, but won’t look back to meet Jamie’s eye. He settles at your side soon enough, hands in the pockets of his suit while yours remain gripping the railing, hoping for a full breath that just won’t reach your lungs. “There’s a lot of people in there.”

“You don’t have to be nervous,” he says, hitting the nail on the head regarding your anxiety in crowded places. There’s a reason you work behind the camera, making other people look good while getting to stay away from the limelight. “It’s just the team, right? You’re okay with us.”

You can’t help but agree, even if it sounds a little miserable. “Yeah.”

Jamie doesn’t follow up and you find yourselves enveloped by the silence and the sounds of the street life underneath you. Cars passing by, people chatting and talking, the whistle of the air as it threads through your clothes and bites at your skin. 

“Are you cold?” he asks when you shiver, shifting to take off his jacket and wrap it around your shoulders. You really wish he wouldn’t, stopping him before he can.

“I’m fine,” your voice betrays you and breaks, and you don’t have to look at Jamie to know he’s looking at you now, urgently searching for a sign of discomfort. “I’ll go back in a minute, yeah? I’m right behind you.”

“I don’t mind,” he says, surer than anything else he’s said so far. There’s a steel to his voice now that he’s realized you’re not fine at all, willing to protect you even from yourself. “I like keeping you company.”

“Jamie–” 

“Are you alright?” you have to, you have to look at him, and there’s a furrow to his brow that frames his face so, so nicely. Eyes wide and concerned, one of his hands leaves his pocket to reach for you. He says, softer. “You’re crying.”

“Am not,” you say peluntantly, because you’re not. Not yet at least. You’re cold and tired in your fancy attire and fancier shoes, but you’re not crying. You won’t until you’re in the safety of your apartment, away from the people who care about you. “I’m okay, Jamie, please go back inside.”

“Love,” he says knowingly, tilting his head. His searching hand, after a moment too long of hesitation, touches your cheek. He’s frowning still. You wish he didn’t look so handsome doing so. “We’ve barely talked tonight. I was hoping…”

He drifts off when a loud laugh from inside catches him off guard, quickly retreating back to himself and digging his hand back into his pocket, taking a step back from you. 

It’s such a terrible sequence of events in such a short amount of time that it makes you laugh, a sharp sound that surprises Jamie as much as it seems to hurt him. “I–” he begins, then cuts himself off. 

It dawns on you that this might not be the first time Jamie has been rendered speechless, but it is the first time you’ve seen him scared. 

“It’s fine,” you say. And it’s not. It’s not, but– “I’ll see you later, okay?”

You turn back into the night and wait one, two, five arduous seconds in which Jamie doesn’t seem to know what to do with himself before you hear his steps begin to retreat. Breathing out, you think the worst is over until he speaks, “you look beautiful tonight.”

He stutters. “Always, y’know, but tonight. You do. You do.”

“Can we… can I see you? Before you go?” he wonders.He calls your name when you don’t take the bait, frustration coating his tone. “Come on, I’m tryin’ here, sweetheart. What do you want from me?”

“Nothing,” you say, soft, so soft you’re sure he doesn’t hear it. “Nothing, Jamie.”

“Okay,” he says. Then– “I’ve been tryin’ to ask you out for over a month and you won’t let me.”

You want to be angry, but the statement only makes you sad. “Go back to your date.”

Jamie splutters in disbelief. “What?”

“Keeley’s probably wondering where you are,” it sounds accusing even to your own ears, and you hate it. You never intended to get him into trouble or bother him with your feelings for him. “Go back to your date, Jay.”

“That’s not– she’s not–” he blabbers. “Love, please–”

Isaac and Dani, drunk out of their minds, crash into the balcony to wrap their arms around Jamie, too out of it to notice your distress or that you’re even there. They call his name to the melody of Baby Shark, loud and basked in laughter. 

“Ayo, lover boy!” Isaac barks, wiggling his brows suggestively. “Your girl’s lookin’ all over for you! I think she’s ready to go home if you know what I mean.”

“Fuck off,” Jamie snaps, thoroughly upset but barely heard above Dani’s teasing ohhhhh. “Can’t you see I–”

You abruptly turn, barely sparing them a look as you excuse yourself meekly, voice wet and hushed. Jamie tries and fails to hold onto you, calling your name. You only feel the brush of his fingertips on your bare elbow as you escape his grip and leave him behind.

[caffinated-squid]

The Eltingville club- consumerism, control, and how they relate to Josh Levy

So initially I wasn’t going to talk about Josh because I have seen his archetype multiple times and it felt self explanatory, as well as not really having much to say on him as a character, but I still want to give it a shot. So I am going to talk about 2 things: what Josh represents in fandom, and how that intersects with his relationship with his parents.

Starting with the basics, even though all the characters collect figures and memorabilia, Josh is the most obsessive about it, which can be seen in how he goes to several fast food stores for toys to complete his collection, later tearing through several loaves of wonder bread for a card in Bread and Suck Asses, and refusing to eat anything other than Batman Kraft Mac n cheese in the hopes of getting a new figurine.

On surface level, a lot of Josh’s behaviors reflect the overconsumption aspects in toxic fandoms, the need to spend everything to finish a collection, even if it is something they don’t even like. But I also think that its a way for Josh to have something that he doesn’t have a lot of in his life: control.

As much as Josh owns and collects, as much as he knows about trivia, he is unable to control how other people view him, which becomes more of an emphasis when taken into account that Josh (next to Jerry) is usually bullied the most. He has no control over the club, as Bill constantly reinforces his status through making sure that he gets to decide how the day is planned and what they are going to do. No matter how much he knows about comics and sci fi, he will never get hired at Joes because Joe sees him just as another source to get money out of.

I think the collecting allows Josh to have some say in how things go, same with his writing of superhero fan fiction, it gives him the ability to decide what will happen without being questioned.

*This can also apply to how he treats people in customer service, considering how he talks to them and how he treated the seller from As Seen on TV. These people can't lash out because if they do, they will get fired, and only exist to Josh as someone who he can tear into without consequence.

In this case, it is probably why Josh never got better as a writer, along with his own entitlement, he probably saw any criticism as an attack on him, and he already gets shit on daily by pretty much everybody. The only way he could find a way around this was to force people to have to deal with it out of spite, which can be seen in the epilogue as he goes on a whole speech on how when he finally gets in with the desired group of people, he can finally force people to accept his work as canon.

Josh’s parents also play a role when it comes to his consumerism and how he interacts with people. Although they are never seen, the pieces of information given (Josh having the most money to spend on memorabilia, their willingness to let him keep spending money and continue his terrible diet, giving him punishments for his behavior but still being very forgiving as they still let him interact with the club even though that’s usually how he gets into trouble) give more context for why Josh is so quick to anger and entitled, he is used to getting what he wants with little to no resistance which is something that Bill constantly challenges.

Though there is definitely a shift in this behavior after the events in This Fan, This Monster. Out of all the characters that get yelled at, I would say that Josh’s is one of the worst. You can see that his parents have reached their breaking point, and possibly have a lot of built up resentment towards Josh that is finally being let loose as they tell him they would rather be dead and blame him for his mothers heart attack.(as well as their own regrets of how they raised Josh being blamed on him) It is a personal attack that is directed towards Josh, and this is one of the only times that he doesn’t respond with hostility.

The one thing that Josh lacked which he needed the most to improve was some degree of self-reflection, as well as needing to accept that he can be wrong. The epilogue shows he did neither of these and instead doubled down. He may have gained more power, but has not gained any sense of self or respect to others, and will probably be treated as just another disposable piece in the comic industry.

[drtanner]

You know, I think I'm starting to understand why the sharing culture on this site is such dogshit now.

As I mentioned earlier in the week, I spent several solid hours going through my art and writing tags as far back as 2012 and manually deleting everything I found, including all of my own reblogs, because I don't expect my opt out from having my blogs' data scraped to be honoured, and seeing the difference in the way people interacted with my work back then and the way they interact with it now (or the way they don't interact with it at all, more specifically) was deeply and tragically enlightening.

tl;dr, despite having had a fraction of the followers back then that I have now, as well as being an objectively better artist and writer than I used to be 10+ years ago, my work travelled further and people engaged with it more, and they also sent me asks with drabble prompts and questions about my OCs all the time, whereas none of that happens at all anymore. This place was a lot more communal back in that pre-2016 era and generally a lot more rewarding and fun.

There's been plenty of posts going around over the last few years begging people to reblog because that's how this site works, but every one of those posts always winds up lousy with people saying they just click "Like" on things because they like them but not enough to put them on their own blog, or because they don't want to clutter their blog, or because tagging things is too much effort or whatever, and I'm noticing a pattern. There's something that all of these common responses have in common:

All of these people are wholly concerned with themselves and the way their blog looks, or what their blog is supposed to be for, or some other similarly entirely self-centred point of focus.

Listen. Other people have already tried to explain to you that that's not what this place is about or what this place is for or that you can make as many sideblogs as you want if you're trying to curate something specific, and they've had little success in emparting understanding to you, so I'm going to try a different approach.

Here are ten (10) benefits of reblogging that will make this site more fun and engaging for you, personally! ( b ._.)b

You get to keep the thing for yourself, but you also get to pass it along for other people to play with, too! Best of all worlds. How often do you get to keep a thing and share it?

Look in your Activity after you reblog something you enjoy to find other people who like the same things that you do! This is a terrific way to find new people to follow.

Sometimes you'll make a comment when you reblog something and later find that an awful lot of strangers are reblogging it from you directly for some reason. This is usually because someone else later down the line made a much stupider and worse comment and those strangers are now all clicking on your reblog so that they can reblog the post without that other person's stupider and worse comment on it. I like it a lot when this happens. You can get a lot of new followers this way, too!

Even if you don't have the time or spoons to play with jpegs like dolls yourself, your reblog can put the post in front of those folks who do. Playing with jpegs like dolls is half of what makes this site function; give it a bit of time, and the jpegs will cross your dash again with new additions. As it is with anything you love, set it free, and the love will come back to you one hundredfold. 💜

Look in your Activity after reblogging some art or writing to see people going nuts in the tags. You can also go nuts in the tags if you want; everyone loves seeing this when it happens, especially the artist or writer themselves.

Commenting with your reblog is like raising your hand to share your opinion with the whole room, whereas reblogging with your comment in the tags is more like whispering to the person next to you and keeping it between yourselves. Contrary to what you might have been told by others, both are perfectly fine and good and they each have their place. You can do both on the same reblog, even! Take part in the conversation!

If you're too shy to talk, reblogging without commentary is a lot like parallel play. You're all enjoying the same thing quietly together!

When you reblog things a lot, you'll start to see the same people popping up in your Activity feed all the time. These people are your friends whether you actually talk to them or not.

Stuck for something to say? Point out something you liked about the post! It can be something small! Acknowledging things that make you happy out loud is good for your mental health and also your soul.

Reblogging also invites other people who are doing all of these things to find and follow you!

There's so much to do on here beyond checking your dash and occasionally looking at the For You tab. You can discover all kinds of people and things by making a bit of an effort and having a poke around in your Activity feed and on the blogs of people who interact with the posts you're seeing and passing along! I promise you don't need an algorithm to do this for you; the action of exploring the landscape around you on this website is fun in its own right!

Get out there and see who your neighbours are. 💜

[miley1442111]

Reader x Rafe. They have only been on a few dates. They do not have a claim on each other. Rafe’s cousing is visting for the weekend, unknown to her, and is a really pretty girl. Rafe posts a photo of her on his story on instagram, having dinner. Reader assumes the worst, that he is keeping his options open and dating others, and it makes her really sad when she only had eyes for him. She is aware that that they have not had a talk about dating others, and she does not have the ’’right’’ to be so sad but still is, wanting him to just feel like her, liking her so much that he does not want to see anyone else. Rafe at some point later after his family/cousin dinner is done, he texts reader at night, asking if she wants to talk on the phone ’missing her voice’ but she just scoffs sadly to herself reading it, now thinking he is just a bit of a pig, thinking she truly meant nothing to him for him to be so casual about it. Unknown to her, Rafe feels exactly the same as her, not wanting anyone but her and is walking in circles at home in panic talking to himself, wondering what he has done. He does not want to be to pushy as they have just started dating so he does not harass her with texts. A few days go by and he sees her at the bonfire with her friends, kind of approaches her like he approached Kie, very gentle and soft. She tries to just keep it short, answering his questions being polite and goes to leave after getting her drink but he is like ’’wow wow wow, wait. You’re not answering my calls. I feel like I’ve done something to upset you and it’s killing me’ and she kind of brings up the girl, not in an accusing way, more so like ’’I get it. You wanna keep your options open. I’m just not comfortable with that because I like you a lot. We had a good run but I guess that is it. Take care of yourself’’ with a sad smile but then he stops her from walking away and clears up the misunderstanding and its a sweet ending

----------------

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my promise- r.cameron

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a/n: thank you so much for requesting! sorry to everyone, i've been struggling a lot with writer's block and with college starting up everything has been super busy but I should be back on a fairly regular basis now :)

pairing: rafe cameron x fem! pogue! reader

summary: i suggest you look at the request

warnings: rafe is a bit of a dick without realising, reader is upset, pogues hate rafe, i think that's it?

+ this rafe is not show-accurate, this is another universe where he can express emotions and recognise how his action affect others :)

not entirely proofread

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Rafe Cameron was a pig. Three months of talking, and he finally asked you out. And now he was on a date with someone else. 

But what else were you expecting from the ‘Kook king’? Your friends were right. You shouldn’t have even bothered with Rafe. He would always be a fucking man-whore with too much money and too little empathy. Of course you were a game to him, what else would you be? You were a pogue. You were nothing in his eyes, just a fuck. You weren’t even his real girlfriend. He had no claim on you, and you had no claim on him. 

----------------

You would’ve genuinely stabbed yourself in the eye if it meant you got to stop watching them interact. Rafe and that blonde girl. You’d never seen her on the island, but that didn’t mean she wasn’t from here. Random people spent summers here every year, a lot of people rented out their houses, especially the rich ones, just so someone would be in their mansions while they were busy in Bali, or the Hamptons, or wherever rich assholes went on holidays. 

She laughed at something he said and you rolled your eyes. “He’s not even fucking funny,” you scoffed. 

JJ rolled his eyes. “I hate to say ‘I told you so’, but-”

“Yeah yeah, you told me, I know,” you sighed. “Thought I could make a kook act like a human, that’s on me,” you held your arms up in defence. You two stood side by side as you shone the cutlery. Serving at the Country Club wasn’t bad, and the tips were good. It’s just you didn’t expect to see him on a date with someone else. 

You got off of work at 8pm, Rafe and the blonde girl were still busy chatting when you left. Jj gave you a lift on his bike and you decided to grab all of Rafe’s things and leave them on his doorstep, not even bothering to explain. You knew what you saw. You knew what he was doing. You didn’t care anymore, you were worth more than that. 

At about 2am you woke up to your phone ringing. 

“Hello?” 

Your groggy voice made Rafe smile. It had been a long night of entertaining his annoying beauty-queen cousin, and he wanted to talk to you, to see you. “Hey baby.”

You rolled your eyes. “Hi Rafe.”

“How was your day?” he asked. 

“Fine,” your answers were short and to the point. You had no interest in entertaining this anymore. “Yours?”

“Boring as fuck,” he chuckled. 

“What did you do today?” you asked, morbid curiosity getting the better of you. You wanted to see if he’d admit it. 

“Nothing much, worked out, golf, went to dinner with family, that’s it.” 

Of course he was lying. And using his family as a cover? Asshole. 

“Why did you call me?” you questioned, trying to act interested, but failing miserably. 

“I missed your voice,” he admitted shyly. 

“Ok, you heard it, night Rafe,” you sighed before hanging up. A part of you was angry. Another was just upset. How could he see other people? You two had a really good thing going, didn’t you? You thought he was going to ask you to be his girlfriend. How wrong you were. It just reminded you of why you were so apprehensive to date him in the first place, to date anyone in the first place. Maybe you weren’t enough for him. Maybe you weren’t enough at all. 

You let yourself try to sleep it off, but the next few days you were down, and everyone could tell. Jj had told the others what had happened, and you could see the pitying glances from Kie and the boys, and the annoyed looks from Sarah. She hated him, genuinely, but this was the last straw. She’d told him not to break your heart. She’d warned him. 

“What about the bonfire tonight?” John B offered to the group as the sunset. “That would cheer you up,” he nudged your arm and you grimaced. 

“I don’t feel like going out,” you sighed. “You guys go ahead.”

Sarah sighed. “You can’t let this ruin your week Y/n. He’s a dick, he’ll always be a dick, and it wasn’t your fault for liking him. Every single one of my friends as a kid liked him, then he showed his true colours and he’s a dick again. His behaviour is not a benchmark for your value. He’s in the wrong, not you. Come out with us tonight, even if it’s just for 30 minutes, yeah?”

You rolled your eyes, giving in. “Fine.”

----------------

You hadn’t texted him back in three days. He didn’t want to be the pushy ‘be with me all the time’  boyfriend, but he was used to texting you at least once a day. Now you’d left him without a response for 3 whole days. Thinking back, he knew you were being weird during the phone call the other night, and he couldn’t understand what he’d done. Were you losing interest? He hoped you weren’t. You were the only girl who he’d ever been really serious about.  You were the only girl he’d ever felt a real connection with. You were his girl, at least, you would be. 

He pulled up to the bonfire with one thought in mind, find you.

You pulled up to the bonfire with one thought in mind, hide from Rafe. 

----------------

Hiding didn’t exactly last long, especially when he was directly following you around the entire beach. If you went towards the water, he’d come near you, if you went towards the house, he’d come near you, if you went up to the fire, there he just so happened to be, roasting a marshmallow with a big smile on his face. You did notice how he wasn’t carrying around his signature corona, nor was his nose full of white powder. Huh. He’d listened when you said you didn’t like him being ‘uncontrolled’ as you called it, yet he went on a date with another girl. Strange.

You sat away from your friends, by the water, nursing a can of beer. You weren’t a heavy drinker and you’d probably go home after this, since you’d already been at the party for a little while. You watched the sea come in and out. Wave after wave, softly brushing against the shore. 

“Hey,” Rafe’s voice brought you out of your trance. He sat down beside you, dirtying whatever expensive shorts he had on. 

“Hey,” you answered.

“How are you?” He asked, his tone not missing the awkwardness of this moment. He was nervous before coming up to you, but now? Having to come face to face with your cold tone was becoming unbearable pretty quickly. 

“Fine thanks, how are you?” You asked, continuing your staring at the sea. 

“Good. Better, now,” he smiled, placing a hand over yours. “You forgot to text me back.”

“Did I?” you didn’t even try to make yourself sound sincere. “Sorry.”

“It’s alright. You been busy? How’s work?” 

“It’s fine,” you answered. After a moment of silence, you got up. “I’m going to get another beer-”

“Wait,” he jumped up beside you. “You’re not answering my calls. You’re not talking to me normally. You’re not answering my questions. Have I done something to upset you?”

You scoffed. “I wonder.”

He raised an eyebrow. “What does that mean Y/n? You’re killing me here.”

“Look, I get it you want to keep your options open and we were just casual, it’s fine. I’m just not the kind of girl to just be casual with, alright? That stuff makes me uncomfortable, and I really liked you. But if you want to go and do that, that’s fine, just don’t bring me into it,” you explained calmly. “Goodbye Rafe.”

“Wait, wait, wait, wait!” he called after you, making you turn back. “What are you talking about?”

“I saw you at the Country Club with the blonde girl, Rafe, seriously, your dating life is your own- what?” You stopped talking because Rafe had started pulling a disgusted face. “What’s wrong?”

“That’s my cousin,” he explained. “My super annoying cousin.”

And everything made a bit more sense. The family comment wasn’t a lie. Now that you think about it, they did look pretty similar.

“Oh.”

“You thought we were on a date?” 

“Well it was candle-lit,” you chuckled.

“All the tables at the club are candle-lit past 8pm!” He laughed. “That’s why you’ve been ignoring me? You thought I was cheating on you?”

“Well, we haven’t technically said we were dating so… I just assumed you were keeping your options open,” you shrugged. 

Rafe cracked a smile. “You think I’d pick anyone over you?”

You shrugged. “People do.”

“People are fucking stupid,” he wrapped an arm around your shoulder as you two walked further down the beach. “So, Y/n Y/l/n, will you do me the honours of officially being your boyfriend?” 

“Only if you do me the honours of being your girlfriend,” you smiled.  He turned to you and cupped your cheek, pressing his lips to yours. “I’m all yours, promise.”

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obx masterlist :)

navigation for my blog :) (criminal minds, obx, the bear, marvel, top gun, the hunger games, challengers :)

[project-sekai-facts]

Wait An/Kohane have outright stated romantic interest?

poor wording on my end bc they never actually say "an and kohane like each other romantically" but the evidence it very much there and it is clearly depicted and phrased in other ways. for example: the shoujo sparkle effect that is used for An from Kohane's POV.

This effect is often used on Haruka in Minori's imagination, which, well, let's just say it doesn't disprove that Kohane is attracted to An. While the effect is also used to show a character being cute or having a strong "idol" aura without any attraction attached, it's prettly clear the intent was to show Kohane's attraction. Also she was blushing.

Bonus points to the fact the wedding event has a underlying message (they say it on screen) about how marriage should be equal regardless of the genders of the couple [because gay marriage currently isn't legal in Japan].

There's also literally everything in Buddy Funny Spend Time. While almost all of the interactions in that event can be read as platonic if you really want to, they're written so you can interpret it as romantic if you choose to. And considering the featured pairs in this event were Minori/Haruka, An/Kohane, and (briefly) Shizuku/Airi, it's not like that reading isn't supported by the writers lol. There's one part where Minori and Kohane get jealous of how close Haruka and An are as childhood friends and aren't sure if they can amount to that, but they want to try. Doesn't necessarily have to be romantic but can be if you choose to read it as such.

When Kohane is visibly attracted to Haruka, An gets slightly jealous and says that her singing should be the only thing that makes Kohane react that way.

Haruka also points out that although An has always been super friendly she's never been like this with anyone until Kohane came into her life, and still keeps this behaviour Kohane-exclusive. An says it's because they're partners, which, kinda friendzones them, but kinda doesn't.

The word for partner used in the story - "aibou" - means, to put it in incredibly basic terms, coworkers. It's like the cowboy or detective word for partner, though I believe it comes up in shounen every so often (the genre vbs story is based on). In itself, aibou has no romantic connotation. But 3 of the partnerships we see in VBS' story have lots of interactions that easily read as having romantic undertones, so basically in the context of VBS story the nature of said partnerships becomes a little more ambiguous. The word is still platonic and that doesn't change, but you get the idea. Oh and VBS has recurring romantic soulmate imagery more on that later.

continuing on BFST, yeah they went on a date. which is strongly suggested to be a romantic date unlike how it's sometimes used platonically. like the other characters say An is "seeing someone", at least in the English translation, which is very much associated with romantic interest. Also the original Japanese for the "do you know who she's going out with" line uses the phrase デートの相手 which is the Japanese equivalent for the word "date" (as in a person/your date), so it's not really any different. they go on another one in Kick it up a notch and An's card story for the event. their relationship is never labelled or anything (probably bc this genre avoids that sorta thing for fan-related reasons) but this very much was a thing that happened.

(also when ken says partner he says aibou. so not partner /r but anyway it does clarify that this date is to do with their relationship on a different level to partners /p. ie: an's going on a date with kohane because she's cute not because she's her partner. language is fun)

Lastly back on that thing I said I'd come back to. The Walk on and on costumes have romantic soulmate symbolism included on them. The wings on the backs of the outfits are based on the mythical hiyoku bird, a one-winged bird that could only fly after meeting its other half. Kohane's costume has pink accents, one of the variants has accents in An's image color and the wings on the backs of those variants match up to each other. The card illstrations themselves also feature crows, which mate for life. While the symbolism is mostly associated with Toya, the Whip the Wimp Girl! cards take place in the same location as the woao cards which is pretty neat, and makes sense given the themes of both events. I've put both their gacha logos above as well. Oh and An's card for wtwg was. Something.

And Kohane got the valentine event this year and it was about her entering a contest to win limited edition chocolates for An I forgot about that until just now.

Have fun with that.

[ashcroft-writes]

Thoughts on Cad Bane in Tales of the Underworld

I almost never post analyses of my fave fandom things! But I've been thinking about nothing but this show for a solid 24 hours, haha. Honestly, I've been pretty light on sharing my thoughts on the beloved blorbos previously because I don't often care for engaging in the hot take trading in Star Wars fandom... and I also know things tend to grow on me over time, even if something bothers me at first. I’m also in times when people like me worry for their lives and futures, so the me that shows up for Star Wars anymore honestly just wants to have a little fun with it and appreciate what these creative teams manage to do, especially today, when I get Cad Bane content so enchantingly rarely!

BUT, these episodes definitely had a big effect on me. So I've sat with them a little, let ‘em roll around in my head, and though there’s parts of the narrative I think I would have also liked to see… what was done with this story, I ultimately really enjoyed.

But let's dig in deeper, because it IS fun.

THE RELATIONSHIP

Alright, to get it outta the way, anything that involves showing a past relationship for a character seems to set off a bomb inside fan heads. And as a queer writer with an MLM Bane series, some folks have seemed to kind of want to feel me out on this one!

Honestly, the Bane and Arin relationship intrigued me, and I like her.

But first, before I dig into why, I have seen some folks uncomfortable with the idea of a character that's had a blank slate backstory past now being given a "love interest," so I'm going to speak to that first. What is presented here doesn’t change all that much about what we know of Bane as a character—this was a relationship that was definitely physical and involved SOME sort of emotional attachment, but that's about all that was said, and I don't see how it really threatens most interpretations of Bane. Yes, even and especially the queer ones. One can write Bane and/or Arin with any earth-equivalent sexuality, gender, or romantic preferences (or lack thereof) that you choose and these interpretations would still work within this canon information (if you even want to keep canon information in your works!) I've been looking at this relationship from the angles of queerplatonism, aromanticism, bisexuality, pansexuality, heterosexuality, gay with a confusing puberty, etc. etc. etc.. And that’s just if Arin is in fact a woman in the sense that many earth humans mean it.

There’s a lot of wide narrative holes for creatives to nest in here, and I'm really happy I can say that, because I'm already building a nest. And, besides all THAT, Bane’s a cowboy alien?? Like. I think we should all keep getting weird with it, because he SURELY would be up to things outside of our earthly human day-to-day perspective.

So yeehaw. Do Whatever You Want Forever!

Moving on.

THOUGHTS ABOUT ARIN HERSELF

I really like her. I love the idea of this young person who was kind, who was trying to pull Cad back from the worst parts of his nature, who was wiser than he was about the possibilities of a future past the violence of their world. That is part of what my own OC Nuni was when I wrote him. And now in canon, there were at least two people—Arin and Niro—both trying to pull Cad back from his fixation on gold and blood, and I like that theme!

Was I curious how Cad and Arin came together…? Yeah. Of COURSE. But I know this was limited time we had, and decisions were made about how to convey the most telling details in shorthand and the story in broad brushstrokes��so here, I settle for the subtle body language, which honestly was very deliberately rendered. It’s clear Cad is attached on some level to Arin; the way he works easily alongside her and doesn’t leave her behind when the going gets tough isn't without meaning at all. For him, it seems as close a relationship as he's able to have. But a lot of their interaction regardless comes across as a very Cad way of handling someone, especially while younger, rasher, his anger hotter. He doesn’t confide in her, he snips, he barely listens. He hardly looks at her or even touches her, though her own gaze is often on him, analyzing, hoping, bidding for him to let go of what doesn’t matter. But he doesn’t consider her needs for a single second as more important than him coming out on top. And this… this was a relationship I’ve seen before in life, in which one side is too focused on what they’re chasing to properly, truly notice the other person, even if some facet of having the other person around comforts them. I couldn't help but wonder if Arin was indeed startled by how easily Cad hugged Niro, when Cad just doesn’t seem to be like that with anyone else that we see, not even her. So yes, his and Arin’s relationship was strange, one-sided, with so much unspoken… but it was a lot we can glean from very little.

I wish in some ways that Arin had still been alive in the final episode, but I am sensing perhaps why it was decided that she wouldn’t be. There’s a narrative hole here I’m going to have to speculate inside, but—when Bane returns an unspecified amount of time after he was arrested, he’s grown up a fair amount. Got new scars. He has crew coming to meet him as if they want to give loyalty, when he didn't exactly come across as Lazlo's second in command previously. And now, the community council seems like they’re wetting their pants about him showing up, and they ALL know and seem to fear his name, whereas when he was arrested, they absolutely didn’t.

Frankly, the writing seems to imply that there was some serious stuff that happened in the interim between when they arrested him and he made his way back to his old stomping grounds. I don't know if it was a situation in which Bane still managed to make trouble from inside his cell, pulling strings, or if there were periods in which he was free, then arrested again.

But either way, Arin was left behind for a long while, just like Niro was once. Enough for Cad to get up to his own mischief, forge at least some part of his intimidating legacy. But again, he’s been so sucked into his own workings that the world he left behind moved on without him. I don't think he ever says that he was coming back for Arin when he does arrive; that’s a guess everyone ELSE is throwing around. He’s seemingly just there to settle accounts in general, and the mention of Arin having married Niro just seems to stick him in the pride. Either way, he's come back far too late to have done anything about it. They've both long moved on, and he wrote her off as a traitor long ago. Arin's had a life alongside a kinder person, and now is gone, and perhaps Cad could have tried to learn anything at all about what had happened before now, found a way for someone to bring him intel, wrote a letter, etc. But he didn’t.

He only returns to old places in this story when it’s time for revenge.

I think it fits his character fairly well, so unwilling to deal with these emotional difficulties that any question of Arin he still held in his heart was answered by a life fully lived without him, one he stayed ignorant of until it came back to needle his ego. The fact that Arin is dead isn't the point. It was that he didn't know she was dead, years gone. If that isn't a character statement, I don't know what is.

So yes, despite the missing parts, Arin is a character I like. I see some folks mentioning the concept of her being “fridged,” but I personally don’t think that entirely fits. Fridging is… specific. She wasn't there in the story only to die of violent or sad means, all to inspire the protagonist into having character development. Conversely, Arin doesn’t pass the Bechdel test, no, and I wish she did! Regardless, the tragedy is that Arin DOES have agency and uses it to live, not die—and her sacrifice doesn't inspire or change Cad, because he was hurtling down into the dark all on his own. She chose to end the violence, defy Cad and steal his gun because she’s kinder and wiser than he is, and knows how to let go and move on. She only died after having lived a life she chose, even an offscreen one, Cad’s choices be damned. I can’t call it a fridging. I do still wish she had more time to tell us more about who she was, but I suppose fic is here, and I’m just going to have to write something about it sometime.

CAD BANE’S SON

I yelled when he appeared. Jfc what a cute kid. This story also told us Cad was a cute kid too. And the narrative spares neither of them. :(

I’m going to get it out of the way: the only thing, literally the only thing, I am having difficulty accepting about this story is the kid’s name. Isaac. What? What?? EXCUSE ME. IS THE BOOK OF GENESIS IN STAR WARS?? I’m going to need ten linguistics and history enthusiasts in my replies immediately so we can figure out what the hell happened culturally with the Duros and Judaism in a galaxy far far away.

BUT I DIGRESS. This kid Isaac looked into my soul with those big eyes and I opened a door in my heart for him and now I’m in hell, so whatever I guess.

I AM IN HELL AHHHHH.

But. The moment when Cad looks in that kid’s eyes and knows EXACTLY who the father is was almost startling. Like, he even reaches out for a second. Just a split second. It’s this razor-sharp shard surprise-cutting him inside his moment where he thought he was just wrapping up all the loose ends. All that gloating to Niro about “I’ll take care of him like you did Arin” had so little real caring behind it that I doubt it was any kind of real promise.

But it’s then that Cad sees. For one of the few times in this story, Cad looks into someone else’s eyes outside of himself, and he properly sees them.

And he reaches out.

But that’s shut down fast. The interfering mayor clearly knows who Isaac comes from, just like Cad knows now. And neither of them say anything about it, but their understanding is clear, and Cad walks away, quietly agreeing, perhaps, that it’s the right move to do so. What he’s become can’t help this kid in any meaningful way. He’s just made another abandoned orphan like he was, and who knows what kind of life is in store for that child now?

Obviously, later in canon, Cad will have a go at helping another kid’s journey, mentoring Boba Fett. I wonder if, perhaps, he did it to try and prove to himself he could, gnawing inwardly over what happened on this day with the son he’ll now never know.

After all, he's not very good at letting things go.

THE STORY IN GENERAL

I’m kind of working backwards with my thoughts, from this very specific musing regarding the important relationships to the larger story... I haven't even gotten into Niro! Did you see that moment where Cad was the one to hug him, and he couldn't quite manage to do it back? When the last time they saw each other, he was the one being abandoned? How he faced Cad in person, and so is NEVER the person running away to save himself? I am gently patting this Duros' face. Excellent. But. I am going to have to wrap this up eventually and save any other thoughts for later.

At the end of the day, there was a lot inside this short little visit into Bane’s life that really delighted me. The scores of different Duros characters (shoutout to the guy in that giant hat, hahaha. LOVE A DUROS IN A GIANT HAT <3) The love given to the modeling, texturing, and overall craft of this production... all my love to the Star Wars animation team. The small look at the culture in the area Bane lived in as a child. The way he discourages his friend from buying a little toy their hearts clearly want, in favor of that which is practical. That moment when child Bane gets a taste of what money can do, hungry, licking the box clean that held his first real, good meal in a long time. The moment when Niro tries to get him to walk away from Lazlo’s scheme, and he immediately spins around and agrees it’s not worth it unless they’re paid twice as much—the budding negotiator!

Being fast, agile, sliding over the hood of a car as he runs from the cops.

Choosing to save himself, then the instant regret, lack of surety, fear—drowned in his first handful of gold.

The visual of him as an adult seeing his childhood self in the glass before shooting that thought right through the heart… the foreshadowing. Goddamn.

Like, I do have mixed feelings on some level. It was too big a story in too small a space. The first episode was plain excellent, but the latter two suffered from the broad brushstrokes preventing us from being able to get to know some of the new faces introduced, and raised a lot of questions about other things—truly, we never get to see what Lazlo comes to mean to young Colby, why he inspired a boy to become so like him. We never see when Colby decides to leave behind his old name and why. We never see where Todo comes from, or why Cad chose Arin to spend his time with. It also doesn’t show the why’s and how’s that made Cad Bane the Legend exceptional at what he is.

But it did give us tantalizing tidbits, the smallest pieces of the before-times we can explore more on our own. It showcased that Cad Bane's greatest strength as a bounty hunter, why he's so feared, is the precise fatal flaw that made his life the way it is: the fact that once he has the scent of his goals, he’ll never let go, not ever—he'll chase them from one end of the galaxy to the other to settle accounts, inexorable, deadly.

And it hasn't brought him happiness.

[wajjs]

I’m a bit curious on Hal’s personality in his depictions. From what I know is that early hal was headstrong, cocky, kind of a goofball, and detached (dissociating away his fear and averse to commitment). This seems to be the version of Hal that most people write.

But then there’s the whole Parallax thing, and the Spectre run. I don’t know much about it but it seems hal gets a lot more subdued and melancholy as the spectre. And then after that he comes back as flesh and bone.

So what is he like at the end of that?

Pre-Johns and pre-Parallax Hal tended to be more happy go lucky, stupid, and generally doe eyed hopeful "the system that fucked me over once definitely won't do it again!" type of man. He was also entitled at times. But this is mostly true up until around the time of Hard Traveling Heroes, which is when he starts to be heartbroken and melancholic, traits that persist until the climax of Emerald Twilight.

A lot of people say Emerald Twilight came from nowhere and I disagree. I think those people weren't paying attention, because all the signs were there. Hal had been steadily becoming more disillusioned and melancholic through the 70s and 80s until we get to the 90s, where that heartbreak gets amplified to the nth degree. Hal didn't go from stupid to mad with grief without a transition period in the middle. But a lot of people think once a run from x writer ends, it no longer counts for the next one, and so they say the tragedy came from nowhere.

At the very start of the 90s, Hal has a lot of suicidal ideation going on. The run itself begins with him more or less saying "There’s nowhere else to go" (paraphrasing) and throwing himself off a cliff. He waits until he's almost crashing head first into the ground to pull himself out of there using his ring. He's flirting with the thought of death.

He is also self sabotaging. He pulls back from everyone and turns himself into a homeless man who lives on the road because he's looking for a sense of self, a meaning to life he has lost. He becomes a seasonal worker because he needs something to do, but those jobs never last because the life he's trying to leave behind (in the shape of Guy Gardner) keeps metaphorically knocking on the door and dragging him back to Green Lantern.

Even when he comes back, he chooses to do solitary things. For example: exploring space to recruit more GLs, that keeps interactions to a minimum. It's all things that are brewing in a pressure cooker that blows up when Coast City is destroyed in front of Hal's eyes and the hero community drops the ball. Hard.

They all say well, it’s not MY city. They all say get over it. Clark goes and creates a monument using scraps of the very bomb that killed everyone and everything Hal knew all his life, and immediately after that Clark is in Metropolis enjoying the sun and saying aaaaah. what a nice day.

And Hal doesn't snap immediately. The tension is there, but at first he does try to keep it together until it becomes impossible. He tries to reconstruct Coast City, but there are limits to what the ring can do. The one thing he could depend on, his will power, is not enough. He is not enough. His grief and anger become so big that his mind just... fractures. He snaps. No one's listening and no one's helping, so he will take matters into his own hands and make. it. right.

This Hal is angry. This Hal has a heart with a hole that threatens to kill him at any moment but he endures because he cannot die until he does what needs to be done. This Hal refuses the help that comes too late, he has killed his friends, he has destroyed the corps, he has killed Sinestro. Kyle arrives like a lighthouse in the middle of the storm but for Hal it's too late because he has driven his ship into the cliff and is letting it sink with himself still in it.

He is mad at himself and mad at the world for failing Coast City and all the innocent lives lost. He almost becomes a god, and is perceived as a god by some due to the power he now possesses. There are moments when clarity hits him and the old wounded heartbroken Hal shows his face, and he is dying. His pain is so palpable. His anguish. The old Hal wants help. But Parallax Hal does not want to be saved.

Of course, the status quo changes with the events of Final Night. Hal sacrifices himself to save the Earth. He sees that only in death will his anger stop, and he sees that he's the only one who can do what no one else could do for Coast City. It's a no brainer. He sacrifices himself and burns himself to a crisp reigniting the sun. Hal doesn’t expect to come back. He doesn’t want to come back. This is HIS final night.

Unfortunately, The Spectre had other plans. His anger morphs into straight up depression because now he is alive enough to deal with the outcome of what he did as Parallax. He has to live with the tragedy of what he lost and the tragedy of what he did. Few people stand by his side and want to give him a chance. Very few people recognize there's good in him. Most want to see him dead and gone. He himself wants to be dead and gone. Helen, his niece, being there definitely helps him not lose it, not lose himself. She is his hope. She is the innocence he lost and he will never get back.

After all of this, he is more grounded, mature. Still melancholic. Still haunted by everything that happened. He is cocky, of course, and self assured, because at the end of the day those are the things he can cling to with some sort of safety net. But they're also things he uses to keep the raw wounds hidden.

Post Johns? Yeah like more than half of this is lost because Hal’s the greatest hero ever and he can do no wrong. He is headstrong, overconfident, cocky, and ultimately good, but he is missing like half of his soul.

[some-stars]

i was about to reblog this post with some thoughts, and then reblogs got turned off so i will just put them here instead:

it's not that i disagree with any of the sentiment in this post--while i personally have been very lucky to get plenty of nice comments, it's definitely eerily quiet and sometimes weirdly hostile out there for most people, much more than it used to be. but i just don't think posts like this are effective, and honestly i don't think that "number of comments from strangers" is what's really missing. what people are missing is the community that fandom/fanfic used to have, and the way you get that is by making it. you gotta make fandom friends who are excited for your thoughts and your stories, and you gotta get excited about their stuff, and you gotta spend hours on discord and/or in the group chat bouncing ideas off each other and just, get invested in each other as fans and as writers. (and hopefully also as people you'll still be friends with a decade from now!)

like i'm never ever going to turn down a nice comment on ao3, it's always wonderful! when someone quotes the parts they liked best it absolutely makes my day! but what i need, what actually fuels me, is the attention and interest from the 2-5 people i actually write all my fics for, because they loved the idea and i know they can't wait to read it and will scream at me at length once they do. relationships are always going to motivate and reward you better than fans, and fortunately relationships are the one of those two things that you have some control over!

so how do you build those relationships? start by commenting on fics you love on ao3, and especially leave longer, detailed comments. follow the author and reblog their fics on tumblr and add some thoughts about why you loved them. if the author engages with you when you do either of those things, keep doing it. maybe they'll follow you back, and once you've had a few mutuals-type interactions on the dashboard try sending them a DM asking if they want to chat about [fandom/character/pairing]; maybe briefly mention an idea/WIP you have that you're looking to bounce around with someone. i know if you have social anxiety this all sounds like horrible cruel lies but i SWEAR, this approach has never once failed me.

and i know that this advice probably sounds like disingenuous bullshit coming from someone who usually gets a lot of comments. all i can say is that i've been writing fanfic for 25 years and until 2020, i hardly ever pulled the kind of numbers i do now, and i genuinely did not care because i always had at least a couple friends to talk to about my ideas and listen to their ideas and get excited together. build relationships that feed you with other fans/writers, it's so much more rewarding and reliable than hoping strangers will be nice to you.

(and i'm not saying they shouldn't be nice to you! people SHOULD comment more! OP is completely correct! but you can't hand over control of your emotions about a hobby you love to random strangers on the internet and just hope they'll do the right thing. that is not a recipe for happiness.)

(also all of the above is in regard to people not leaving comments. the issue of people leaving asshole comments criticizing your work or demanding more without even bothering to say something nice first is related but separate, and the way to deal with those people is to either publicly shame them or bitch about them in the group chat and delete their comments, depending on your energy levels.)

[literaryvein-reblogs]

How would you go about writing in different languages? I struggle with a part where a group of characters are speaking in a language one of the mains does not know and the other one does, but i wish the reader knew what is being talked about. Another aspect is switching between languages when something is meant for the nonspeaker.

A expression in like of "switches to german" fills me with cringe and i feel like just wroting the part in german and adding translation is too confusing

Thanks for all the help with all the advice posted!

Writing Ideas: Using Different Languages in your Story

Keep both languages. Simply repeat the phrase. If you want your readers to understand the exact meanings of words from your source language, you can provide translations within the text. This strategy requires a lot of work for just a couple words, so it’s not practical to use it for large chunks of language. It works great if you only need to focus on a few crucial words.

Sprinkling of foreign language. Write in English, and use the foreign language as little as possible. If you can cut the foreign word out of the sentence without hurting anything, you’re probably fine. But if the meaning of the foreign word is key to understanding the sentence, then rework it.

Provide a glossary. The textbook method. The most comprehensive approach is to provide a glossary of non-English words used in your book. Nonfiction authors use glossaries much more often than fiction writers do. It might be an inappropriate solution if you are writing a lighter book. On the other hand, if your goal is complex cultural understanding, then this approach is by far the most thorough. Downside: The glossary approach requires significant reader buy-in. Not all readers will want to stop mid-paragraph to find a definition in a glossary.

Transliteration. Stick to one alphabet. Transliteration—the process of converting writing into a different alphabet—is a different issue than translation. Unless you have a specific, important reason to include words written in anything other than the Roman alphabet, transliteration is a more effective tactic. Things are more complicated when you are working with a language that does not share the Roman alphabet with English. Any English-reader can sound out Spanish words. The same isn’t true words written in Cyrillic or Hebrew text.

Don't fake it. Respect the language. Sometimes a project requires you to interact with a language you have no knowledge of. The simplest answer is to stick with the full translation method. This will allow you to bypass the problem altogether. However, if your project requires the actual inclusion of another language, you will have to do one of 2 things: (a) Consult a native speaker. (b) Study the language.

Play with language. In your first draft, you can let language run free. Write dialogue and narration in whatever way makes sense for your characters, your setting, and your own writing process. The collision of languages might lead you to unexpected and interesting places. You can—and will—worry about clarity problems when you get to the revision stage. Feedback from beta readers will help you determine what needs to be done for reader comprehension. If you find that you need to bring in any of the other strategies, you can do so at any point.

Full translation. Write it in English. Just because characters are speaking a language other than English does not necessarily mean that you need to actually write non-English words. Often, it is enough to simply indicate that a conversation is happening in another language. You can relate the speech through indirect dialogue. You can simply report the content of the speech, not delivering an exact quote. Because indirect dialogue is understood to be summary, it buys you leeway in how you render the translation. There is no expectation that you are capturing the actual words as spoken. But the full translation method can be used with direct dialogue as well. The 2 main types of translation: (a) Word-for-word translation is more literal, as it sticks to the strict meaning of source language words. (b) Sense-for-sense translation is looser, as it focuses on communicating ideas in the target language.

Narrative summary. Don't use this technique for crucial turning points in a scene. It's more of a shortcut so that you can get the point across quickly and then move on to the good stuff. But if all you need to do is get the point across quickly, then go ahead and summarize it. Sometimes, it's the most economical way to keep the story going, especially if your character doesn’t speak the language. What you lose in style you’ll gain in pace.

Untranslated. Some words are essentially untranslatable. Let it be. If you are depicting a language community where English and another language are routinely mixed together, you might leave some words untranslated. (This strategy can also apply when writing about a language community where people speak different forms of English.) The benefit of capturing the sound of speech can outweigh any reader confusion. Further, you might be writing for an audience who is used to hearing this mix of language.

Sources: 1 2 ⚜ More: References ⚜ Writing Resources PDFs

Here are some tips from the sources linked above. You can also find some examples using these strategies in the original articles. Try some of them and choose which ones suit your story. All the best with your writing!

[beomiracles]

𝓦𝐑𝐈𝐓𝐄𝐑𝐒' 𝓦𝐑𝐀𝐏𝐏𝐄𝐃 𝟐𝟎𝟐𝟒

hii ! in spite of my account currently being shadow banned I still wanted to make a little wrapped of the year that was. (I've seen a lot of creators on here do it, though I'm not sure who started it so if you know of anyone I can credit for this please let me know)!

#serene adds ✎.. where to even start >.< ? in February of 2024 I started writing/or more like dumping my thoughts onto a doc and then posting them lol. I never in a million years excepted to finish the year with nearly 1.7k followers and so so much support. This year has allowed me to express myself creatively and explore the world of literature in ways that has both challenged and helped me grow immensely and I'm forever thankful!

𝐓𝐎 𝐌𝐘 𝐑𝐄𝐀𝐃𝐄𝐑𝐒 None of this would've ever been possible without you guys ! Your continued love and support for this little blog is what keeps me going and interacting with you guys never fails to make me smile <3 I love to be equally excited over the things I write with you guys, and you've never done me wrong in any way. I don't know how to ever express my gratitude towards you enough, but I do truly, love each and all of you <3

..and now for the wrapped !

𝐓𝐎𝐏 𝟑 𝐅𝐈𝐂𝐒 𝐎𝐅 𝟐𝟎𝟐𝟒

THE REDEMPTION OF CHOI YEONJUN At 2085 notes trocyj is without a doubt my most popular fic of the year! Posted all the way back in July yet it still gets recognition almost everyday, I'm beyond amazed. You guys liked the concept just as much as me and I'm so excited for its long awaited sequel to be released soon!

NOONA'S ROOM With 1044 notes Noona's Room proudly takes second place, and I'm so happy with this fic! Definitely wasn't one I expected to blow up like it did but I'm forever thankful nonetheless. Brother's best friend trope is a classic :3

THIN WALLS Now this one took me by surprise.. Posted in literally February of 2024, Thin Walls is my second oldest work, ever. The writing is beyond poor and the parts are short. However I can't deny that there's a certain charm to the grammatical errors and the awkward story telling. It shows my growth in a beautiful way I think.

𝐒𝐄𝐑𝐄𝐍𝐄'𝐒 𝐅𝐀𝐕𝐎𝐑𝐈𝐓𝐄 𝐅𝐈𝐂 𝐎𝐅 𝟐𝟎𝟐𝟒

A MOMMY'S BOY

I think it goes without saying that this fic is beyond my favourite. I talk about it too much for it to go unnoticed. AMB is one of my most emotionally deep works and I think that the storyline flows in a perfect way. The characters are fleshed out to my liking, the smut is divine and ties the plot perfectly. The ending is my favourite ending to ever have written, the way the title ties into the story has me on the floor, in all, I love A Mommy's Boy and will continue to boast it for as long as I live.

𝐒𝐄𝐑𝐄𝐍𝐄'𝐒 𝐅𝐀𝐕𝐎𝐑𝐈𝐓𝐄 𝐑𝐄𝐀𝐃𝐒 One thing about me is that when a fic sticks with me, it sticks. I have read so so many beautiful works this year, but the three that stood out the most to me would be the following:

Divnity for the Damned by @koqabear The storytelling of this fic is so compelling, it draws you in like no else, immersing you completely in the plot. I love the dream aspect of the fic (without spoiling too much) but it's such a niche yet important detail to the entirety of the fic that I feel most writers would just skip over. The ending catches you so off guard yet it's so completely perfect and makes so much sense that you wonder how you couldn't have seen it coming yourself. Perfect fucking fic, cries.

.3:13 a.m. (m) by @agustdiv1ne Onto my long vampire agenda. I've consumed every pixel of vampire!txt that I could possibly get my hands on. This I read back in march, but it's the one that has stuck with me throughout this year and that's why I feel it deserves this mention. The writing, the longing and the yearning. The way he literally cannot hold himself back, I am going to die on the vampire beomgyu hill and I shall do so with pride. This fic had everything I'm looking for.

(sort of) fucking annoying neighbour by @hyewka This fic. I love the idea of cocky Yeonjun being put in his place. There's just something so oddly satisfying about the whole build up of this, the growing tension, Yeonjun's cockiness but also his blatant obliviousness is fucking perfect. Then again, anything by rana I will absolutely devour like I was on death row being served my last meal.

𝐆𝐎𝐀𝐋𝐒 𝐅𝐎𝐑 𝟐𝟎𝟐𝟓 This year has been on my mind a lot, huge things are to come my way, like graduation! And while I'm nervous as shit for most of them, I can't help but feel a sense of excitement too! This year is going to be my year, and I have so many aspirations for it !

I want to finish Criminal Conscience! The series has been on my mind a lot recently and it's something I've been meaning to get around to for the later part of last year as well, I'm hoping that now can finally be the time!

I want to experiment with different au's, explore the depth of my writing skills.

I want to write something big.

And most importantly I wish to be happy and continue to thrive on this blog <3

2024 was amazing thanks to you guys and though I've had a lot of hardships outside of Tumblr, being on here always made me feel better. I'm wishing for an even better 2025 for all of us ! Love, Serene.