#lucy writes stuff

[maegfen]

Post S2: A missing scene between the deleted Inej & Jesper goodbye and the Kanej church scene.

[l3viat8an]

Thinkin’ about morning kisses with Lucifer ❤︎

The two of you barely inches apart, on your sides, staring into each other eyes~

Lucifer rubs his thumb over your bottom lip, slowly caressing your cheek with his other hand, before dipping his head down and kissing you….when he pulls back it takes you a minute to open your eyes.

‘n sometimes you don’t, instead you’ll whisper, “Don’t stop….” and he’ll softly press his lips back on yours, deepening this kiss as your arms wrap around his neck and gently pull him closer, pushing your bodies together.

When he finally pulls away, he’ll rest his forehead against yours, as he lets out a soft chuckle, “Good morning, my darling.” 

[mrgaretcarter]

Moldaver comparing Lucy to Rose Fallout (2024 - ?)

[t0rturedangel]

I read all of your fics so far and they're great!! I really like your writing, it's fantastic! :3 Could I request a fic for Lucifer with a reader who is anxious and depressed, like him? - 🐇

╭ . . . 𝚝𝚠𝚘 𝚙𝚎𝚊𝚜 𝚒𝚗 𝚊 𝚙𝚘𝚍 ੭

𝐋𝐔𝐂𝐈𝐅𝐄𝐑 𝐌𝐎𝐑𝐍𝐈𝐍𝐆𝐒𝐓𝐀𝐑 𝐗 𝐑𝐄𝐀𝐃𝐄𝐑 ♰ ৎ﹕𝘺𝘰𝘶 𝘵𝘸𝘰 𝘢𝘳𝘦 𝘰𝘯𝘦 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦

WOOOO I LOVE LUCIFER SM ITS NOT EVEN FUNNY so I'm so happy I have a request for him, i don't think i did a good job since I'm not sure how to write for stuff like this but still hope you like it!!!! also this is short so i'm sorry

✧⠀⨾ Mainly, since the two of you probably don't want to interact with the world of sinners, just stay in Lucifer's home.

✧⠀⨾ the two of you are probably coming up with new duck ideas, just the two of you- since literally no one else is welcome : the both of you hate interacting with anyone you don't have to, unless it's Charlie and her friends though that's rare

✧⠀⨾ whenever the two of you get like really anxious, or stare out the window in dread at all the sinners the other one will bring a duck over, like a personally made duck to try and help

✧⠀⨾ Lucifer has defiantly made a few ducks that look like you to try and help take your mind of your anxiety and focus on his craftmanship

જ⁀➴ Staring out of one of the many windows Lucifer had in his home, your eyes scanned over all the sinners and imps alike running around and causing havoc. Their behavior was one of the main reasons you and Lucifer never went out, beside the sheer anxiety of interacting with anyone. Sinners were crude, vulgar and had no respect for themselves or the people around them. At the thought of even talking to someone besides Lucifer caused your heart to speed up, your breathing quickening little by little which was your cue to turn from the window yet you found it difficult to do, the next option was to try and think of something different, anything different, like spending time with lucifer 

The isolation from the rest of hell wasn't bad at all, you had Lucifer, Lucifer had you and the two of you had ducks! dozens and dozens of ducks... it's almost concerning really- you and his would always spend your seemingly endless days in Lucifer's workshop for hours, always designing and creating these silly little duck toys, and while Lucifer would always bring himself down at the end of the completed project, saying how the parts that he worked on were terrible while simultaneously praising your side of the work- it was almost pitiful watching the king of hell say such things though you never indulged or agreed to his self-degradation, instead you attempted to bring his spirits back up by complementing his work. Though, your methods would only sometimes work, as at those times Lucifer would sort of- avoid listening to your words.

  ��  Speaking of Lucifer, and the ducks- you noticed that Lucifer walked in the room you were resting in, a huge smile on his face as he held something behind his back. Your curiosity was peaked almost immediately, what did he have behind his back? was it money? food? a duck? the questions were endless and only came to a halt when Lucifer called to you. ˓˓ [name], my dearrr ʾʾ the tone of his voice perfectly matched his pale face, he was defiantly happy about something but what was it? finally, your mind was off of the outside world and now on lucifer and whatever he had behind his back  ˓˓ hm? ʾʾ was your reply- moving so you would be sitting at the edge of the window sill, your tail wrapping around the handle of the window to ensure that you wouldn't fall however you could only stay in that position for a little while as your dear Lucifer beckoned you down to which you happily obliged.

     Landing right by Lucifer, you and him both shared a smile- your one being more of a grateful smile as he did save you from your anxiety fueled thoughts. ˓˓ Hello Luci!.... what is that behind your back. ʾʾ at that question Lucifer smiled even more, chuckling to himself ˓˓ geeze aren't you curious today? ʾʾ he spoke while trying to hide what he had, you were trying to move around him so you could see what he had in his hands ˓˓ Just let me see for hell's sake ʾʾ you were determined to see what it was, and Lucifer- feeling ever so merciful today- grabbed your wrist to crease your movement ˓˓ Okay, okay [nick name] I'll show you ʾʾ finally! he was going to show you

     It was no surprise to you that what he pulled out was indeed a little duck, but what was different was that this duck looked a lot like you- like really a lot like you. ˓˓ You.. made this? ʾʾ examining the little duck, you smiled at how carefully it was made made- the small details that the duck was designed with matched your visage perfectly, you could immediately see that Lucifer put a lot of time and care into this.. that is so sweet.. ˓˓ yes, why? do you not like it ʾʾ the joy in his voice seemed to falter ˓˓ I love it Luci, it's so beautiful ʾʾ looking up from the duck you faced Lucifer's slightly shocked yet pleased smile ˓˓ I'm glad you like it, I know the both of us have been dealing with quite a bit with our anxiety and stuff so... I sort of made this for you try and remind you that hey! you're not alone! The two of us will always have each other right? ʾʾ he rambled, a golden hue on his face- did he find this embarrassing? he really shouldn't, this gift was not only adorable but so incredibly delightful

     ˓˓ of course! Of course we'll have each other- geeze Luci, this is so sweet what the fuck? ʾʾ instinctively you hugged Lucifer tightly, an action he happily returned. You stayed like that for a few minutes before you pulled away ˓˓ now I defiantly need to make something for you ʾʾ ˓˓ you dont have to! ʾʾ  ˓˓ I sure as fuck do! ʾʾ you laughed, quickly speeding away to start working on something for Lucifer while he tried to catch up to you to try and stop you.

[xanvasofxords]

Lucy : What's all this

Natsu : A moon-shaped rock and some weird flowers that I found on my way

[olya-roo]

Love to see that fanfiction Coriolanus Snow and canon (TBOSAS compliant) Coriolanus Snow are entirely different people.

Fic Snow:

Cunning and extremely charismatic with adults listening to him

Constantly generating 300 IQ plans

Can be physically or sexually abusive to Lucy Gray

Everything turns out easy for him because he is just that awesome

Described as “cold and emotionless”

For some fics its very easy for him to move on from the events of 10th Hunger Games and fall in love with some Capitol raised spoiled girl. Or worse - a tribute/another Victor (…)

Meanwhile book canon:

Is a paranoid mess 90% of TBOSAS, has a hard time lying convincingly

His plans are heavily reliant on luck, lots of time he cannot think clearly because his head is a mess

No way would he ever enjoy physical torture instead of mentally eating everyone’s brains. Also doubt he enjoys intimate activities at all

Was a pawn in Dr Gaul’s games all while thinking he was in control, has deep rooted trauma built around multiple women in his life

More emotional than Sejanus who he thinks of as whiny and annoying (dude, look in the mirror)

Lucy Gray haunted him his entire life and he promised to never love again

[weirdoswriting]

Hai >:3 can I request some luci fluff? Specifically hurt comfort with luci getting mad at mc while drunk and then deeeeply regretting it when he wakes up the next morning? Ty :33

I have a feeling who this is

But anyways

Lucifer is Drunk

DISCLAIMER: as the title says, mentions of Alcohol, and as the ask says, arguments but, there’s hurt/comfort

Notes: GN!MC, Mc got no name :3, established relationship but can be seen as just caretaker!Mc, they/them for MC, Luci behavior is off since he’s drunk and also this is kind of based of S1 Luci, also no beta read and kinda bad since I’ve never wrote anything like this so I’m sorry!

Lucifer is drunk again. And no matter how much Lucifer tries to insist it, the brothers and especially Mc can tell. But his pride won’t let him try to just relax. Mc sighs as Lucifer tries his best to walk in a straight and proper line to his room. Mc goes and gets a water bottle and follows him as he slams the door on Mc’s face. They sigh heavily as they anticipate the worse. Knocking on the door, Mc is greeted with a “Busy.” Ah, so that’s how this will go, huh? Mc turns the knob, it’s unlock, go figured, they open the door slightly as they look around the room and finds Lucifer lying down on his bed.

As Mc opens the door more to let themself in and close the door, they are greeted with a “I said I was busy.” Lucifer said with a croaked voice. Jeez, how much Demonus did he drink??? “Well, I don’t think lying in bed is being ‘busy’,” they said sarcastically back, to which Lucifer seemed to get angry at it. “Just leave me alone. I’m not in the mood to deal with your antics Mc.” He pinched his nose bridge as his expression turned sour.

“Well, I can’t just leave you here like this, you clearly are too drunk to be left alone,” they said as they understood that they now needed to be careful with their words. Mc approaches Lucifer slowly as he groans and sits up, “Here have some wa-”.

“Leave.”

“What-?”

“Did I stutter? I said leave.”

“Lucifer I can’t just-”

“Go! JUST GO!” Lucifer yelled as it startled Mc a little.

“Lucifer, no. I won’t.”

“YES. YES YOU WILL. MY FATHER. WHY CAN’T YOU JUST GO?! I DON’T WANT TO DEAL WITH YOUR ANTICS MC! I DON’T WANT TO DEAL WITH YOU RIGHT NOW!”

He kept yelling, as his demon form started to form and got up. Mc began to start forming tears, out of anger they yelled back.

“I’M TRYING TO HELP YOU! WHY CAN’T YOU JUST LET ME HELP YOU?! YOU’RE DRUNK! YOU NEED HELP!”

“You’re just a human. No matter how much you try. You can’t help me. You’re just a stupid. Human. You’re lucky you’re even alive.” Lucifer said as he got up, and gripped Mc’s wrist. “If it wasn’t for Lord Diavolo’s order. I would’ve easily killed you by now.”

Mc feels tears fall down their face, they free themself from the demon’s grasp as they wipe their tears away and leaves. Slamming the door as Lucifer is left alone. Just like he wanted. He felt relaxed as he walked back to his bed.

But this feeling would soon turn to regret. As Lucifer wakes up with a huge hangover and a huge feeling of regret. As he realizes what he had said. Oh no he thought as he got up. It was luckily a weekend and therefore no schooling or meetings at that time. He got himself back into a stable mental condition as he goes out to buy somethings. From chocolates to flowers.

He knocks on Mc’s door, who didn’t respond. “MC?” He asked as Mc didn’t respond. Lucifer hesitantly opens the door, holding flowers and chocolate and other snacks that he knew they loved. He goes over to their bed as he places the vase of flowers on their nightstand. Mc was lying down and not facing the demon.

“…”

“…I’m sorry..I’m sorry Mc”

Lucifer gently puts the snacks and chocolates in front of Mc to which they sat up and looked up to Lucifer. “I’m still upset with what you said.” They said as some tears falls from their face. “I know, and I’ll do anything if it means you’ll accept my apologies,” He said as he held Mc’s hands with his. Soon Mc raised an eyebrow and asked “anything?”.

“Anything.”

Fin

Want a part 2? Pls tell me if yes :D

Return to Masterlist

[thefloatingwriter]

xii - lucy gray baird, victor of the tenth hunger games

There are many tales about Lucy Gray Baird. Many a drunken civilian of Twelve will tell you anything about their first Victor. She killed twelve people to honor her district. She went mad after her Games and they keep her cooped up in the Capitol now, and that’s where she had disappeared to all those years before. She fell in love with a Capitol lad and they married in secret but were found out before they could run. She had admirers clinging onto her arm but her heart only belonged to one, which a jealous admirer found out about who then killed her lover. She killed herself above his dead body. Very few of these drunken tales are even slightly true. Some get close. No one had ever landed on the truth.

[soup-in-soup]

I'd like to believe that after the one year time skip, Lucy started giving natsu lessons on letter writing.

After reading the letter he left for her, she took it as a mission to teach him how to make a letter properly. She would teach him simple letter structures, grammar, and especially how to fix his chicken scratch.

Also Erza would join them sometimes ^^

[gogandmagog]

As to advising beginners—why, I love to do it. Advice is so cheap and easy. First, I always tell them what an old lady used to say to me: "Don't marry as long as you can help it, for when the right man comes along you can't help it." So—don't write if you can help it; because if you ought to write and have it in you to make a real success of writing you can't help it. If you are sure you can't help it, then go ahead.

— L.M. Montgomery, 1923, from Fiction Writers on Writing Fiction

Below the cut, I’ve included L.M. Montgomery’s submissions to ‘Fiction Writers on Writing Fiction,’ which may be (obviously) best summed up as… Maud’s writing advise for beginners. Mind, it is still a thoroughly enjoyable read, even if you don’t write, and would really simply just like to hear more about her process!

QUESTION; What is the genesis of a story with you—does it grow from an incident, a character, a trait of character, a situation, setting, a title, or what? That is, what do you mean by an idea for a story? L. M. Montgomery: The genesis of my stories is very varied. Sometimes the character suggests the story. For instance, in my first book, Anne of Green Gables, the whole story was modeled around the character of "Anne" and arranged to suit her. Most of my books are similar in origin. The characters seem to grow in my mind, much after the oft-quoted "Topsy" manner, and when they are fully incubated I arrange a setting for them, choosing incidents and surroundings which will harmonize with and develop them.

With short stories it is different. There I generally start with an idea—some incident which I elaborate and invent characters to suit, thus reversing the process I employ in book-writing. A very small germ will sometimes blossom out quite amazingly. One of my most successful short stories owed its origin to the fact that one day I heard a lady—a refined person usually of irreproachable language—use a point-blank "cuss-word" in a moment of great provocation. Again, the fact that I heard of a man forbidding his son to play the violin because he thought it was wicked furnished the idea for the best short story I ever wrote. QUESTION; Do you map it out in advance, or do you start with, say, a character or situation, and let the story tell itself as you write? Do you write it in pieces to be joined together, or straightaway as a whole? Is the ending clearly in mind when you begin? To what extent do you revise? L. M. Montgomery: I map everything out in advance. When I have developed plot, characters and incidents in my mind I write out a "skeleton" of the story or book. In the case of a book, I divide it into so many "sections"—usually eight or nine—representing the outstanding periods in the story. In each section I write down what characters are necessary, what they do, what their setting is, and quite a bit of what they say. When the skeleton is complete I begin the actual writing, and so thoroughly have I become saturated with the story during the making of the skeleton that I feel as if I were merely describing and setting down something that I have actually seen happening, and the clothing of the dry bones with flesh goes on rapidly and easily. This does not, however, prevent changes taking place as I write. Sometimes an incident I had thought was going to be very minor assumes major proportions or vice versa. Sometimes, too, characters grow or dwindle contrary to my first intentions. But on the whole I follow my plan pretty closely and the ending is very often written out quite fully in the last "section" before a single word of the first chapter is written. I revise very extensively and the "notes" with which my completed manuscript is peppered are surely and swiftly bringing down my typist's gray hairs with sorrow to the grave. But these revisions deal only with descriptions and conversation. Characters, plot and incidents are never changed.

QUESTION; 1. When you read a story to what extent does your imagination reproduce the story-world of the author—do you actually see in your imagination all the characters, action and setting just as if you were looking at an actual scene? Do you actually hear all sounds described, mentioned and inferred, just as if they were real sounds? Do you taste the flavors in a story, so really that your mouth literally waters to a pleasant one? How real does your imagination make the smells in a story you read? Does your imagination reproduce the sense of touch—of rough or smooth contact, hard or gentle impact or pressure, etc.? Does your imagination make you feel actual physical pain corresponding, though in a slighter degree, to pain presented in a story? Of course you get an intelligent idea from any such mention, but in which of the above cases does your imagination produce the same results on your senses as do the actual stimuli themselves?

2. If you can really "see things with your eyes shut," what limitations? Are the pictures you see colored or more in black and white? Are details distinct or blurred?

3. If you studied solid geometry, did it give you more trouble than other mathematics?

4. Is your response limited to the exact degree to which the author describes and makes vivid, or will the mere concept set you to reproducing just as vividly?

5. Do you have stock pictures for, say, a village church or a cowboy, or does each case produce its individual vision?

6. Is there any difference in behavior of your imagination when you are reading stories and when writing them?

7. Have you ever considered these matters as "tools of your trade"? If so, to what extent and how do you use them? L. M. Montgomery: Yes, when I read a story I see everything, exactly as if I were looking at an actual scene. I hear the sounds and smell the odors. When I read Pickwick Papers I have to make many an extra sneak to the pantry, so hungry do I become through reading of the bacon and eggs and milk punch in which the characters so frequently revel. I never feel physical pain when I read a story, no matter how intense the suffering described may be. But I feel mental pain so keenly that sometimes I can hardly bear to continue reading. Yet I do not dislike this sensation. On the contrary I like it. If I can have a jolly good howl several times in a book I am its friend for life. Yet, in every-day existence, I am the reverse of a tearful or sentimental person. No book do I love as I love David Copperfield. Yet during my many re-readings I must have wept literal quarts over David's boyish tribulations. And ghost stories that make me grow actually cold with fear are such as my soul loveth.

I can "see things," with eyes shut or open, colors and all. Sometimes I see them mentally—that is, I realize that they are produced subjectively and are under the control of my will. But very often, when imagination has been specially stimulated, I seem really to see them objectively. In this case, however, I never see landscapes or anything but faces—and generally grotesque or comical faces. I never see a beautiful face. They crowd on my sight in a mob, flashing up for a second, then instantly filled by others. I always enjoy this "seeing things" immensely, but I can not do it at will.

The very name of geometry was a nightmare to me. I decline to discuss the horrible subject at all. Yet I loved algebra and had a mild affection for arithmetic. These things are predestinated.

I have no "stock pictures" as a reader. I generally see things pretty much as the writer describes them—though certainly not as the "movie" people seem to see them! This is especially true of places and things. But very few writers have the power to make me visualize their characters, even where they describe them minutely. Illustrations generally make matters worse. I detest illustrations in a story. It is only when there is some peculiarly striking and restrained bit of description attached to a character that I can see it. For example: when R. L. Stevenson in Dr. Jekyll says that there was something incredibly evil about "Hyde"—I am not quoting his exact words—I can see "Hyde" as clearly as I ever saw anything in my life. As a rule, I think the ability to describe characters so that readers may see them as clearly as they see their settings is a very rare gift among writers.

Yes, as a reader I do resent having too many images formed for me. I don't want too much description of anything or too many details in any description.

When I read a story, I see people doing things in a certain setting; when I write a story I am the people myself and live their experiences.

QUESTION; When you write do you center your mind on the story itself or do you constantly have your readers in mind? In revising? L. M. Montgomery: In writing a story I do not think of all these things—at least consciously. I never think of my readers at all. I think of myself. Does this story I am writing interest me as I write it—does it satisfy me? If so, there are enough people in the world who like what I like to find it interesting and satisfying too. As for the others, I couldn't please them anyhow, so it is of no use to try. I revise to satisfy myself also—not any imaginary literary critic. QUESTION; Have you had a classroom or correspondence course on writing fiction? Books on it? To what extent did this help in the elementary stages? Beyond the elementary stages? L. M. Montgomery: I never took any kind of a course in writing fiction. Such things may be helpful if the real root of the matter is in you, but I had to get along without them. I was born and brought up in a remote country settlement, twenty-four miles from a town and ten from a railway. There I wrote my first stories and my first four books. So no beginner need feel discouraged because of remote location or lack of literary “atmosphere.” QUESTION; How much of your craft have you learned from reading current authors? The classics? L. M. Montgomery: I think I owe considerable to my greedy reading and rereading of standard fiction—the old masters—Scott, Dickens, Thackeray, Hawthorne. Occasionally, too, a well-written modern magazine story has been helpful and illuminating. But, as a rule, I think aspiring authors will not reap much benefit from current fiction—except perhaps from a purely commercial point of view in finding out what kind of stories certain magazines take! Most writers, except those of absolute genius, are prone to unconscious imitation of what they read and that is a bad thing. QUESTION; What is your general feeling on the value of technique? L. M. Montgomery: I feel that its value is great up to a certain point. But when you become conscious of a writer's technique that writer has reached the point of danger. When you find yourself getting more pleasure from the way a writer says a thing than from the thing itself, that writer has committed a grave error and one that lessens greatly the value of his story. Carried too far, technique becomes as annoying as mannerisms.

QUESTION; What is most interesting and important to you in your writing—plot, structure, style, material, setting, character, color, etc.? L. M. Montgomery: In my own writing character is by far the most interesting thing to me—then setting. In the development of the one and the arrangement of the other I find my greatest pleasure and from their letters it is evident that my readers do, too. This, of course, is because my flair is for these things. In another writer something else—plot, structure or color would be the vital thing. Only the very great authors combine all these things. For the rank and file of the craft, I think a writer should find out where his strength lies and write his stories along these lines. In my own case I would never attempt to handle complicated plot or large masses of material. I know I should make a dismal failure of them. QUESTION; What are two or three of the most valuable suggestions you could give to a beginner? To a practised writer? L. M. Montgomery: As to advising beginners—why, I love to do it. Advice is so cheap and easy. First, I always tell them what an old lady used to say to me: "Don't marry as long as you can help it, for when the right man comes along you can't help it." So—don't write if you can help it; because if you ought to write and have it in you to make a real success of writing you can't help it. If you are sure you can't help it, then go ahead. Write—write—write. Revise—revise—revise. Prune—prune—prune. Study stories that are classed as masterpieces and find out why they are so classed. Leave your stories alone after they are written long enough to come to them as a stranger. Then read them over as a stranger; you'll see a score of faults and lacks you never noticed when they came hot from your pen. Rewrite them, cutting out the faults and supplying the lacks.

I would advise beginners to cultivate the note-book habit. Jot down every idea that comes to you as you go on living—ideas for plots, characters, descriptions, dialogue, etc. It is amazing how well these bits will fit into a story that wasn't born or thought of when you set them down. And they generally have a poignancy that is lacking in deliberate invention. For example, I was once washing the dinner dishes when a friend happened to quote to me the old saying: "Blessed are they who expect nothing, for they shall not be disappointed." I retorted, "I think it would be worse to expect nothing than to be disappointed." Then I dropped my dish cloth and rushed to "jot it down." It lay in my note-book unused for ten years and then it motivated one of the best chapters in my first book. This illustrates what I mean by the note-book habit.

Practised writers should try to avoid mannerisms and stereotyped style. They won't succeed, of course, but they should try. Also, they shouldn't presume on their success and think that anything goes because they write it. QUESTION; Do you prefer writing in the first person or the third? Why? L. M. Montgomery: Personally I prefer writing in the first person, because it then seems easier to live my story as I write it. Since editors seem to have a prejudice against this, I often write a story in the first person and then rewrite it, shifting it to the third. As a reader, I enjoy a story written in the first person far more than any other kind. It gives me more of a sense of reality—of actually knowing the people in it. The author does not seem to come between me and the characters as much as in the third-person stories. W. Collins's Woman in White is a fine example of the use of the first person. It could not have been half so effective had he told it in the third. And Jane Eyre simply couldn't have been written in any but the first.

QUESTION; Do you lose ideas because your imagination travels faster than your means of recording? Which affords least check—pencil, typewriter or stenographer? L. M. Montgomery: I don't think many ideas ever get away from me by reason of slowness of recording. My aforesaid note-book habit has been of tremendous value here. I write with a pen and couldn't write with anything else—at least, as far as prose is concerned. When I write verse I always write on an ordinary school slate, because of the facilities for easy erasure. But for prose I want a Waverly pen—this is not an advertisement—I just can't write with any other! a smooth unlined paper and a portfolio I can hold on my knee. Then I can sail straight ahead and keep up with any ideas that present themselves. But these are only personal idiosyncrasies and have nothing to do with a writer's success or non-success. So no aspiring beginner need despair because his or her stationer is not stocked up with Waverly pens!

[zukkaoru]

could you tell me more about why you dislike femskk?

okay disclaimer before i begin: this is not meant to be a dig on every person who enjoys femskk. the biggest reason i don't like it is honestly because it's just not my cup of tea and honestly it really makes no difference to me if other people like it. but beyond that my biggest issues with it are

1. the phenomenon of fans "yuri-ifying" the most popular m/m ship and then using that to prove they like female characters and f/f ships. this is not a bsd-exclusive thing; it happens with stsg too and i don't like femstsg for the same reason. but there's a big difference between actually liking female characters and just genderbending (or even making transfem) the big m/m ship. i literally went to the f/f category in bsd on ao3 the other day looking for fics and about half of them are skk fics instead of fics about like. the actual female characters in bsd. who i was looking for fics of. similarly, there have been some redraw trends going around twitter - specifically the i prefer girls cover redraw - and i have seen. i don't even know how many femskk redraws of that (along with a couple femfyolais and a femrimlaine) but only one redraw with actual female characters from bsd. same with the scene 14 redraw that was going around, and while that one wasn't originally two female characters, i have still seen significantly more femskk (and femsigzai, femsigchuu, femfyolai, etc) than i have ships with even one character who is female in the source material.

and imo this phenomenon is made even worse in the bsd fandom bc so many fans just see bsd as the skk show. so of course they're writing off the actual female characters; they literally don't care about anything besides skk. and obviously i can't do anything to force anyone to care about other characters but like.... bsd has so many other wonderful characters and dynamics (both romantic and platonic) that a good half of the fanbase won't even glance at because they're not skk. i do like skk, but bsd is about so much more than just them. they are, objectively, only one small part of it. like if you only care about skk, then just be outright about it and don't pretend you're "proving" you like female characters and sapphic ships bc you like femskk too

2. of the fans who only like skk and nothing else about bsd, most of them. don't even characterize dazai and chuuya correctly? i think the some of the best skk characterizations i've seen have been from people who actually like other characters and ships too, and some of the worst skk characterization i've seen has come from people who literally don't care about any other ships or characters. this isn't a hard and fast rule obviously but even with 30k skk fics on ao3, i have struggled to find ones that actually feel true to their characters. and the characterization seems to only get worse when it's femskk. if you're just going to turn femdazai and femchuuya into two completely different people, what's the point in it even being skk? why not write k.ousano or h.igugin or even a ship with one canonically female character? if you have to change the core characteristics of both dazai and chuuya... do you even really like them?

3. about femdazai: i actually don't mind the transfem dazai headcanon in general but most fans get her wrong. i made a post about it here but basically so many times i see femdazais that are just. completely unrecognizable as dazai. you can't strip away core aspects of dazai like idk the fact that dazai doesn't show any skin from neck to toe just because you made her a girl. i have seen some femdazai that's good! but i have seen so much that is just fundamentally wrong for dazai's character as a whole. mostly on twitter.

4. about femchuuya: i really truly just don't get femchuuya. i THINK the hype here is probably bc lesbians seem to get attached to chuuya (which. valid. i am also a lesbian chuuya fan.) and so they want to draw a chuuya they can be attracted to (i.e. femchuuya) which like. cool whatever i'm not here to judge. but looking at it from a "would this character actually identify as female" perspective, i don't actually think i can picture that for chuuya. maybe it's just because i so strongly hc them as nonbinary? idk. this one is honestly just a neutral "i don't see that but you do you"

tl;dr: from what i've seen, femskk is often mischaracterized, and genderbending the big m/m ships in a fandom is often a way fans "prove" they like the female characters and f/f ships while not actually caring about anything other than their main m/m ship

[kat-rose-griffith]

Something that I really appreciate about The Rookie is the very realistic way that they portray abusive/neglectful/or just generally shitty parents. Like they don’t ever magically change them for the purpose of wrapping up an episode, they don’t suddenly choose to be better, most of the time they stay shitty. Lucy’s parents are highly critical of her especially for being a cop, one even going as far as disowning her, and even though they do seem to still be in her life, they don’t magically change their treatment or stance on that no matter how great she does. Tim’s alcoholic abusive father is still an abuser even on his death bed and isn’t remorseful for any of it. Nolan’s mother is a lying con artist that pops in and out of his life as she pleases and directly causes him problems every time, even after her death, with no particular care for him only how she can use him.

The best part of these storylines for me is also that they don’t make the characters forgive their shitty parents, especially when they choose not to change. Nolan’s mother dies and even being the ultimate good guy of the show he doesn’t suddenly act like she was a different person just because she died, even in the face of other characters trying to do so, and that’s completely fine. Tims sister had different experiences with their father because Tim shielded her from a lot of it so they approach their father dying differently and even with her pushing him to act differently about it, he doesn’t ever forgive him or visit him for her sake. The only reason he sees him is because of a murder his father was involved in and to tell him off one last time. Tim walks away from that room not forgiving his abusive father but instead choosing to let go of the resentment he had been harboring for himself and for his sister. He didn’t want to be so angry anymore, he didn’t want to be like him, so he chose to work at being better and that is a far more worthy story to tell.

There’s no forgiving of the abuser in their storylines and I really appreciate that. I like it for its realism but I also like it because in a way it takes the power back from their terrible parents because the story is not about them, at its core it’s about the people that they hurt and how that affects them. It’s so much more compelling seeing the characters constantly working to overcome that to be the people they want to be than the parents magically becoming better because their kids had character development

I don’t want to make this post any longer so I won’t get into it but they also approach forgiveness and change, when it’s appropriate, really well too. The best example is with Tim’s ex wife Isabel. She’s kind of a combination of the stuff I described in this post and how well they do forgiveness on this show.

[vickyvicarious]

Arthur was saying that he felt since then as if they two had been really married and that she was his wife in the sight of God. None of us said a word of the other operations, and none of us ever shall.

Arthur reading this a few days later....

[lucysarah-c]

I took the wisest decision considering my horrible shape. . . If I die, I told my bestie the password of my computer where all my fics are planned and the ending of my fics lol

She has clear instructions on how to keep updating once I am long gone.

You won't miss me.

Lmao. I'm not dying in case someone's bother (... Or maybe I am lol I feel like dying)

I'm only heavily sick

[olya-roo]

Writing being writing

[kyouka-supremacy]

Yeah, Teruko was the one that made me realize the sexisim that existed in BSD when I first binged it. Or, more accurate, what TYPE we're dealing with. The female characters can exist and have their own moments, but they can never outshine the male characters and Asagiri can also allow himself to forget them if he needs to. When I read Stormbringer, one of the things that stood out to me is the fact that no female character has any prominent role until like, 200+ pages in, and what role Kouyou got was so minimal she might as well not have shown up at all. Yosano has a huge important backstory that doesn't become relevant until SEASON 4 while most of her male companions have had theirs explored way before her. It's disappointing, but I genuinely find Teruko intolerable and find her to be the worst written character in the entire series. It's not her fault, but her behaviour around Fukuchi and her ability was just horrid to me. Her ending here just enhances all the issues that already existed in her character for me. She's the only female character in this series I can't stand and that SUCKS because I want to love them all, but Asagiri is making that mighty difficult when he pulls stuff like this :/

(´；ω；｀)

The almost complete lack of female characters is personally my greatest disincentive to reading Stormbringer (together with the lack of ss/kk. Discredit where it's due).

Teruko's role this whole doa arc has been.. Saddening? I feel all the hd have a lot of untapped potential; but whereas with Fukuchi and Tachihara and even Jouno it's like, you know what's their deal, there's so little we know about Teruko and Tetchou's motivations and backstory. And even when both had their occasional times to shine - I like Teruko's scenes in the Sky Casino arc! A lot! I think they make for a very cool character! -, there's the whole deal with Teruko in the airport arc which is just :/// Like, she's just there to move the plot forward. She was very pretty in chapter 105 and made me feel like she had some further insight in the whole picture, like she had taken a stand and had a motive, but in the end it was never elaborated on, and I'm very sorry for that. Way worse, she was exclusively delegated to the role of numbly moving the plot forward, which is just wholly unfortunate. Why did she let Atsushi go just like that, like, really?? Oftentimes women's role in this franchise is truly meaningless. I don't really care for what side she was going to take in the end, I just wish she was just handled more sensibility, more respectfully. But alas. Hoping she'll get some spotlight in the future, because I really like her.

I like Teruko! Like, I genuinely get where you're coming from, and your reasons for not liking her are very valid. To me it's more about straight-up ignoring some stuff I don't like (REALLY can't vibe with the Fukuchi worshipping, I find it quite gross to be honest) and emphasizing the aspects I do like. I like how she's unapologetically mean - honestly, not many female characters get to do that. She gets to be a villain -, but I also like how it's compensated with a very strong moral code and genuine intent to protect citizens. I love lots of her scenes in the Sky Casino arc: her interactions with Tachihara are funny and vaguely wholesome, her determination and resourcefulness to win over Sigma is so cool, and her reluctance to hurt citizens, and the scene where she stopped an aircraft with her bare hands!!!! Honestly, banger after banger after banger, looking back at it that's probably why I held such high expectations for her character. Despite personally wholly disagreeing with bsd's morale, even Teruko's enouncement of her Hobbesian principles is enjoyable for me, because it's quite rare to see a woman preach such realist, cynical worldviews; if anything, it's refreshing. I think her ability is super cool and original, I love it tons!! I really like her character design, too. I like how she's of the highest grade compared to all other hd members minus Fukuchi and I like how she can be childish and keep them in line at the same time. I like how more mature and savvy she looked in her latest airport arc appearances, how she looked tired of war on par with Fukuchi. I wish she was given more screentime and importance and agency, and I wish the mess of the last chapter didn't happen, but I like her personality.

On her ability, I think it's pretty cool, and neutrally problematic by its own; but I do agree that between Teruko having child appearances and being obsessed with a grown-up man, the whole Mori deal, Aya proposing to Kunikida in chapter 40, the chapter 107.5 page that left everyone perplexed and was only later on clarified by the anime, (and, regretfully, even how the Kyouka / Atsushi dynamics are framed in some of the earlier chapters), it creates a very distasteful pattern.

I really like Yosano's backstory (really. I've said it a lot of times before, but I think chapters 65-66 are the best written chapters in the whole manga.), but it's not like just because of two small chapters that center around a woman after 15 volumes of male spotlight bsd suddenly stops being sexist lol. And that's something I've already said before, but: Yosano's chapters are beautiful! But they don't really help empower female characters in this franchise. Yosano completely lacks agency in the story, which is FINE for the story on its own, yet in the context it simply does nothing but reinforce the fact that women can't be masters of their fate.

I also strongly agree with the fact that female characters are accurately written as to never outshine their male counterparts. As someone else has pointed out before, both Kyouka and Higuchi have respectively saved Atsushi and Akutagawa's lives (in Kyouka's case, multiple times), so why is it that Atsushi and Akutagawa don't serve them the same respect and admiration that they hold for them? The double standard is really blatant once you start seeing it.

I've written more on bsd's sexism here, if you'd like to check it out. Even though it's very important to read things critically and acknowledge franchises' faults, I still can't help but feel bad for spreading negativity (╥﹏╥) Here's to hoping the bsd writing of female characters will improve in the future!!