#poor execution from the writers :

[companion-showdown]

Who had the worst time aboard the TARDIS?

TOURNAMENT MASTERPOST

[spikes-left-eyebrow]

What i dont get about the buffy verse is how the creators couldnt think of one (1) single thing better than getting fucked sloppy by someone you love. Angel is cursed to never experience true happiness?? If that were me i would be walking on eggshells all the time. I would go full christian. I would be scared to eat a really good slice of pie and go evil mode. Meanwhile my guy angel is doing anything and everything. Falling in love with some child and sexing it up. Youre telling me he didnt see this coming from a mile away?

[lesbicastagna]

permission to bitch and moan about a random post by some self proclaimed historian on the site famous for its shitty and biased discussions of history?

prefacing by saying that i think this is actually a really interesting discussion to have and that i've seen and read actual historians talk about this topic with the nuance it deserves.

but i cannot help but perceive this type of posts in bad faith as the use of words like "glorifying" is completely lost:

also this kind of post is obv made to stir and attack and doesn't want an honest discussion about women in historical contexts so like. no point at all except being a "white rich women bad" moment which i can understand like this is a silly website. but it grinds my gears.

i'm taking the example of marie antoniette but obv this can be broadened to most major historical figures. discussion of her context and her personality and individuality and how it played a part in the first downfall of monarchy it's not excusing or glorifying her actions. ultimately we have a Lot more personal informations about and by "rich white women" than any other woman who lived in historical contexts because they were the ones who knew how to write. it's not some stereotype perpetuated by contemporary scholars to write and discuss about only rich nobles because they like it lol. and also if you actually studied history in any higher than high school level you would see the efforts that have been made to recover the voices and testimony of the lower classes and other marginalized individuals.

i dont understand the point of making this type of harsh complaints that not only suck out all the "fun" of studying history by realizing how and why all people during all eras were individuals with feelings like ours, but also that are just plain embarassing. you get all your history sources on tiktok that you think this treatment is given only to pretty white rich women? lol

[dimensionalspades]

Canon Corrective: Julian Bashir

Julian remains a bit of a woman/manizer(??) in his first year of DS9. Julian craves interactions and connections in every category and seeks them out at his new post. This lessens as time goes on and he grows more confident in himself and becomes more comfortable with being in his own company.

The big one, Romance: DS9's writers were great but they absolutely biffed almost every romantic interaction with Julian. As for me, Julian tends to be allergic to romance concerning patients. Being a doctor and being a partner are 2 very separate modes for him. That being said, in cases where a partner needs medical help in some fashion (short or long term), Julian provides without issue, and has practices in place to ensure that should he and the person break up, the information gained and treatments done aren't affected and their care is uninterrupted.

Julian does still hit on Jadzia when arriving on the station and once or twice afterwards, but after she rejects him, Julian focuses on learning to be her friend (and works on not idolizing people). He has an incredible platonic love for her, considering her one of his truly closest friends. Occasionally they'll play wingman for each other at Quark's or spend long hours trying to solve a mystery in the lab.

Jezri as it is in the series is not canon to this blog, but if there's a time that an Ezri would like to develop something from the ground up, I'd be happy to discuss.

Parents: Julian cut Richard and Amsha off when he was roughly 16, moving to Starfleet campuses as soon as he was accepted. They spent years attempting to reconnect, and while he unfortunately gave in to their demands on some occasions, Julian quickly learned that neither would change. After a massive fight with Richard, Julian cut contact for what he thought was the final time, and it isn't until DBIP that Julian is forcibly reunited with them and has to grapple with everything. It goes about the same, except that Julian does not concern himself with Richard's sentence. Instead, he just cuts them off again. As of Postwar, they attempt and fail on many occasions to reconnect.

Sloan and Section 31: Sloan's attempts to recruit Julian fail full stop. He only cooperates because Sisko directs him to. All episodes still run the same. After Extreme Measures, Julian struggles with the mysteries surrounding Section 31 and wants answers, but he is very protective of himself given what they've done to him.

Post-canon: Julian remains on DS9 per the end of the series, but beta canon is only selectively picked from. None of the s31 books are canon to the blog, but ASIT is, and Julian occasionally goes and spends a few months on Cardassia to assist with relief efforts.

[they-them-pussy]

ive connected some alarming dots and im crumbling under the knowledge

[emeryleewho]

There's a huge difference between redemption and humanization. I feel like a lot of "redemption arcs" aren't actually redemption at all, they're just attempts to humanize the villain so that they seem multi-faceted, but people read them as "redemption arcs" and think that that is meant to justify all the evil they've done before and negate whatever made them a villain in the first place. I think true "redemption arcs" are actually kind of rare because true redemption would take making the villain acknowledge their crimes, reevaluate their actions, actively choose to do better, and then proceed to make amends and become a better person, and that would this take more time than most stories are allowed to give their characters.

I've also seen people argue that a character has to be poised for redemption from the jump for it to work because once a character does something "too bad", they can't be redeemed. I completely disagree because redemption isn't justification or forgiveness, so no matter how horrible a character's actions, they could choose to become better, but because a lot of people (including writers) think redemption means "erasing the character's flaws and making it so they did nothing wrong ever", a lot of attempted "redemption arcs" just end up erasing a character's entire history or justifying every evil thing they've ever done. And yeah, in these cases, the only way to make a character go from a villain to a perfect cinnamon roll with no flaws *is* to have been planning it from the beginning and make sure they never do anything that can't be explained away later.

TLDR: real redemption arcs require a lot of self-awareness, patience, and growth, which are things that are rarely actually allocated to villains, and that's why real redemption arcs almost never get executed. The reason people think redemption arcs are overdone is because there are so many attempts to either humanize a villain that get misconstrued as redemption or attempts to blatantly erase who a character was in the name of "redemption", which is really just poor character development.

[osachiyo]

" LEMME HIT YOU WITH THAT DUMB DICK ! "

𝐟𝐞𝐚𝐭𝐮𝐫𝐢𝐧𝐠 — dazai, chuuya, jouno (+ tecchou), oda, sigma x fem!reader

𝐰𝐚𝐫𝐧𝐢𝐧𝐠𝐬 & 𝐧𝐨𝐭𝐞 — [n]sfw content, somnophilia, these are random scenarios ok don't come at me, degradation, humiliation, doggystyle, rough, getting caught, pussy slapping, s.ex at work, oral (m & f receiving), fingering, piv, unprotected s.ex (be careful babes), praise, creampie + etc • this was originally supposed to be their fav places to fuck but i had to scrap that bc i lost motivation :') anyway, happy reading and i hope you enjoy !! not proofread soz babes

ps. reblog to show your favorite writers support, they're greatly appreciated ! <3

⁰¹ 𝐃𝐀𝐙𝐀𝐈 — fucking you in a storage room of the agency

This man is a sex fiend, so of course he would love to fuck you literally anywhere anytime. Though he can't lie, being balls deep in your juicy little cunt at work — risking both of your dignities and possibly your jobs has him harder than a fucking rock.

"Osamu— what if we g-get caugh— mmh-!" you let out a muffled moan as dazai delivered a particularly harsh thrust into your cunt, effectively shutting you up. "Relaaaax, sweet thing — almost no one c-comes here — fuck, you're so damn tight," Dazai panted into your ear, hot breath making a chill run down your spine — back arching even further against his chest.

"God, you're so good f'me — so warm 'n right, fuck!" each word was rushed, dripping with lust — the desperation in his voice made you wanna look at his pretty face, pussy clenching just from imagining how good he'd look with his hair disheveled — his usual doe eyes narrowed and a deep blush covering his skin, sweat dripping down his forehead and making his hair stick to his forehead —

Your train of thought got cut off abruptly when Dazai slapped his hand over your mouth, before his hushed voice reached your ears, "shh, stay still f'me, sweetheart."

You were about to question it when you heard the president's voice from just behind the door. The door of the room you were currently getting your back blown out in.

"Yes, I keep hearing strange noises from this one room in particular," you heard fukuzawa's muffled voice — the thought of your boss catching you in the act made your pussy flutter around Dazai’s length, making the brunette grunt in response.

"Are you trying to get us caught, darl'?" Dazai hissed into your ear — oops, you unintentionally clenched down again upon hearing the keys jingle from the other side of the door. Luckily Dazai was ready for it this time, and managed to bite down on your shoulder before he could get a sound out.

"W-what do we do, 'samu? He’s gonna come in!" you whisper-yelled, panic settling in your bones when you saw the doorknob rattle — but before he could unlock the door fully, you heard the high pitched voice of another worker, "president! an important client has come to personally see you."

"Hm, alright. looks like i'll have to tell someone else to take a look in this room later. Let’s go,"

You let out a breath of relief once the footsteps faded away, leaving you both in complete silence until dazai decided to speak up —

"You clenched reaaal hard when he was about to open the door — don't tell me you actually wanted us to get caught, did you, naughty girl?"

⁰² 𝐂𝐇𝐔𝐔𝐘𝐀 — having you suck him off in his office

Chuuya's job as an executive of the mafia is stressful, to say the least. Not to mention some of the idiotic workers not doing their job right never fails to make his blood pressure go especially high — his anger issues doesn't help his case at all. But what does help is his sweet sweet girlfriend giving him some... 'under the table service' at work.

Chuuya's fist slammed against the hardwood desk, a loud 'thwack!' echoing in the room,

"What the fuck were you thinking?!" he sneered at the poor man in front of him — who couldn't help but flinch at seeing his boss so angry at him failing to complete a simple report.

Truth be told, Chuuya wasn’t really that mad at the worker, for the report at least — he was just.. super on edge from you deep-throating his cock under the goddamn table. He struggled to think properly, and the poor worker interrupting his private moment with you really ticked him off. Can you really blame him though?

How could he think straight with your skilled tongue swirling around his glossy tip so sinfully — fucking tease. Oh and the way you peered up at him through lowered lashes, your eyes glazed with a dreamy haze.

It all made his head spin like crazy.

“-ir, I can re-do it if you would like me to..” Chuuya’s train of thought unfortunate got cut off short, blue eyes snapping back to the man before him — right, the report.

“A-ahem — alright. Have it finished by 6 pm.”

Chuuya hated the way his voice cracked, fingernails digging into the palms of his hands as he tried not to moan out loud when you fully took him nose deep in that right, sweet little throat— shamelessly rutting your hips into his crazy expensive slacks, rubbing your juices all over the smooth, polished material.

You felt Chuuya’s fingers entangle themselves in your hair immediately after hearing the ‘click’ of the door shutting — the guy must’ve finally left.

You couldn’t help but gasp as you were pulled up from the cold, hard floor — and being shoved onto the desk instead.

You felt your pussy throb in your lacy panties as Chuuya spread your legs open — two fingers pressing and prodding at your cunt before sliding the flimsy material to the side,

“Now, let’s get into the real fun, shall we darl’?”

⁰³ 𝐉𝐎𝐔𝐍𝐎 — teaching tecchou how to eat you out properly

Jouno was a good friend. Even though he might've had a tendency to be a little harsh and.. sadistic at times, he wasn't a bad person. I mean, he had to be atleast a decent person for teaching his inexperienced co-worker how to eat pussy — specifically, his own girlfriend's.

"No, not like that you fucking idiot —" Jouno grumbled, pulling Tecchou's head off of your cunt as he blinked in confusion like a lost puppy, sticky strings of your arousal still attached to his lips. "What do you mean? She's clearly enjoying it.."

"I mean that you can do better. You do want to make her feel fuckin' amazing, don't you?" Jouno raised a questioning brow. "Well, of cour—" "Then start acting like it."

A gasp left your honeyed lips when Tecchou's face was pushed back against your cunt — hot tongue working with even more fervor as he ate you out like he had been starving for days.

"Oh fuck — feels so g-good, sai," you whimpered out — head thrown back and your tongue threatening to loll out from the sheer pleasure the man between your legs was giving you. "Yeah, baby? Feels good when Tecchou eats that sweet cunt out reaaaaal good, huh?" Jouno's tone was condescending — his lips curled up into a cocky smirk.

“Y’smell so sweet - taste so sweet -” Tecchou's voice was low and dripping with need — your pussy throbbed from just how desperate he sounded.

"A-ah shit - can feel you throbbin' on my tongue, princess —" he groaned, tongue flattening against your clit as he shook his head side to side.

You babbled out Jouno’s name like a prayer — all while the man between your legs worshipped your cunt like it was his god, pink tongue repeatedly flicking your clit, making you see stars as your hole stretched around two of his slim fingers.

“Please — wanna c-cum s’ba- mmh!- ,” you let out a strangled noise as a harsh slap landed on your soaked pussy, clit throbbing as you threw your head back once more. “Fuckin’ slut, so damn eager to cum on another man’s tongue in front of your boyfriend, hmm?”

“Don’t — ah fuck, squeezin’ so tight ‘round my fingers, baby - don’t be so mean, Jouno,” Tecchou threw a side glare to the man next to him, which only earned a shrug from said man, “quit talking and enjoy the meal, dumbass. She’s close.”

And enjoy the meal he did — lapping up every single drop of your sweet juices so enthusiastically you’d think that he hadn’t eaten in days.

⁰⁴ 𝐎𝐃𝐀 — morning sex with him

Mornings with your husband, Oda Sakunosuke, were sweet, blissful and filled with love. Sometimes he'd surprise you with breakfast in bed, it's the least he can do considering everything that you do for him, is what he says. But sometimes — you crave him instead of the delicious food.

“My pretty girl,” Oda smiled sleepily, moving some of your hair out of your face to admire your effortless beauty — blissfully unaware to how his deep morning voice made your heart flutter in your chest, and your pussy throb with need.

You grinned back, scooting closer into his arms as you gazed into his deep brown eyes, “pretty enough to fuck?”

Oda raised a questioning eyebrow, full lips curling into a grin, "oh? that's the game we're playing, love?" Strong arms wrapped around your bare figure, the marks of last night still fresh on your skin — a reminder to how he fucked you dumb on his cock only a few hours prior.

You felt your face burn from the memories of last night rushing back into you — god, you two were insatiable - you're sure Oda fucked you in every single position in the book, and it did nothing but make you crave him more.

"Still with me, darling?" he lightly tapped your cheek, snapping you back to the present. You nodded, a gasp falling from your lips as big, calloused hands found themselves groping at your tits, pinching at your cute nipples as he pressed open mouthed kisses on your neck — his stubble tickling the sensitive skin there.

"O-oda—"

"shhh, baby — lemme do all the work, yeah?"

And that's how you ended up with your face pressed into the pillows — silken bedsheets tangled around your bodies as Oda fucked his fat girth into your sopping cunt nice 'n deep.

A large hand was pressing your back into the meanest arch ever — strong hips slamming against the fat of your plush ass with each deep thrust, thick mushroom tip prodding at your g-spot - making you bleat out your husband's name pitifully. Oda only pushed your head deeper into the soft pillows — clearly too lost in the feeling of your velvety walls clenching around him.

He watched his cock slipped in and out of your pussy so easily — your slick covering his balls down to his thighs. Oda groaned deeply in his throat as he watched a creamy ring form around the base of his cock — your cunt sucking him in so eagerly that he almost thought it hurt for you to let him go.

You let out a particularly loud moan as Oda's cock hit that one spot in you — you could only bite down on the pillow as your eyes shut closed, pussy slobbering shamelessly all over his length.

"Oh? Did you like— argh! - t-that spot, sweet girl?"

⁰⁵ 𝐒𝐈𝐆𝐌𝐀 — fucking you in your sleep

Sigma was a busy man — with running the sky casino and being part of the decay of angels didn't leave too much alone time with just him and you — especially for some.. intimacy. You knew he needed to relieve himself someway — all that workload while being pent up as fuck certainly wasn't good for him. Plus, you have been craving him as well.. so you came up with an easy solution.

The door to your shared bedroom clicked open — your beloved boyfriend, Sigma, letting himself in as his eyes racked over the entire room, searching for anything out of the ordinary — you did tell him that you had a surprise for him, after all.

Upon finding nothing, he stalked over to the bed, confusion lacing his features as he glanced over at your sleeping form. Slender hands slowly slipped the soft blanket off of you and oh —

It all clicked suddenly.

The lavender coloured lace suited your complexion so perfectly, the expensive material hugging your features like it was made for you. Sigma gulped, eyes fixating on the way your tits were practically spilling out of the flimsy fabric — your stiff nipples very much visible to his hungry gaze.

It wasn't long before he had his face buried between your plush thighs — Sigma was so desperate, not even bothering to take the lingerie off your body. Besides, why would he when you just looked way too good in it?

He was practically eating you out through the thin lace — nose bumping against your clothed clit as his tongue tried to push deeper into your cunt. You had him in a chokehold — but he couldn't care less.

Sigma's slim hips were rutting into the expensive sheets — precum leaking from his sensitive tip as he tried his best not to cum untouched just from tasting your sweet pussy, but fuck, you were making it so hard for him.

He felt his cock throb in his pants when you started letting out soft moans and sighs in your sleep — or were you even asleep anymore? He didn't know and neither did he care — mind too focused on making you cum on his pretty face.

"ohh s-shit — best surprise - sluurrp - e-ever—" he whined into your cunt, spitting directly into your sticky hole before slurping it all back up.

Safe to say, he definitely enjoyed your little surprise.

© 𝐎𝐒𝐀𝐂𝐇𝐈𝐘𝐎 𝟐𝟎𝟐𝟒 ─ do not copy/translate/repost and/or recommend any of my works on different platfroms under any circumstances. reblogs greatly appreciated !

[lemonhemlock]

the thing is i don't care about how hard it must be for the hotd writers to adapt from book to screen with budget and time limitations (even though i am historically sympathetic enough to these difficulties and i do understand the need to make changes to fit the story in a different medium)

but what i see as understandable excuses would be shoddy cgi or costumes and less impactful action scenes or even fewer action scenes/battles. which we already got anyway, the only battle (rook's rest) is humdrum and rather spiritless. to a certain extent, i can even excuse cutting out characters or merging them or simplifying storylines.

be that as it may, the fact of the matter is that, even the scenes which should have cost the least amount of money in this whole production, i.e. the sitting-around-in-rooms-talking genre of scenes for which GoT became famous, SUCK. the politics in this show are non-existent. the characters' motivations are so wishy-washy to the point of parody. the character arcs look like they were settled via a game of russian roulette. the S2 version of characters doesn't make sense as a progression of their own S1 canon.

and this has nothing to do with money OR time constraints. it plainly only has to do with bad writing. a talented writer can absolutely have a canon-divergent vision and an understandable desire to adapt their own vision. but they have to recognise if they have the TIME or the BUDGET to bring that canon-divergent vision to life, if they can sufficiently commit to integrating those changes in a way that feels organic to the characters. IF NOT, THEN DON'T DO IT.

i get it if they're big rhaenicent stans or if they really, really like this version of alicent that lives in their heards, the one that would ditch her kids in favour of rhaenyra or if they're so enamoured by the idea of heroic rhaenyra (and that's just scratching the surface when it comes to all the points the show fumbled). but if they don't and can't fit those changes in a way that doesn't destroy the logic of the narrative, in a way that doesn't leave other characters hanging dry with no motivation left to carry out the plot points they have to hit, they should have had the maturity to drop those ideas and settle on something else that could have been easier to film with the resources available.

i said it before and i'll say it again: 1) whether fans are satisfied with the changes made to the source material and 2) whether those changes make sense in the context of the show are two separate issues that apologists sometimes try to merge in other to muddle what the actual problem is. "oh you're just mad because it's not book canon" or "you're mad because your headcanons diverge" or "we had logistics limitations" are not pertinent responses to critiquing the integrity of the show's storyline!

so i hope the writers and executives see all these criticisms and choke because they did a piss-poor job of everything and turned S2 into a goddamn hack operation

[physalian]

7 Misused Tropes (And How to Improve Them)

Tropes in isolation aren’t inherently bad, but a lot of them are prone to poor execution. Each one of these probably could have a whole post by themselves. A few of these used to be good but have since fallen by the wayside as their original meaning has been lost.

7. Dramatic Miscommunication

You know the ones. I think it’s worse when the story is otherwise good, the writers just could not come up with a better way to get X alone or send Y off on the necessary side quest than the lowest of low hanging fruit.

Two essential ingredients for fixing this trope: Precedent and consequences

Precedent–have the character doing the missassuming already be prone to jumping to conclusions, already suspicious or insecure, or misled by a third party so this looks inevitable, instead of pulled out of your ass.

Consequences–usually these are big blow up fights that fizzle out without any impact on the plot once they fulfill their purpose, but if it’s a nasty enough fight, characters shouldn’t just forgive and forget. While they might not completely ruin relationships, it should have characters taking a step back and either second guessing where they stand, or using this blowup to fix an underlying issue in said relationship.

6. Love Triangles

Good Love Triangle for the first 3 seasons: Elena/Stefan/Damon (TVD).

Bad Love Triangle for the entire series: Bella/Edward/Jacob (Twilight).

The difference between them (besides time to flesh out both candidates) is that both brothers brought valid pros and cons to Elena’s life, both got the chance to be with her, and Elena’s whole arc wasn’t solely focused on the agonizing choice of which brother she should pick. Regardless of which camp you’re in, Stefan brought stability, that classic cliché high school romance, mostly all good vibes. He never challenged her or talked down to her or got aggressive with her. Damon did the opposite, for better or for worse, and we know which direction the show went.

On the other hand, Jacob never for one second stood a chance with Bella and the narrative wasn’t kidding anyone. They never so much as went on one date (unless you count the motorcycle ride) and it seemed like Bella was only letting him hang on for pity’s sake. Theoretically he brought pros to the table that Edward couldn’t (like, idk, being alive), but the narrative never explored what could be done with him. He just ended up being the Nice Guy friend who then decided it’d be hot to lust after an infant.

5. Agency-less Chosen Ones

These tend to be wish fulfillment characters that bring nothing to the story and have no discernible skills, yet are constantly in the middle of the action, have all the love interests fawning over them, and are Important and Critical to saving the world… because the narrative said so. They don’t make a single choice the entire plot except to move forward or stagnate, chosen by the gods or a prophecy or fate and destiny.

The problem: These characters walk with the crutch of “I’m the chosen one thus I don’t need a reason to exist in the story” and that’s just not a satisfying narrative shortcut. So? Give them agency. Even if they’re chosen by some ancient prophecy, you still have to convince the reader why the Universe wasn’t just talking out of its ass.

Good example: Emmet from Lego Movie literally says he’s useless and has no skills and cannot think outside the Lego box. He’s supposed to be as generic as painfully possible and when he does have creative ideas, they’re supposed to be asinine and stupid. And yet. He might be physically dragged around by the other characters, but he has plenty of choices, plenty of opposition to what’s happening, plenty to say about the state of his world, and his ideas do matter and his intimate knowledge of the instructions and playing by the rules is how they win.

4. Bad Boy Love Interests

These guys were supposed to be counter-culture icons, standing up to The Man for the little guy because he knows the system is broken and rigged. He’s an affront to the stereotypical nuclear lifestyle, he resents a robotic and soulless office job and wants to create art or music or in some way benefit his world and isn’t going to play nice just to get his way. He exists in contrast to the nuclear female protagonist: Conservative, demure, rule-following caged bird who falls in love with him because he shows her that life isn’t meant to be lived in The Man’s cage. He respects the authority that deserves respect, the teachers who actually give a shit, the janitors, the librarians, but probably not the principal or the police or the local politicians, because he knows they don’t respect him and respect is a two-way street. He’s probably a mama’s boy or at the very least loves his parents (if they’re alive) and while he might engage in a little property damage like graffiti, it’s for a good cause.

This dude is NOT SUPPOSED TO BE: Abusive, controlling, aggressive, or condescending to his love interest. He’s not supposed to be an overprotective stalker or plagued by insecure jealousy over any other man in his love interest’s life. He’s not rude to his friends or arrogant about his own smarts and doesn’t think he knows best about every little thing in the world. He’s not sexist or racist just to make himself feel better and he doesn’t pressure his love interest into sex because she owes him or whatever.

Ahem.

Please bring back classic bad boys. That is all.

3. Major Character Death (for shock value)

I remember the implosion of the Walking Dead fandom after they killed Carl, one of the very few characters who was supposed to make it to the end, for… various sketchy reasons and I could never figure out what was true. Some theorized that his actor was aging out of the ‘child actor’ payscale and they didn’t want to pay him as an adult and while I have no proof, it wouldn’t surprise me at all.

Carl died after getting bit in just one of those hectic moments where he got unlucky, while doing something noble and stupid. In isolation, it fits the nature of the “anyone can die” show but man did it just come across in poor taste.

Obviously “for shock value” shouldn’t be the reason you do anything in your story but there is still a way to pull it off without it causing a riot: Make sure they get killed in a non-contrived way. If you plan on killing off one of your heroes suddenly, either make it bitterly ironic, or make it a situation that this character would absolutely get themselves into. The more it “fits” the less likely audiences will see the hand of the author coming in just to break the character’s fictional contract.

2. The Power Inside You All Along

This trope is usually disappointing because it tends to melt a character’s whole arc down into something pointless—this whole adventure was apparently useless if they didn’t actually need to grow or change or challenge their conceptions of the world. They could have got up off the couch as joe shmoe and beat the villain day one.

While that’s probably not what their creator intends, ‘it was inside you all along *wink*’ tends to feel that way, as it discourages internal conflict. Usually, their creator is likely trying to convey the message that one need not change, that it’s what’s inside them already that makes them special.

I present to you once again Kung Fu Panda’s “there is no secret ingredient” i.e. “the power inside you”. The difference is. Po still has plenty of internal conflict: his own self-confidence. He begins the movie eager but inexperienced and a bit oblivious, fanboying it up around his heroes. He and Shifu both insult his weight and his lacking kung fu skills, and his arc is learning self-confidence, learning how to use his weight and the body he has to fight in a way that the villain isn’t prepared for, to where Po can shit-talk him to his face during the final fight.

Most failures of this trope don’t bother exercising their protagonist. They’re pissy and resistant for the entire story and only win when the narrative agrees they were right all along. Therefore, no change, no conflict, no resolution.

1. Strong Female Characters

So many of these read like "slapped boops on a male character". They don’t work for many reasons (usually being very preachy with their agendas), but they especially don’t work when by trying to be pro-feminist, they’re still reinforcing masculine standards. A lot of people, when Captain Marvel came out, said “you didn’t have any issues with Tony Stark being an asshole but now you do when he’s a woman” which. No.

Tony was an asshole, but being an asshole was the whole point of his character, and he got humbled right quick by getting blown up and held hostage. “Proof that Tony Stark Has a Heart” and all that.

Carol was an asshole with nothing to substantiate it, and never got a reality check. She had amnesia so we didn’t get insight into who she was before to understand this transition into dickishness and was so OP, she wasn’t ever physically or emotionally challenged like Tony was.

But the other thing is this: Slapping boobs on a male character with a slew of toxic masculine traits also says that to be a successful woman, you must behave like a man. It swings so far from the femme fatale sexy leg lamp that it comes around and eats its own tail. These characters are just mean and insecure and build themselves up by tearing down the men around them.

So. Calhoun from Wreck it Ralph is this exact trope done extremely well. She’s aggressive, arrogant, loud, rude, and cynical. For about 10% of her arc. The movie immediately throws her into a situation where her strengths are basically useless—she’s stuck in Candy Land and has to rely on someone who is the antithesis of her game and character to make it out. The movie also shows you why she’s cynical via her tragic backstory.

Not only that, she’s more than just a heap of toxic masculinity in a pixie cut. She laughs, she cries, she admits when she’s wrong, she has a soft side, a gentle side, a caring side, and remains a badass through and through.

Or, once again rolling out Tigress from Kung Fu Panda: Proud, aggressive, the snubbed chosen one, cynical, mean, and overconfident in her abilities. Tigress nearly gets her entire team killed in her arrogance. She’s allowed to be wrong, very wrong. She also has her soft moments and, like Calhoun, has a very valid reason for being jaded, and is still shown to be capable of softness and nurturing during the evacuation.

Third example to hammer home that I don’t hate badass women: Andromache. Jaded, overconfident, short-tempered, aggressive, and a little mean-spirited. Tragic explanatory backstory? Check. She is also caring and loyal to her team, allowed to get emotional, allowed to be wrong and fail and lose, and kind of the surrogate mom of the team, who can also laugh and joke around and have light-hearted moments.

Whether the character is a man or a woman, being an arrogant asshole who takes zero accountability and refuses to admit when they’re wrong and never loses, audiences aren’t going to like them.

[etz-ashashiyot]

Chapter 4: Executed Jews

By Dara Horn, excerpted from People Love Dead Jews

ALA ZUSKIN PERELMAN AND I HAD BEEN IN TOUCH ONLINE before I finally met her in person, and I still cannot quite believe she exists. Years ago, I wrote a novel about Marc Chagall and the Yiddish-language artists whom he once knew in Russia, all of whom were eventually murdered by the Soviet regime. While researching the novel, I found myself sucked into the bizarre story of these people's exploitation and destruction: how the Soviet Union first welcomed these artists as exemplars of universal human ideals, then used them for its own purposes, and finally executed them. I named my main character after the executed Yiddish actor Benjamin Zuskin, a comic performer known for playing fools. After the book came out, I heard from Ala in an email written in halting English: "I am Benjamin Zuskin's daughter." That winter I was speaking at a literary conference in Israel, where Ala lived, and she and I arranged to meet. It was like meeting a character from a book.

My hosts had generously put me up with other writers in a beautiful stone house in Jerusalem. We were there during Hanukkah, the celebration of Jewish independence. On the first night of the holiday, I walked to Jerusalem's Old City and watched as people lit enormous Hanukkah torches at the Western Wall. I thought of my home in New Jersey, where in school growing up I sang fake English Hanukkah songs created by American music education companies at school Christmas concerts, with lyrics describing Hanukkah as being about "joy and peace and love." Joy and peace and love describe Hanukkah, a commemoration of an underdog military victory over a powerful empire, about as well as they describe the Fourth of July. I remembered challenging a chorus teacher about one such song, and being told that I was a poor sport for disliking joy and peace and love. (Imagine a "Christmas song" with lyrics celebrating Christmas, the holiday of freedom. Doesn't everyone like freedom? What pedant would reject such a song?) I sang those words in front of hundreds of people to satisfy my neighbors that my tradition was universal — meaning, just like theirs. The night before meeting Ala, I walked back to the house through the dense stone streets of the Old City's Jewish Quarter, where every home had a glass case by its door, displaying the holiday's oil lamps. It was strange to see those hundreds of glowing lights. They were like a shining announcement that this night of celebration was shared by all these strangers around me, that it was universal. The experience was so unfamiliar that I didn't know what to make of it.

The next morning, Ala knocked on the door of the stone house and sat down in its living room, with its view of the Old City. She was a small dark-haired woman whose perfect posture showed a firmness that belied her age. She looked at me and said in Hebrew, "I feel as if you knew my father, like you understood what he went through. How did you know?"

The answer to that question goes back several thousand years.

~~~~~~~~~~~~~~~~~~~~~~~~

The teenage boys who participated in competitive athletics in the gymnasium in Jerusalem 2,200 years ago had their circumcisions reversed, because otherwise they wouldn't have been allowed to play. In the Hellenistic empire that had conquered Judea, sports were sacred, the entry point to being a person who mattered, the ultimate height of cool — and sports, of course, were always played in the nude. As one can imagine, ancient genital surgery of this nature was excruciating and potentially fatal. But the boys did not want to miss out.

I learned this fun fact in seventh grade, from a Hebrew school teacher who was instructing me and my pubescent classmates about the Hanukkah story — about how Hellenistic tyranny gained a foothold in ancient Judea with the help of Jews who wanted to fit in. This teacher seemed overly jazzed to talk about penises with a bunch of adolescents, and I suspected he'd made the whole thing up. At home, I decided to fact-check. I pulled a dusty old book off my parents' shelf, Volume One of Heinrich Graetz's opus History of the Jews.

In nineteenth-century academic prose, Graetz explained how the leaders of Judea demonstrated their loyalty to the occupying Hellenistic empire by building a gymnasium and recruiting teenage athletes — only to discover that "in uncovering their bodies they could immediately be recognized as Judeans. But were they to take part in the Olympian games, and expose themselves to the mockery of Greek scoffers? Even this difficulty they evaded by undergoing a painful operation, so as to disguise the fact that they were Judeans." Their Zeus-worshipping overlords were not fooled. Within a few years, the regime outlawed not only circumcision but all of Jewish religious practice, and put to death anyone who didn't comply.

Sometime after that, the Maccabees showed up. That's the part of the story we usually hear.

Those ancient Jewish teenagers were on my mind that Hanukkah when Ala came to tell me about her father's terrifying life, because I sensed that something profound united them — something that doesn't match what we're usually taught about what bigotry looks or feels like. It doesn't involve "intolerance" or "persecution," at least not at first. Instead, it looks like the Jews themselves are choosing to reject their own traditions. It is a form of weaponized shame.

Two distinct patterns of antisemitism can be identified by the Jewish holidays that celebrate triumphs over them: Purim and Hanukkah. In the Purim version of antisemitism, exemplified by the Persian genocidal decrees in the biblical Book of Esther, the goal is openly stated and unambiguous: Kill all the Jews. In the Hanukkah version of antisemitism, whose appearances range from the Spanish Inquisition to the Soviet regime, the goal is still to eliminate Jewish civilization. But in the Hanukkah version, this goal could theoretically be accomplished simply by destroying Jewish civilization, while leaving the warm, de-Jewed bodies of its former practitioners intact.

For this reason, the Hanukkah version of antisemitism often employs Jews as its agents. It requires not dead Jews but cool Jews: those willing to give up whatever specific aspect of Jewish civilization is currently uncool. Of course, Judaism has always been uncool, going back to its origins as the planet's only monotheism, featuring a bossy and unsexy invisible God. Uncoolness is pretty much Judaism's brand, which is why cool people find it so threatening — and why Jews who are willing to become cool are absolutely necessary to Hanukkah antisemitism's success. These "converted" Jews are used to demonstrate the good intentions of the regime — which of course isn't antisemitic but merely requires that its Jews publicly flush thousands of years of Jewish civilization down the toilet in exchange for the worthy prize of not being treated like dirt, or not being murdered. For a few years. Maybe.

I wish I could tell the story of Ala's father concisely, compellingly, the way everyone prefers to hear about dead Jews. I regret to say that Benjamin Zuskin wasn't minding his own business and then randomly stuffed into a gas chamber, that his thirteen-year-old daughter did not sit in a closet writing an uplifting diary about the inherent goodness of humanity, that he did not leave behind sad-but-beautiful aphorisms pondering the absence of God while conveniently letting his fellow humans off the hook. He didn't even get crucified for his beliefs. Instead, he and his fellow Soviet Jewish artists — extraordinarily intelligent, creative, talented, and empathetic adults — were played for fools, falling into a slow-motion psychological horror story brimming with suspense and twisted self-blame. They were lured into a long game of appeasing and accommodating, giving up one inch after another of who they were in order to win that grand prize of being allowed to live.

Spoiler alert: they lost.

~~~~~~~~~~~~~~~~~~~~~~~~

I was in graduate school studying Yiddish literature, itself a rich vein of discussion about such impossible choices, when I became interested in Soviet Jewish artists like Ala's father. As I dug through library collections of early-twentieth-century Yiddish works, I came across a startling number of poetry books illustrated by Marc Chagall. I wondered if Chagall had known these Yiddish writers whose works he illustrated, and it turned out that he had. One of Chagall's first jobs as a young man was as an art teacher at a Jewish orphanage near Moscow, built for children orphaned by Russia's 1919-1920 civil war pogroms. This orphanage had a rather renowned faculty, populated by famous Yiddish writers who trained these traumatized children in the healing art of creativity.

It all sounded very lovely, until I noticed something else. That Chagall's art did not rely on a Jewish language — that it had, to use that insidious phrase, "universal appeal" — allowed him a chance to succeed as an artist in the West. The rest of the faculty, like Chagall, had also spent years in western Europe before the Russian revolution, but they chose to return to Russia because of the Soviet Union's policy of endorsing Yiddish as a "national Soviet language." In the 1920s and 30s, the USSR offered unprecedented material support to Yiddish culture, paying for Yiddish-language schools, theaters, publishing houses, and more, to the extent that there were Yiddish literary critics who were salaried by the Soviet government. This support led the major Yiddish novelist Dovid Bergelson to publish his landmark 1926 essay "Three Centers," about New York, Warsaw, and Moscow as centers of Yiddish-speaking culture, asking which city offered Yiddish writers the brightest prospects. His unequivocal answer was Moscow, a choice that brought him back to Russia the following year, where many other Jewish artists joined him.

But Soviet support for Jewish culture was part of a larger plan to brainwash and coerce national minorities into submitting to the Soviet regime — and for Jews, it came at a very specific price. From the beginning, the regime eliminated anything that celebrated Jewish "nationality" that didn't suit its needs. Jews were awesome, provided they weren't practicing Jewish religion, studying traditional Jewish texts, using Hebrew, or supporting Zionism. The Soviet Union thus pioneered a versatile gaslighting slogan, which it later spread through its client states in the developing world and which remains popular today: it was not antisemitic, merely anti-Zionist. (In the process of not being antisemitic and merely being anti-Zionist, the regime managed to persecute, imprison, torture, and murder thousands of Jews.) What's left of Jewish culture once you surgically remove religious practice, traditional texts, Hebrew, and Zionism? In the Soviet Empire, one answer was Yiddish, but Yiddish was also suspect for its supposedly backwards elements. Nearly 15 percent of its words came directly from biblical and rabbinic Hebrew, so Soviet Yiddish schools and publishers, under the guise of "simplifying" spelling, implemented a new and quite literally antisemitic spelling system that eliminated those words' Near Eastern roots. Another answer was "folklore" — music, visual art, theater, and other creative work reflecting Jewish life — but of course most of that cultural material was also deeply rooted in biblical and rabbinic sources, or reflected common religious practices like Jewish holidays and customs, so that was treacherous too.

No, what the regime required were Yiddish stories that showed how horrible traditional Jewish practice was, stories in which happy, enlightened Yiddish-speaking heroes rejected both religion and Zionism (which, aside from its modern political form, is also a fundamental feature of ancient Jewish texts and prayers traditionally recited at least three times daily). This de-Jewing process is clear from the repertoire of the government-sponsored Moscow State Yiddish Theater, which could only present or adapt Yiddish plays that denounced traditional Judaism as backward, bourgeois, corrupt, or even more explicitly — as in the many productions involving ghosts or graveyard scenes — as dead. As its actors would be, soon enough.

The Soviet Union's destruction of Jewish culture commenced, in a calculated move, with Jews positioned as the destroyers. It began with the Yevsektsiya, committees of Jewish Bolsheviks whose paid government jobs from 1918 through 1930 were to persecute, imprison, and occasionally murder Jews who participated in religious or Zionist institutions — categories that included everything from synagogues to sports clubs, all of which were shut down and their leaders either exiled or "purged." This went on, of course, until the regime purged the Yevsektsiya members themselves.

The pattern repeated in the 1940s. As sordid as the Yeveksiya chapter was, I found myself more intrigued by the undoing of the Jewish Antifascist Committee, a board of prominent Soviet Jewish artists and intellectuals established by Joseph Stalin in 1942 to drum up financial support from Jews overseas for the Soviet war effort. Two of the more prominent names on the JAC's roster of talent were Solomon Mikhoels, the director of the Moscow State Yiddish Theater, and Ala's father Benjamin Zuskin, the theater's leading actor. After promoting these people during the war, Stalin decided these loyal Soviet Jews were no longer useful, and charged them all with treason. He had decided that this committee he himself created was in fact a secret Zionist cabal, designed to bring down the Soviet state. Mikhoels was murdered first, in a 1948 hit staged to look like a traffic accident. Nearly all the others — Zuskin and twelve more Jewish luminaries, including the novelist Dovid Bergelson, who had proclaimed Moscow as the center of the Yiddish future — were executed by firing squad on August 1952.

Just as the regime accused these Jewish artists and intellectuals of being too "nationalist" (read: Jewish), today's long hindsight makes it strangely tempting to read this history and accuse them of not being "nationalist" enough — that is, of being so foolishly committed to the Soviet regime that they were unable to see the writing on the wall. Many works on this subject have said as much. In Stalin's Secret Pogrom, the indispensable English translation of transcripts from the JAC "trial," Russia scholar Joshua Rubenstein concludes his lengthy introduction with the following:

As for the defendants at the trial, it is not clear what they believed about the system they each served. Their lives darkly embodied the tragedy of Soviet Jewry. A combination of revolutionary commitment and naive idealism had tied them to a system they could not renounce. Whatever doubts or misgivings they had, they kept to themselves, and served the Kremlin with the required enthusiasm. They were not dissidents. They were Jewish martyrs. They were also Soviet patriots. Stalin repaid their loyalty by destroying them.

This is completely true, and also completely unfair. The tragedy — even the term seems unjust, with its implied blaming of the victim — was not that these Soviet Jews sold their souls to the devil, though many clearly did. The tragedy was that integrity was never an option in the first place.

~~~~~~~~~~~~~~~~~~~~~~~~

Ala was almost thirteen years old when her father was arrested and until that moment she was immersed in the Soviet Yiddish artistic scene. Her mother was also an actor in the Moscow State Yiddish Theater; her family lived in the same building as the murdered theater director Solomon Mikhoels, and moved in the same circles as other Jewish actors and writers. After seeing her parents perform countless times, Ala had a front-row seat to the destruction of their world. She attended Mikhoel's state funeral, heard about the arrest of the brilliant Yiddish author Der Nister from an actor friend who witnessed it from her apartment across the hall, and was present when secret police ransacked her home in conjunction with her father's arrest. In her biography, The Travels of Benjamin Zuskin, she provides for her readers what she gave me that morning in Jerusalem: an emotional recounting, with the benefit of hindsight, of what it was really like to live through the Soviet Jewish nightmare.

It's as close as we can get, anyway. Her father Benjamin Zuskin's own thoughts on the topic are available only from state interrogations extracted under unknown tortures. (One typical interrogation document from his three and a half years in the notorious Lubyanka Prison announces that the day's interrogation lasted four hours, but the transcript is only half a page long — leaving to the imagination how the interrogator and interrogatee may have spent their time together. Suffice it to say that another JAC detainee didn't make it to trial alive.) His years in prison began when he was arrested in December of 1948 in a Moscow hospital room, where he was being treated for chronic insomnia brought on by the murder of his boss and career-long acting partner, Mikhoels; the secret police strapped him to a gurney and carted him to prison in his hospital gown while he was still sedated.

But in order to truly appreciate the loss here, one needs to know what was lost — to return to the world of the great Yiddish writer Sholem Aleichem, the author of Benjamin Zuskin's first role on the Yiddish stage, in a play fittingly titled It's a Lie!

Benjamin Zuskin's path to the Yiddish theater and later to the Soviet firing squad began in a shtetl comparable to those immortalized in Sholem Aleichem's work. Zuskin, a child from a traditional family who was exposed to theater only through traveling Yiddish troupes and clowning relatives, experienced that world's destruction: his native Lithuanian shtetl, Ponievezh, was among the many Jewish towns forcibly evacuated during the First World War, catapulting him and hundreds of thousands of other Jewish refugees into modernity. He landed in Penza, a city with professional Russian theater and Yiddish amateur troupes. In 1920, the Moscow State Yiddish Theater opened, and by 1921, Zuskin was starring alongside Mikhoels, the theater's leading light.

In the one acting class I have ever attended, I learned only one thing: acting isn't about pretending to be someone you aren't, but rather about emotional communication. Zuskin, who not only starred in most productions but also taught in the theater's acting school, embodied the concept. His very first audition was a one-man sketch he created, consisting of nothing more than a bumbling old tailor threading a needle — without words, costumes, or props. It became so popular that he performed it to entranced crowds for years. This physical artistry animated his every role. As one critic wrote, "Even the slightest breeze and he is already air-bound."

Zuskin specialized in playing figures like the Fool in King Lear — as his daughter puts it in her book, characters who "are supposed to make you laugh, but they have an additional dimension, and they arouse poignant reflections about the cruelty of the world." Discussing his favorite roles, Zuskin once explained that "my heart is captivated particularly by the image of the person who is derided and humiliated, but who loves life, even though he encounters obstacles placed before him through no fault of his own."

The first half of Ala's book seems to recount only triumphs. The theater's repertoire in its early years was largely adopted from classic Yiddish writers like Sholem Aleichem, I. L. Peretz, and Mendele Moykher Seforim. The book's title is drawn from Zuskin's most famous role: Senderl, the Sancho Panza figure in Mendele's Don Quixote-inspired work, Travels of Benjamin the Third, about a pair of shtetl idiots who set out for the Land of Israel and wind up walking around the block. These productions were artistically inventive, brilliantly acted, and played to packed houses both at home and on tour. Travels of Benjamin the Third, in a 1928 review typical of the play's reception, was lauded by the New York Times as "one of the most originally conceived and beautifully executed evenings in the modern theater."

One of the theater's landmark productions, I. L. Peretz's surrealist masterpiece At Night in the Old Marketplace, was first performed in 1925. The play, set in a graveyard, is a kind of carnival for the graveyard's gathered ghosts. Those who come back from the dead are misfits like drunks and prostitutes, and also specific figures from shtetl life - yeshiva idlers, synagogue beadles, and the like. Leading them all is a badkhn, or wedding jester — divided in this production into two mirror-characters played by Mikhoels and Zuskin — whose repeated chorus among the living corpses is "The dead will rise!" "Within this play there was something hidden, something with an ungraspable depth," Ala writes, and then relates how after a performance in Vienna, one theatergoer came backstage to tell the director that "the play had shaken him as something that went beyond all imagination." The theatergoer was Sigmund Freud.

As Ala traces the theater's trajectory toward doom, it becomes obvious why this performance so affected Freud. The production was a zombie story about the horrifying possibility of something supposedly dead (here, Jewish civilization) coming back to life. The play was written a generation earlier as a Romantic work, but in the Moscow production, it became a means of denigrating traditional Jewish life without mourning it. That fantasy of a culture's death as something compelling and even desirable is not merely reminiscent of Freud's death drive, but also reveals the self-destructive bargain implicit in the entire Soviet-sponsored Jewish enterprise. In her book, Ala beautifully captures this tension as she explains the badkhn's role: "He sends a double message: he denies the very existence of the vanishing shadow world, and simultaneously he mocks it, as if it really does exist."

This double message was at the heart of Benjamin Zuskin's work as a comic Soviet Yiddish actor, a position that required him to mock the traditional Jewish life he came from while also pretending that his art could exist without it. "The chance to make fun of the shtetl which has become a thing of the past charmed me," he claimed early on, but later, according to his daughter, he began to privately express misgivings. The theater's decision to stage King Lear as a way of elevating itself disturbed him, suggesting as it did that the Yiddish repertoire was inferior. His own integrity came from his deep devotion to yiddishkayt, a sense of essential and enduring Jewishness, no matter how stripped-down that identity had become. "With the sharp sense of belonging to everything Jewish, he was tormented by the theater forsaking its expression of this belonging," his daughter writes. Even so, "no, he could not allow himself to oppose the Soviet regime even in his thoughts, the regime that gave him his own theater, but 'the heart and the wit do not meet.'"

In Ala's memory, her father differed from his director, partner, and occasional rival, Mikhoels, in his complete disinterest in politics. Mikhoels was a public figure as well as performer, and his leadership of the Jewish Antifascist Committee, while no more voluntary than any public act in a totalitarian state, was a role he played with gusto, traveling to America in 1943 and speaking to thousands of American Jews to raise money for the Red Army in their battle against the Nazis. Zuskin, on the other hand, was on the JAC roster, but seems to have continued playing the fool. According to both his daughter and his trial testimony, his role in the JAC was almost identical to his role on a Moscow municipal council, limited to playing chess in the back of the room during meetings.

In Jerusalem, Ala told me that her father was "a pure soul." "He had no interest in politics, only in his art," she said, describing his acting style as both classic and contemporary, praised by critics for its timeless qualities that are still evident today in his film work. But his talent was the most nuanced and sophisticated thing about him. Offstage, he was, as she put it in Hebrew, a "tam" — a biblical term sometimes translated as fool or simpleton, but which really means an innocent. (It is the first adjective used to describe the title character in the Book of Job.) It is true that in trial transcripts, Zuskin comes out looking better than many of his co-defendants by playing dumb instead of pointing fingers. But was this ignorance, or a wise acceptance of the futility of trying to save his skin? As King Lear's Fool put it, "They'll have me whipp'd for speaking true; thou'lt have me whipp'd for holding my peace." Reflecting on her father's role as a fool named Pinia in a popular film, Ala writes in her book, "When I imagine the moment when my father heard his death sentence, I see Pinia in close-up . . . his shoulders slumped, despair in his appearance. I hear the tone that cannot be imitated in his last line in the film — and perhaps also the last line in his life? — 'I don't understand anything.'"

Yet it is clear that Zuskin deeply understood how impossible his situation was. In one of the book's more disturbing moments, Ala describes him rehearsing for one of his landmark roles, that of the comic actor Hotsmakh in Sholem Aleichem's Wandering Stars, a work whose subject is the Yiddish theater. He had played the role before, but this production was going up in the wake of Mikhoel's murder. Zuskin was already among the hunted, and he knew it. As Ala writes:

One morning — already after the murder of Mikhoels — I saw my father pacing the room and memorizing the words of Hotsmakh's role. Suddenly, in a gesture revealing a hopeless anguish, Father actually threw himself at me, hugged me, pressed me to his heart, and together with me, continued to pace the room and to memorize the words of the role. That evening I saw the performance . . . "The doctors say that I need rest, air, and the sea . . . For what . . . without the theater?" [Hotsmakh asks], he winds the scarf around his neck — as though it were a noose. For my father, I think those words of Hotsmakh were like the motif of the role and — I think — of his own life.

~~~~~~~~~~~~~~~~~~~~~~~~

Describing the charges levied against Zuskin and his peers is a degrading exercise, for doing so makes it seem as though these charges are worth considering. They are not. It is at this point that Hanukkah antisemitism transformed, as it inevitably does, into Purim antisemitism. Here Ala offers what hundreds of pages of state archives can't, describing the impending horror of the noose around one's neck.

Her father stopped sleeping, began receiving anonymous threats, and saw that he was being watched. No conversation was safe. When a visitor from Poland waited near his apartment building to give him news of his older daughter Tamara (who was then living in Warsaw), Zuskin instructed the man to walk behind him while speaking to him and then to switch directions, so as to avoid notice. When the man asked Zuskin what he wanted to tell his daughter, Zuskin "approached the guest so closely that there was no space between them, and whispered in Yiddish, 'Tell her that the ground is burning beneath my feet.'" It is true that no one can know what Zuskin or any of the other defendants really believed about the Soviet system they served. It is also true — and far more devastating — that their beliefs were utterly irrelevant.

Ala and her mother were exiled to Kazakhstan after her father's arrest, and learned of his execution only when they were allowed to return to Moscow in 1955. By then, he had already been dead for three years.

In Jerusalem that morning, Ala told me, in a sudden private moment of anger and candor, that the Soviet Union's treatment of the Jews was worse than Nazi Germany's. I tried to argue, but she shut me up. Obviously the Nazi atrocities against Jews were incomparable, a fact Ala later acknowledged in a calmer mood. But over four generations, the Soviet regime forced Jews to participate in and internalize their own humiliation - and in that way, Ala suggested, they destroyed far more souls. And they never, ever, paid for it.

"They never had a Nuremberg," Ala told me that day, with a quiet fury. "They never acknowledged the evil of what they did. The Nazis were open about what they were doing, but the Soviets pretended. They lured the Jews in, they baited them with support and recognition, they used them, they tricked them, and then they killed them. It was a trap. And no one knows about it, even now. People know about the Holocaust, but not this. Even here in Israel, people don't know. How did you know?"

~~~~~~~~~~~~~~~~~~~~~~~~

That evening I went out to the Old City again, to watch the torches being lit at the Western Wall for the second night of Hanukkah. I walked once more through the Jewish Quarter, where the oil lamps, now each bearing one additional flame, were displayed outside every home, following the tradition to publicize the Hanukkah miracle — not merely the legendary long-lasting oil, but the miracle of military and spiritual victory over a coercive empire, the freedom to be uncool, the freedom not to pretend. Somewhere nearby, deep underground, lay the ruins of the gymnasium where de-circumcised Jewish boys once performed naked before approving crowds, stripped of their integrity and left with their private pain. I thought of Benjamin Zuskin performing as the dead wedding jester, proclaiming, "The dead will rise!" and then performing again in a "superior" play, as King Lear's Fool. I thought of the ground burning beneath his feet. I thought of his daughter, Ala, now an old woman, walking through Jerusalem.

I am not a sentimental person. As I returned to the stone house that night, along the streets lit by oil lamps, I was surprised to find myself crying.

[isagrimorie]

Because the whole Tuvix wank is rearing its head every week on Trek forums, I finally decided to rewatch this episode. I mostly avoided it because I am So Tired of the wank and how it's been relitigated for YEARS.

I was over it when it first popped up and I was even more over it with the way it's used as a bludgeon to promote 'psycho Janeway'.

But what's left out in the discussions is Kes's part in all of this, from the jump, Kes was troubled with the merging of Neelix and Tuvok, and anytime Tuvix tried to make advances, she just kept getting more uncomfortable.

(When Tuvix unconsciously touched Kes's shoulder, it looked like she had to consciously not flinch.)

To Tuvix's credit, he did give Kes space and respected her wishes but she was not happy with the whole merge because her relationship with Neelix and Tuvok is different.

We don't see the other people grieve but we see Kes's grief and confusion, which was shared by Janeway. But also, the moment the EMH had a solution to separate the two people in Tuvix, Harry jumped at the chance.

And he's already spent weeks with Tuvix.

The irony is that Janeway was coming around to thinking of Tuvix as an individual but the cure presented itself, but also as the Ship's Captain she has an obligation to care for her crew and absent or not that meant advocating for the two voices who couldn't speak up: Tuvok and Neelix.

Kes was the deciding factor. Kes made her plea to separate Neelix and Tuvok.

Kes was the biggest reason why Janeway decided to separate Tuvok from Neelix.

It was such a cop-out from the Doctor that he refused to do the procedure he made and pioneered. And forced Janeway to execute it instead.

Janeway is clearly not happy about the decision and she's caught between a rock and a hard place.

In Nothing Human Janeway verbalizes it.

"Any consequences of this decision will be my responsibility. Dismissed."

Janeway's constantly put into a wheelhouse of trolley problems, as the only high-ranking Starfleet officer, she is the final authority. In Nothing Human everyone is locked in an endless debate about the morality of using the Cardassians' methods to save B'Elanna's life. Meanwhile, the clock was running down to zero and B'Elanna could have died more.

(Honestly, the story should have been more B'Elanna, Doctor, and Janeway-centric than it was. Nothing Human is a weird episode. Especially since Seven was barely in it and seems to be the Acting Chief Engineer -- amusingly enough because the writers thought they killed Joe Carey between s2 and 3. Alas, poor Vorik, he's not getting any promotions either).

TLDR: Janeway is constantly living through what the Doctor of Doctor Who is living through. Or as the 12th Doctor once said: "Sometimes the only choices you have are bad ones, but you still have to choose."

[xsleepinggoodx]

Heloooo! could you make some hcs on bonten? on mikey, ran, rin, sanzu, koko? separate? Thank youuu!

Hi queen I AM SO SORRY FOR DELAYING THIS! I had so much to do for school but here it is finally!!❤️Thank you so much for asking!

I love bonten sm like it really only had like at least 4 panels but damn it stole the whole show💀

I don’t know if you wanted me to have some nsfw or not so I just wrote fluff, if you want me to make an NSFW please let me know 🙏 I will have no problem with writing it.

Bonten X Reader

!She/her pronouns!

characters: Mikey, Ran, Rindou, Sanzu, and Kokonoi

WARNINS: drug abuse, E.D., murder, slight suggestive (for Ran obvi) angst, (Mikey :( )

Slight NSFW for Sanzu

………………………………………………….…………………………..

MANJIRO SANO (Mikey)

- I see a lot of writers writing bonten mikey as like heartless and completely cruel, especially to reader. I feel like he’d be stoic in public with you but behind closed doors, he’s on your lap, completely tender and soft with you.

- If you and him knew each other before, he begged you not to come with him when he was leaving before Takemitchi time-skipped, he wanted you to just forget about him and pretend he didn’t exist. But you just couldn’t. You were all he had. He couldn’t let you go. He’d miss you too much.

-if you guys met when he’s already in bonten, at first he’d be cold to you, like he’d be to anyone. But little by little he’d warm up to you.

-You’d probably be an executive there so he’d have you as his advisor instead of Takeomi. As you get closer to him, he’d definitely replace Sanzu with you. (Lmao poor sanzu)

-I just can’t picture Mikey sleeping around that much. Like he’d have a couple of women he slept with but he would be emotionally detached from anyone, well until he met you.

- has you always next to him in meetings, if you are sitting at a table, he’d have his hand on your thigh or holding your hand, it comforts him.

-When bonten is murdering hostages and Sanzu is laughing maniacally shooting them, Mikey prefers you to not attend those times, he specifically asked you to stay back. He doesn’t want you seeing those moments. However if you are there, he’d ask you to at least talk to him to distract himself from all the violence going on.

-Kisses your cheek and does small gestures that really flutters your 💜 . Even if it’s subtle, he just always wants to feel your warmth.

- He really appreciates you and values you more than anything. He’d spend times with you and suddenly he’s 15 again, hanging out with his friends. It makes him feel bittersweet. But you’re always there to comfort him.

- I feel like he takes heavy drugs. He’d completely go berserk and mass murder anyone he sees due to his dark impulses so he’d definitely use it all in drugs, he’d truly try to stop if you ask him though. (Poor guy😭)

- The more you guys would spend time together, the more he grew attached to you. Trying so hard not to fall in love, only failing when he sees small things you do that make him feel…something. He hasn’t felt anything for a long time.

-He loves you more than anything. He’d be super protective of you and always be by your side, only asking the same for him, and you’d gladly do it.

………………………………………………………………………………

RAN HAITANI

- Ran is always, always flirting with you, trying to get a reaction from you, especially if you’re the stoic type.

- He’d purposely glide his hands on your waist if he’s walking behind you, try to trip you and play the hero prince charming and catch you. It will always end up with you huffing and sticking your cute nose in air and he finds it so adorable.

- before you guys are a thing, he slept with a lot of women. Some even call him a womanizer. He’s famous in the brothel they own for sleeping with all the women. But he has his eyes on someone else~

- Always asking you bizarre questions that are unrelated to any topics you were talking about prior, just to annoy you. If you actually answer he’d be surprised and ask more.

- You two along with Rindou do hostage murders together (I seriously don’t know what rich mafia people do so sorry😭) he’s always whistle when he sees you taking the lead and getting the job done.

- if you two are dating, he’d sometimes just push you against a wall in the rich hallways and make out with you or like discretely tease you buy touching your lower back trying to get past you or playing with your hair, anything to get a reaction from you.

- Behind all the flirting from Ran, he’s actually really sweet.

-If you’re really busy with Bonten paper work, and you haven’t eaten yet, he’ll immediately buy you lunch. He knows what you like, what you don’t, what to take out, etc. HE KNOWS IT ALL.

-He’s very observant himself and takes note of everything you talk about, say you were talking about a book you wanted to Koko or Rindou, he’d listen and he’d buy it. Presenting it to you a day later.

-He’s a hopeless romantic at heart so he’ll be very romantic with you. Loves so much, he’d didn’t even realize it until Rindou pointed it out.

- He’s so silly.

………………………………………………………………………………

RINDOU HAITANI

- Rindou is less flirtatious with you and more salty.

- I honestly imagine he has a similar personality as Tsukkishima from Haikyuu. He likes to mock and poke fun at you, his own way of getting reactions from you.

- Although under all this, he’s sweet and nice with you. He’d buy you things you didn’t even ask for, refusing to take it back.

-I honestly think that even though he’s rich-rich and you’d think he’d want a materialistic girlfriend, he actually prefers someone who’s more humble than he is. Someone who doesn’t care about that stuff. And that was really hard to find until he met you.

-He definitely has his fair share of experience ifykyk. But he doesn’t do that anymore now that he has you. He’s even willing to wait for you if you don’t want to do it yet.

-Very laid back, of. He has his mean moments with others but like Mikey he’s wrapped around your finger the more he gets to know you.

-he feels foolish from his own self when he hears you talking about your innocent, priceless dreams. He thinks about how good it is that he hears another perspective on life. Especially from you.

-He’s has more intuition than Ran so he can catch your mood in an instant.

- he’s a huge listener so he’ll listen with no problem if you’re talkative. He LOVES your voice and can hear you talk all day.

-He knows everything you like, even if you guys weren’t dating, I’d imagine he’d know what you like even before hand what you like.

-You two would have a haters to lovers kind of relationship. But he’d fall first❤️

-He’s very loving to you.

-Honestly one of my favorite characters from TR

……………………………..,..,,,………………………………………

SANZU HARUCHIYO

- crazy mf.

-But I love him and he’s highly misunderstood.

-Realistically, he’s a very bipolar guy, like it’d take a while for him to finally warm up to you since he idolizes and worships Mikey. But you’d definitely be his favorite the more he hangs out with you.

- He is very protective of you. Anyone who crossed you, consider them dead. He will make sure of that.

- He always puts a facade that he doesn’t care about you, but little by little that mask breaks. He would not verbally show his liking towards you but his facial features very much tells you how he feels about you.

-he worships the ground you step on. As he thinks Mikey is a king. You’re his queen and he’s willing to do whatever it takes to satisfy you.

- If he sees you talking to a man that’s not bonten executives, he immediately stands next to you and removes you from the conversation, saying a lie like “we have something to do”

-when you’d ask him why he did that he just leave you with, “you’re not allowed” with no reasoning at all.

-He does very tiny things to show his feelings for you but as I said, he’s very difficult to love someone that isn’t Mikey (NO SHIP TRUST ME, tjsi is just from the manga since Sanzu refers to Mikey as a king.)

-I feel like he has very crazy thoughts, like his mind is a prison from how much he went through. (Like come on, watching his big brother figure drown himself and then watching the same thing happening to Mikey? So traumatic, on top of that Takeomi is so unfair to him. :()

- As we see from the manga, he takes a lot of drugs to make him forget and get high. He tries to chase the same feeling, but then he finds you so basically, you’re his new drug.

-Sex is another drug to him, he still does it when you’re around but lately, he’s been imagining you while fing another prostitute from the brothels. Searching for your same features and having the poor girl, ass up as he pounds her from behind. Thinking of you. Take that as you will.

- he’s severely touched starved and he doesn’t he know it, so when he realizes he falls for you, he wants your comfort but is too prideful to say so. He suffers alone where all he wants is to be in your arms :(

……………………………………………………………………………..

KOKONOI HAJIME

- Kokonoi buys things for you, things that you didn’t even ask for. He’s like a mom. He buys dresses and clothes for you and wants you to try them on, giving him a little fashion show. Any dress that you both don’t like gets returned.

- I honestly picture him with a girl who is very priceless. Like opposites attract he’s materialistic and you’re more cheap or not attracted to what money gives you. I feel like that type of person would help him break this obsessive thought about wanting money.

- you helped him get over Akane. So now he’s obsessed over you. Not so much as Sanzu but he just likes to be in your presence.

- Kokos type of girl is someone who is witty, intelligent, and cunning. He can’t stand bimbo girls. He also needs someone who’s sweet. He has a habit of overworking himself, he needs someone to burden his burdens with him.

- He buys you things even if you refuse. He has this need to spoil you, especially if you grew up with the bare minimum or below.

- He would say he doesn’t think of you as a love but does things that literally mean more than friends. He can’t help it.

—————————————————————————-

That’s all for now, let me know if you want the rest of the bonten members.

And again I AM SO SORRY RESPONDING SO LATE. I was so caught up in school!

I’d HIGHLY recommend checking out Meraki_Unwritten on Wattpad. Her stories are so SO GOOD lIKE I HAVE A CORE MEMORY READING HER STORIES IN SUMMER OF 2023. Please check her out! This is important because I’m going on Rindou’s personality based off her book “Dollface” a RINDOU X READER book! she has a Mikey one, Sanzu, Ran, Rindou. They are all finished, the Mikey one is on the road to finishing! She had a Kakucho and Izana one but it’s unfortunately discontinued since she’s graduating college, But I am happy for her! She’s such a good writer and her books will make you happy, sad, etc. SHE IS SUCH A GOOD WRITER AND IM HER BIGGEST FAN. IF SHE HAS ZERO FANS, IM DEAD!

[shanastoryteller]

Happy pride! Can I request god!percy or dealers choice

Aziraphale is a hostage and he doesn't even know it.

There must always be a Supreme Archangel in Heaven.

The Ineffable Plan is shit and it was shit from the start and Crowley doesn't feel a lick of guilt in the part he played in destroying it. Humanity deserved a fighting chance, after all, and they'd made good on it - Adam, a boy after his own heart, had made the choice to save them all.

Crowley had not created the universe only to watch Her destroy it. That was always Her problem, really. Great big ideas and piss poor execution. Which is why She'd give him a long list of impossible ridiculous things and he would work out how to make that make sense in a world where sense is a thing that had to be made.

Eden was a trial run, one of many. Making people in Her own image was proving difficult, because She didn't know what She looked like and had always been resistant to hearing Herself described.

She'd made Adam in the angel's image, and Eve, and it looked like She'd finally made a successful prototype.

Then they'd fought over what was to be made of Earth, of the people, of all the things he'd made in the vastness of space. If there's no people to tilt their heads back and look at it, what's the point of making it? If galaxies exist, but they evoke no wonder, are they even there?

He had decided to make things difficult. He had decided that if humanity was going to go toe to well, metaphorical toe with Her, then they needed an edge.

They needed Knowledge.

His sentencing had been swift and unanimous and he wasn't going to be a 38th level recording angel scrivener, thank you very much. They'd talked and talked about how terrible the PR would be, over another prince of Heaven falling to Hell, and how difficult he was making everything and how extremely bitter they were that he, as a writer in the Book of Life, could not be erased from it without also erasing everything he'd done, which was rather a lot. Pages eleven to three million six hundred and two, to be exact.

So he had not fallen, precisely, so much as sauntered vaguely downwards.

Which he felt was rather obvious, and yet no one seemed to notice, the same way he was able to march back into Heaven with a clothing change. He was impossible, and so he could not exist, and so he did not.

He had wings and he could perform miracles indistinguishable from an angel's and yet no one ever suspected a thing.

He'd though that maybe he would be made when he walked onto holy ground to bail out Aziraphale, but luckily angels don't often seen demons walking into churches. Usually because that's about when they catch fire.

Which suited him just fine, actually. It had all worked out, more or less, until now.

Saraqael had not forgotten him and didn't even try and tell him off for walking right into Heaven. Michael and Uriel's silence had been odder, but he'd had more important things to focus on at the time.

Now he understands why.

They want a new Plan and She isn't giving them one.

The Metatron knows there is one angel who worked alongside Her in the universe's creation. One angel who successfully interfered in Her plans and knocked things astray. One angel who's hands rested besides Hers on the Book of Life.

They don't want Aziraphale to lead.

They want the Archangel Raphael back in his rightful place, the Supreme Archangel, and they want him to once more muck about in Her plans and give them the war they're craving.

And they know going through Aziraphale is their only chance, the one person that could tempt Crowley into taking up his old name and his old mantel and stepping foot once more in blasted Heaven with his halo around his head rather than tattooed along his face.

They have Aziraphale.

Now Crowley can only wait and hope that he figures out the truth in time, before he's forced to defy Aziraphale like he once defied Her.

[valtsv]

sorry if you’ve read this before and i just haven’t seen you post about it, but the book “hell followed with us” by andrew joseph white seems right up your alley

i need some kind of faq with a section where i explain that i consider andrew joseph white to be a poor writer except when it comes to describing excesses of body horror and gore because people keep suggesting hell followed with us to me and i'm sorry but his books are not good. aside from the vivid descriptions mentioned above they're incredibly devoid of compelling narratives, fleshed out characters or immersive worldbuilding. the guy can come up with some amazing concepts for a story, but his ability to execute them is consistently disappointing. i'm glad he's making money and having fun pursuing his creative passions but his stuff just does not appeal to me at all and frankly makes a hater out of me.

[lullabyes22-blog]

As Arcane S2 rolls around the corner, please remember...

That however beautiful this animated endeavor is, it remains the property of corporate giants like Riot, and streaming platforms like Netflix - both of which are notorious for

a) jumping that shark on successful premises due to a superabundance of bad suggestions trickling down to the creative depts in the form of Insipid Emails from Corporate

b) milking successful premises past the point of exhaustion due to their own success and leaving their twitching, feeble, barely-breathing remains to die an unceremonious death in the shadows of media obscurity, and

c) replacing their successful creators with less creative ones to save costs, because they don't understand the value of the creative input behind the show's success.

Please consider supporting the mobilization of workers/creatives on all shows - not just Arcane - to stop corporate meddling in the form of budget cuts and unfair wages, while their CEOs + board members continue to take home billions.

Please consider both petitioning and demanding that platforms like Netflix grow a spine and phase out the 'all episodes released at once' model, which actively harms the actors, animators, writers, costume designers, set departments, VFX experts and everyone else that worked hard on the series, by cheating them out of the right to receive paychecks and residuals over the lifespan of the show, instead of the cheapened instant gratification of a single deposit.

Please consider calling out Netflix on the need to have more episodes released per season on their shows, so writers, voice-actors, sound engineers and many others will have a steady stream of payments instead of an unpredictable one, and to give the characters, and the writers who wrote them, some breathing space instead of cramming all the plot points into 9 or 10 episodes.

Please remember that the creatives are often the public face of a franchise, and are often thrown into the line of fire when narrative decisions are made behind the scenes - decisions that they do not necessarily agree with, and are often not in control of, but are forced to sell anyway, lest they be replaced.

Please remember that hateful, threatening, and abusive behavior is not what we should be about as fans - and that the creatives who work on these shows/projects often read our comments, and feel the weight of our expectations and emotions.

Please consider supporting your creatives and showrunners as individuals, not just as "the person who makes X".

Please consider getting LOUD AF on Twitter/X about the bungling of character arcs via hashtags - and directing the vitriol @ the company producing the show, not the poor creators - because corporate runs numbers on that kind of stuff, and if there's a perceived furor about certain narrative directions/plotlines, they're less likely to ignore it and more likely to cave, because of the bottom line.

Please remember that a majority of dismal creative choices have come as a result of corporate/big tech pushing the button on creative decisions - and that, in order for us to be heard, we have to use our collective voice to push back, and keep pushing back until the message sinks in.

Please remember that beyond protecting a beloved series, it's about fighting to protect the people behind it, the same way they fought for the integrity of the story, and the characters, in their telling.

And, while we're at it, please support people within fandom spaces - like fanartists and fanfic writers - who share their labor of love for free, and don't get paid a cent, except in goodwill and appreciation.

Remember that fandoms are, first and foremost, a community.

It is not about content, but people.

Let's be good to each other, and to the creatives, and keep fighting for them to be treated well by the companies and executives who make money off their labor, and profit off our love.

<3

Some sources for funding. Feel free to add more.

The Animator Dormitory Project 2023

Grants for Writers in Need

Pen America

Entertainment Community

[hayatheauthor]

How To Write And Create A Subplot

A subplot is an essential aspect of any book. It helps drive your story forward and hook your readers in with a compelling narrative. A good subplot raises the stakes for the main character by introducing side characters, creating plot twists, adding another dimension to the story or revealing information from the past or future. 

However, if executed incorrectly subplots can overshadow your main plot and deviate from the heart of your story. Unsure how to create and execute a subplot? Here are some helpful tips to get you started! 

Why Are Subplots Important? 

A subplot is a narrative thread that supports the elements of your main plot. They often build conflict or shed light on a secondary character’s story. Subplots help you create multilevel narrative arcs and build complexity and depth. 

Your readers certainly don’t need to know what your antagonists were doing while the protagonist underwent secluded training, but adding this subplot builds tension, heightens the stakes and easily portrays personality traits and character flaws. This is especially true for genres such as SFF or horror where your characters often don’t know their enemy’s plan until the last moment. 

Subplots are often what make your readers connect with your characters and world-building. To put it simply, if Harry Potter was written without any subplots Rowling could have wrapped up the entire series in one book. 

Types Of Subplots 

It’s important for authors to branch out and implement more than one subplot in their manuscript. Sticking to one subplot can often result in a poor portrayal of an important moment or make an interesting arc fall flat. A simple way to avoid this is by combining different subplots when working on your manuscript. 

Mirror Subplots

Mirror subplots are essentially a subplot that mirrors what your protagonist or antagonist is going through in order to illuminate their personality traits and how they dealt with said situation. A great example of a mirror subplot would be Sophie and Agatha’s dynamics during the first book of A School For Good and Evil. 

Sophie and Agatha both start off with essentially the same introduction to characters like Tedros, the faculty, their roommates, etc. but while Sophie uses a negative outlook to harm those around her Agatha focuses more on a problem-solving approach. 

Contrasting Subplot 

A contrasting subplot is when a smaller character faces the same situation as your protagonist/antagonist but handles the situation differently. For example, a protagonist allowed themselves to be injured in order to safely evacuate a nearby citizen but an antagonist in a similar position used the civilian to shield themselves from the attack. 

Contrasting subplots cannot exist unless both characters undergo the same situation, which is why it is important to plan this subplot out before executing it. 

Complicating Subplot 

Complicating subplots are the most common subplot used in literature. They’re pretty self-explanatory and involve a secondary character creating complications for the protagonist. This can be as simple as your love interest’s sister spreading gossip about the protagonist, or as complicated as a grand political scheme created to turn the protagonist’s allies against them. 

Romantic Subplot 

Romantic subplots are often confused with romance written as a subgenre. The difference between the two is simple—a book with romance as a subgenre simply includes romantic themes, however, a romantic subplot uses romance to deviate from the main plot. 

For example, if your protagonist left their usual environment to attend an event with your love interest for a couple of chapters, that counts as a romantic subplot. However, a character simply having a romantic moment does not constitute as a subplot. 

Things To Keep In Mind When Creating A Subplot 

Now that I’ve divulged all of the facts associated with writing a subplot, here are some personal tips writers should take into consideration when creating a subplot. 

A Subplot Is NOT Its Own Story 

This is an important factor many writers often forget when creating a subplot. Subplots are meant to tie into the main plot and move the story forward. They are supposed to be an arc in your story, not a story of their own. 

Subplots are a great way to foreshadow events, drop hints, reveal character traits, etc. however, you need to consider whether or not your manuscript needs to have these characters. Your deuteragonist’s tragic past with the antagonist might make for a good story, but you could probably summarise those events within one chapter. 

The same can be said for past love interests, ex-friends, training arcs and backstory arcs for minor characters. These factors would all propel your plot forward, however, incorrectly implementing them can ruin your reader’s immersion and deviate from the actual plot. 

If you’re unsure whether or not your subplot should be included in your novel, take the time to consider these few questions: 

Does your subplot help your protagonist accomplish their main goal? Or does it drastically deviate them from their initial purpose? 

Does this subplot introduce a new character, a new side to an old character, or the ‘true’ version of a seemingly good/bad character? 

Would your character be unable to attain their long-term goal without this subplot? 

Would your world-building, character development, or a certain aspect of the main plot feel confusing if not for this subplot? 

If your answer to these was yes, then you probably have a valid subplot on your hands. If not, then you should genuinely consider questions and take into account why you want to include this subplot, to begin with. If your answer is something along the lines of ‘it has so and so scene/dynamic which I really enjoyed or think the readers will like’ then your manuscript would probably do better without that subplot. 

Create Conclusive Arcs 

Unlike your main plot, subplots are supposed to have a start and finish. They need to have a complete arc and some semblance of a conclusion. 

For example, if you were writing a contrasting subplot where the side character decided to abandon another character in order to save themselves, you need to consider what happens once you write out this scene. How do the other characters react to it? Does this impact your side character’s position in the story? And most importantly, how does this impact the rest of your plot? 

You need to know where you’re going to go with your story once you have concluded your subplot, and figure out a way to tie your subplot into your main plot. 

I hope this blog on how to create and execute a sub plot will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

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