#still need to develop his backstory

[friendlyeorzean]

so I realised I never really introduced my Warrior of Light..

this is Aren, a 23yo male Veena viera. he left his homeland because of a dream he had of the mother crystal and of eorzea. he doesn't recall his original name, and due to all that's gone on since he first arrived he remembers next to nothing of his life before eorzea.

he's madly in love with g'raha, loves teasing alisaie (who he considers his baby sister), and is just such a sweetheart. he's kind, caring and always willing to give people the chance to do and be better. urianger and thancred are like dads to him, especially thancred, and he calls them dad (urianger) and tiny dad (thancred).

after all he's been through, he's still such a sweet boy and he and raha deserve all the happiness in the world ;3;

[alien-bluez]

DNDADS oc for an upcoming campaign (setting in s2 i believe)

his name is Peepaw he has three grandkids and he runs this walmart like a battlefield

[protagonist-art]

"Uh- I'm Arnold. Bennett. It's profoundly difficult to get your lifes works and studies accepted if your name isn't... yes, oh! Are you a fan of moths, sir?"

NEW RDR2 OC!! a reclusive, clumsy entomologist and bug collector; cooped up in his study of uniformed clutter

[puhpandas]

I keep thinking about how on earth they would canonize ggy bc like. at this point if they have to sacrifice Gregory screentime of just him to make something we already know actually canon, I would rather just take the screentime, but on the other hand they have to canonize it if they want to do anything at all with that plotline, and that makes me wonder if theyll stick with it as canon in the games at all or just leave it as background knowledge if u read the book 😭

[tankgotstuckinthecircusgate]

i could draw anything but i decided to draw this. carlo and rocco in 1932 aka my headache

[darby-draws]

@marscats37 when did they realize they may or may not have a thing™ for each other ? (and who realized first ?)

Thanks for asking this Mars! It's a bit long, covers a lot of their history. (But it could have been longer!! I've edited it down perfectly of course.)

Gabriel and Felipe have a tricky past of being in a bit of a Will They Won't They situation. They've actually known each other for a while. (They met like 5 years before "current timeline" so thats probably 6 years before they are like actively Dating™)

Gabriel: 20, (not even he should have been at the club age. Wow.) Works at a laundromat, usually at odd hours. Not much confidence in himself, even if he seems put together don't trust him he's only 20 and faking it. I think his narcolepsy is making him fall asleep inconveniently pretty frequently at this era. (<- and that embarrasses him even though he can't help it) Coping badly with that. Felipe: 22. Works for his dad's pool business cleaning pools in the summer, but has the sidegig of being an unemployed sk8r boi. A simple man, please, no need to make relationships complicated! (<-doesn't know he knocked someone up a year ago.)

Felipe is actually the first of the core General Menace friend group that Gabe meets. They never really hung out or spent much time together directly. Felipe would loiter around Gabe's work sometimes and they liked seeing each other! (<- this is when Felipe thinks they could and should have A Thing™ together. Wishful thinking... His friends notice this and tease him for having the hots for Laundromat Boy.) They Almost hookup once in this early era. Unfortunately due to circumstances of Gabriel's narcolepsy and his easy-to-embarrass attitude, they don't hook up, because he fell asleep instead and then was, embarrassed. It's like, fine, no biggie? BUt he's in a weird headspace and he kinda brushes away the thought of potentially hooking up again. He's been goin through a lot lately, maybe this isn't the right time, etc etc. They both think "okay, so that's not happening..." (Unfortunate, but also they were really young its probably for the best)

Next time they get close to having A Thing™ together, is at the start "current" canon timeline. General Menace, the band that Gabriel is in has just formed. He's gained a bit of confidence over the years, so he invites Felipe to one of their shows. They can hang out after! ("hang out"? 👀 thinks Felipe) Yeah hang out. With the band. Unfortunately due to circumstances: Gabriel spending all his energy drumming, Sammy getting introduced to Felipe and hitting it off, and Gabe spending a little too much time with his roommate and ex Eve, they both think "this probably isn't happening, again". Sammy is very affectionate, like Felipe is. And Felipe likes things to be simple, no fuss. So since Gabe is not as direct with feelings, and Sammy literally Sat in His Lap. After JUST Meeting. There was an easy answer to where his attention was going tonight. WHOOPS~! Gabe immediately knows he should have been more direct he messed that up didn't he... But doesn't wanna cause drama with the band or his friends, if Sammy and Felipe like each other, hey mannnn that's great! Awesome! 😬 (<- This is his realization that they could have had A Thing™ going. But they don't so he's being brave with his feelings.) (He saw that they had chemistry together and feels like it would be Bad and Selfish of him to bring up his Own desires. But literally if he said something right away, Felipe woulda been right there with him, Sammy wouldn't have gotten so attached, etc. It would've been great! But! Don't tell him that, he didn't knowwww!!!)

On Sammy and Felipe's side of things, Sammy is super eager, clingy and in the happy honeymoon phase, and while Felipe is having lots of fun with this, he also thinks, hey we were just hooking up right, we weren't Dating™ right? so he does still keep his flirty attitude towards Gabriel. WHich is FINe says Sammy, who said that they aren't dating so of course he can still flirt with other people (<- didn't realize it would be within his own friend group)

Gabriel and Felipe hookup a few months after Sammy and Felipe started hooking up. (In a hotel room, with Sammy sleeping in the next bed over shh shh its fine.) It's fun, and Gabriel's finally like, opening up about his wants and desires! (FINALLY.) Felipe's directness and his own openness with wanting Gabe makes Gabe comfortable to get into that discussion. They start out casual too, just like with Sammy, no need to put much pressure on what this relationship is yet, just having fun with it!

They start getting more serious slowly over time, just hanging out more and getting comfier together. Felipe introduces Gabriel to his other friend group, and invites him to that groups Big Annual Camping Get Together, which is probably a pretty big turning point in the relationship. (His friends are surprised: "You're still into Laundromat Boy?!? WHOA!") At the same time, Sammy and Felipe have been weaning off their hookups together, they're on good terms and they really don't want it to get messy with complicated emotions. Sammy's happy for Gabe n Felipe, honest! (No matter how he phrases this he never sounds genuine, sometimes on purpose for comedic value because he knows he's clingy... but, really, he loves his friends, I promise. 🥺)

Over some time, the friend groups dynamic changes a bit. Sammy and Felipe become roommates together, Eve and Steph start dating and are talking about moving in together too. It gets Gabe thinking. "Hey... Why am I still living with my ex, and not my boyfriend now. Whoag. My boyfriend... 💞💖💘" And this starts the era of them like, ACTUALLY Dating, Living Together, etc etc.

It took idk six long years for them to explore some things, figure themselves out and mature, and finally get to this point. But they're finally getting things where they want!!! And I think that's awesome! 👍

[byanyan]

me two years ago: byan has always been a little bastard. awful nasty child who intentionally used their big doe eyes to manipulate people

me now: byan used to be a soft baby who just wanted love and acceptance, who slowly became hardened and selfish in order to survive when they realized they'd never get what they needed

[crehador]

this season’s astonishingly mediocre romcoms are making me realize shikimori was waaaaaay better than i originally gave it credit for

[bijoumikhawal]

I won't lie the jokes about how Dukat was actually calling Garak a homophobic slur when he said "tailor" like that are disquieting for a few reasons

[shidoukanae]

Paris Valerian but i redesign his dragon form for funsies based on how i see him=. Not sure if I like this design bc im not a fan of bulkier looking dragons but for Paris I think this works??

Some headcanons about this design:

has a bit of a bull-like look bc I associate bulls with persistence and madness and idk that fits Paris well so if Fian has a “fox” motif Paris gets a “bull” one for his dragon form 

His design is based a lot on how a stereotypically evil dragon would look???? Because imo OG!Paris reads as a massive antagonist and I think giving him a look that fits that vibe in his dragon form works!! Especially because he still is an antagonist in a way (though god does he not read that way lmao)

he’s stronger in his dragon form than Fian is and he uses this to his advantage to bully Fian around whenever they playfight as dragons. That said, it seems Paris is surprisingly gentle towards Fian in this form and never hurts him.

he uses this form to intimidate people into getting what he wants. He’s not used to getting retaliated against while in this form and quickly respects anyone who does so (read: Fian, Lyla and Helene)

the silver scales on his body can glow in the same way his eyes do. Typically, he keeps them dull-colored (see above) but if he feels a strong emotion of any sorts they’ll glow brightly without him meaning to (noticeably: they glow constantly whenever Helene is around for obvious reasons~).

[jaqfrost]

ppl who dropped rwtgi bc there's 'very little romance' are weak

[illusioncanthurtme--art]

These are a couple doodles from yesterday, Gideon as a younger teen, before the growth spurt, maybe 14? He's discovered he's a vampire, and has a lot of recovery to do, since he's severely blood deficient.

I'm gonna let myself explode about my vampire gideon ideas, under construction, under the cut: (I don't write fanfiction, I just throw up my ideas on a tumblr post, apparently :'D)

This is what I love about tumblr - it's a place where I can throw the doodles (something that isn't finished *artwork*), and let myself be really delusional about fictional characters. So I'm gonna take a moment to ramble about the ideas I have for Gideon as a vampire.

If you're a fellow Gideon Head, HI THERE... anyway, here's my thought process on a potential vampire-gideon backstory???

I've always liked the idea of gideon being a vampire, and also becoming a much better person when he's older. And that got me thinking, maybe those two things are linked. Maybe the vampire thing is somehow tied into his reformation.

But I tend to lean towards building my ideas off canon (as opposed to making an AU). And if gideon was a vampire, and knew this during the events of the show, it would have come to light at some point. So, either he doesn't know he's a vampire, or he becomes one later. Becoming one later works narratively, but he's already so vampiric, with the white hair, pale skin, sunscreen, evil, etc. So I'm like, let's go with that.

So, gideon has gone his whole life without knowing he's a vampire, and without drinking blood. I'm thinking that being a vampire in this case (my gravity falls fan version of what a vampire would be) wouldn't adhere to typical vampire conventions. You don't NEED to drink blood to survive.

Here's the idea I got yesterday: after the events of weirdmageddon, gideons experience motivated him to become a better person. It was the awakening, basically. But in the subsequent years, he's still a little shit. Maybe he's in juvenile detention, or prison again. But now, he has the self awareness to know that what he's doing is wrong. This is where my ideas get a little fuzzy, so bear with me. Bud has his suspicions, and as a last resort, puts gideon on some sort of mission trip type of cross country trip, when he's in his teens. And along the way, maybe at the end, there's this secret group of vampires that open gideons eyes to what he really is.

Basically??? Without blood, gideon is very evil. He's an evil little shit. This may not be how it is for every vampire. Maybe some grow very sickly without blood, just get hungry, etc. The effects of blood deficiency vary from vampire to vampire. But Gideon becomes very unhinged. And he'd essentially been Blood Hangry for his whole life. That being said, some of it was just his personality that he needed to work through, but drinking some blood helped a LOT. Blood isn't food for him, it's more like his medication.

Once he has that discovery, he spends a long while, I'm thinking maybe even a year, just recovering from the deficiency. He's almost always drinking blood to keep up his levels, and he's very rarely seen in public to keep the vampire thing a secret. That's what these drawings were supposed to be, him in his pseudo bedridden state. This period in his life would be one big blur; mostly spent binge watching soap operas and being all cozy. In contrast to his usual suit + tie, he's dressing for max comfort: sweatpants, sweatshirt, a knit hat over his ridiculously big hair, and always wrapped in a blanket. Not sure if somehow he feels cold when drinking blood?? But for some reason, I feel like he'd always be wearing like 10 layers and laying under a heated blanket or something.

Eventually, he'd only need to drink blood about once a month for maintenance.

Character development wise - even as an adult, Gideon isn't sure if he's truly a good person. Is the blood deficient version of himself the true gideon? Or is this well adjusted man who he truly is? And there's an issue of the chicken and the egg, too. Gideon was born a vampire. Did these genes activate because he was predisposed to being evil? Or did the vampire thing happen by coincidence? Does being a vampire make him evil, or is it the other way around? He doesn't know, and he never will.

The one thing I'm not sure I like about this idea: i'm worried that I'd be writing off his villainous personality as an illness that can be cured with a thing. Obviously, it would be better if he faced that head on, and figured out how to be better. So I'm still grappling with that. But for now, this is an idea I'm entertaining. Of course, I think it would be interesting if there was a plot point where his usual source of ethically sourced human blood was compromised for a time, and he had to grapple with his personality going topsy turvy.

It's actually embarrassing how much I just wrote???? If you've made it this far, wow, I applaud you. I guess this was just my idea of having a good sunday night, writing down my silly thoughts on gideon gosh darn gleeful. Let me know your thoughts too!!!! I'd love to know if you have any ideas, or questions, or ways to strengthen this potential backstory.

[hannieehaee]

18+ / mdi

content: loser!wonwoo, nerdy!wonwoo, sub!wonwoo, subdom!reader, mentions of sfw pics being taken behind your back, corruption, wonwoo's first time, dry humping, handjob, penetrative sex, etc.

part 1, part 2

wc: 2599

a/n: thank u to anon who inspired this ur a real one

masterlist

in this day and age, you knew that a mere college degree would likely not be enough for you to find a job within your field.

you were a creative, hoping to one day work as a photographer or maybe get into the creative design field upon graduating. however, you'd heard the horror stories of fellow graduates entering the terrifying world that came after college, with many unable to land a solid gig after graduating.

that's how you landed yourself a spot in the yearbook committee, becoming both a photographer and editor throughout these past few months.

that was also how you came to meet jeon wonwoo, the enigmatic boy who had become your partner any time you'd be assigned to photograph at school events.

despite spending quite a bit of time with wonwoo, attending every school event with him, you were yet to really get to know him. wonwoo was likely the shyest guy you'd met in all the years you'd spent at college so far. it was extremely hard to get to know him, as he would be only mumble and shy away any time you tried to make conversation with him. so far, all you knew about him was that he was a photography major (an extremely talented one at that), he was part of the gaming club (information you got from your friend vernon), and that he was generally very into stereotypically nerdy stuff.

none of this information was too groundbreaking, which only made you even more curious about wonwoo. it seemed like he'd specifically go out of his way to avoid you, stuttering like crazy when you'd try and make conversation and attempting to work separately any time you were assigned to photograph at the same locations.

all this only made your current situation all the more interesting, as you now found yourself at wonwoo's door, pondering on whether to knock on the door or not.

for some backstory, it was finally the end of your junior year of college, meaning that most of the work necessary for the production of the yearbook had been completed. all that needed to be done now solely consisted of editorial stuff as you finessed the final product.

this meant that you'd have to meet up with wonwoo to collaborate on the overlay of the yearbook, with the two of you being assigned the duty due to having worked together for most of the past two semesters.

you had jumped at this opportunity, entirely too interested in the shy, glass-clad boy. as embarrassed as you were to admit it, you had developed a bit of a crush on wonwoo. his constant stuttering and nerves around you gave you a strange thrill you had never experienced before. maybe you had a thing for losers, who knew.

and so you decided that now that you had this opportunity to visit wonwoo, being able to get him alone, you'd have a little fun.

yeah, maybe you had put on the tiniest clothes you could get away with wearing out in public. and yes, maybe you had worn that lipgloss you had once seen wonwoo eyeing on you. but could you be blamed? the thought of breaking him excited you too badly, completely sure but now that he must've held a bit of a crush on you (at least based on his constant nerves around you).

finally knocking on the door, you waited a few moments before a messy-haired wonwoo opened the door, giving you a sheepish smile as he welcomed you in.

his apartment was clean, but you could still tell that this had been a rushed effort, being able to spot some clothing misplaced and a few bowls scattered on some pieces of furniture. other than that, it seemed like wonwoo was likely cleaner than the average male college student.

after quietly looking around, you finally turned to wonwoo, who had been watching you quietly as his hands anxiously played with the oversized sleeves of the cardigan he was wearing.

"do you wanna work in your room or on the couch?", you asked.

somehow, you had caught him off guard, making him stumble over his words before muttering that his bed would be better, as it was bigger.

entering his room, you couldn't help a silent giggle at how predictable it looked, filled with star wars and marvel posters on the wall, along with some figurines. the room also included a clearly expensive pc and a few gaming consoles, obviously accompanied by a gaming chair.

liberally taking a seat in the middle of his bed, you allowed your skirt to flow highly enough for your legs to become exposed. you grinned to yourself when wonwoo took a seat beside you, gulping at the sight before opening his macbook on his lap.

once again, without any invitation, you scoot closer to him to get a better view, enjoying the intake of breath you heard from the boy.

after that, you actually worked together for a while, quietly discussing what content you'd leave in and what you'd take out. it was quite enjoyable, actually. you had known wonwoo to have a great creative eye, having seen his photography before, but it surprised you that he was just as good at graphic design.

you voiced this praise to him, making him chuckle awkwardly as he shook his head in denial.

"no, i'm serious, wonwoo. you're so good at this," you repeated.

"ah, n-no, it's just- i'm not that good," he muttered, lowering his head a bit and keeping his eyes on the screen to avoid looking at you.

no, this just wouldn't do.

going on a leap, you scoot even closer, now with your side completely pressed up against his own. bringing your hand up to his chin, you made him face you, smiling at the clear panic in his face.

"wonwoo ... why can't you take my compliment? hmm? you don't believe me?", you murmured, keeping your distance far too small as you awaited his answer.

"i-it's not that, it's just that-"

cutting off his muttering, you continued, "want me to show you? show you that i mean it?", your eyes lowered to his lips before going back to his eyes, hoping that that was enough of a hint for him to know what you meant.

gulping again, his eyes looked to your lips too, looking back up before parting his lips, attempting to make some sort of sound but failing, simply whimpering pathetically.

his whimper was enough to ruin you, making you close the gap between you with a soft kiss.

pathetically, he whined against you as you did all the work, leaving soft kisses against his lips up until your tongue made use of the small gap of his lips, sneaking in and encouraging him to follow along in your movements.

you sighed softly against his lips, wanting nothing more than to encourage his kisses. when he finally began kissing back, you repositioned yourself on the bed, pushing off the laptop and kneeling in front of him without ever breaking the kiss. like a good boy, he followed you in your movements, allowing you to lay him down on the bed as you climbed over him.

pulling away, you chuckled against his lips as he pathetically followed your lips with a whine, hands uncharacteristically holding onto your hips as he held you against him.

"wonwoo," you breathed out against his lips, "is it okay if i take off my clothes, baby?"

"y-yes, fuck. please. i- i mean, you don't have to, but, fuck, i-"

"shhh. it's okay, baby. i'll take them off, yeah? then it's your turn," you reassured, throwing off your skimpy summer dress before snapping off your bra and struggling your way out of your panties before sitting back on him.

the sight of the nerdy boy under you as he salivated over every new inch of skin you exposed to as laughable. his eyebrows were furrowed in the a manner that made it look like he was in pain. his breathy gasps at the revelation of your breasts had given you a huge ego boost, making you play with them for a bit for his viewing satisfaction. after that you leaned down again, going back to what had first started all this.

"you're so pretty, wonwoo ... so talented and nice and pretty. my pretty nonu," you breathed into his lips, giving him no chance to respond.

he still did his best, shaking his head, insisting that you were the pretty one. that you were the prettiest girl he had ever seen.

"n-no, you ... you're so pretty fuck, i- i've always wanted you ... fuck, is that, is that okay? always thought you were the prettiest girl ... get so nervous around you," he confessed, sighing when your arms went under his shirt, toying at his nipples before helping him remove his cardigan and shirt.

now shirtless, you practically salivated over his body, feeling him up like you were entirely depraved of touch. he was far more buff and delicious than you had ever imagined. wonwoo seemed to enjoy it just as much, letting out desperate breaths as you felt him up. before long, his sounds became even higher and whinier, as your hands made their way to his pants, pushing them down as best as you could before getting a hold of his already hardened cock.

"a-ah, t-that's ... fuck, a-are you sure?", gasped wonwoo, squirming under you like the pretty little nerd you'd been wanting for so long.

"yes, nonu. is it okay? is it okay when i play with your pretty cock like this?", your hand wrapped tighter around him, bringing his member out of his boxers and jerking him faster as he nodded desperately in approval.

"it's so good, fuck ... feels so ... so nice. please ..."

he was already such a whimpering mess and you hadn't even started working on his pleasure. unknowingly, wonwoo was slowly corrupting your mind, making you feel a monstrous need to do every nasty thing imaginable to the pretty boy moaning under you.

with a groan, you repositioned yourself, leaning back a little so you could drag your pussy against his cock. the thought alone made your eyes roll back. and the execution? the execution had you whimpering at the sudden stimulation, falling in love with the hardness of wonwoo's cock.

in the meantime wonwoo had lost all ability to produce any sort of sound, letting out breathless whimpers at the feeling of your cunt dragging against him, glasses fogged up and hands digging into your hips to unknowingly try and guide you against his dick.

"y/n ... oh, fuck ... p-please ... need- need more, oh, please ..."

dry humping could only go so long, but you wanted to drag it as much as you could. the sight and sound of wonwoo begging for you had you on cloud nine. he was so handsome and well built that you couldn't help but become hypnotized to the sight under you as you humped him with no shame.

the pretty mess under you continued to beg, strong arms even coming to stop your movements when the pleasure got too much, pleading at you to please let him have your cunt.

"g-give it to me. please. need to feel it, i- i've never had it before. need t-to know. need it to be you, fuck, please ..."

oh? was the pretty boy a virgin? were you about to deflower the mess under you?

wonwoo should've never let you in on this information, as it immediately drove you crazy with desire. you needed to claim him, mark him as yours and keep him all to yourself forever.

without hesitating any longer, you lowered yourself on him, groaning out at the stretch while wonwoo let out the prettiest high-pitched moan you had ever heard. it was pathetic how his deep voice fell to mere whimpers at the simple touch of a woman. yet it made you tighten around him all the tighter.

your hips bounced on his thin thighs, hand dipping in so you could play with your clit. maybe one day you'd teach him how to give you pleasure in such a way, but for now you just wanted to ruin him.

"gonna cum ... i- fuck, im gonna cum. c-can i? please?", he pleaded, eyes shut closed in pleasure.

it took you a few moments to answer, not wanting to leave him waiting for too long during his first time, but needing to get yourself to the edge in order to cum with him. within a few seconds he repeated his pleas, this time even more pathetically than before. this was what broke you, making you nod and whimper in affirmation as your own orgasm took over.

"such a g-good boy for me, nonu," you leaned down to kiss him, wanting to give him as much intimacy as you could for his first time.

kissing you back, he wrapped his arms around you, consistently crying praises against your lips. he let you know how badly he loved your cunt, how much he'd fantasized about this. the rest got muddled in the endless whimpers he let out.

after riding your high, you laid against his him, ear against his chest as you caught your breaths. his skin was clammy and his heartbeat fast. you loved being the cause of both things.

"does ... does this mean you like me back?" he murmured.

nodding against his chest, you left a few kisses against the skin, "yes, wonwoo. i've liked you for a while."

he exhaled in relief, "fuck, thank god."

your let yourself roll over from on top of him and lay on his side, finding a more comfortable position to cuddle with him.

then you suddenly remembered.

"shit, we gotta finish the yearbook."

it was his turn to chuckle, "let's nap for a while first. i'll wake up and get the final details later. promise."

you took his promise in the form of the union of pinkies, taking his advice of taking a nap as the surprisingly buff boy held you in his arms, falling into slumber quickly after.

~

ironically, you woke up before he did, approximately two hours after having fallen asleep in his arms. spotting the laptop on the floor, you decided to do him the favor of doing the final touches yourself, deciding that this would somehow be some form of aftercare as he regained his energy by sleeping.

shockingly enough, having the initiative to work on the unfinished yearbook spread as wonwoo continued to sleep next to you proved quite interesting as you finally got hold of the computer.

you hadn't meant to snoop, but a folder hidden on the corner immediately caught your attention. you hadn't noticed it earlier, as wonwoo had the computer on his own lap the entire time, but its title consisted of your initials, making you entirely too curious about it.

opening it, you had to hold in your gasp upon finding about twenty pictures of you out and about at each of the events you'd attended with wonwoo to photograph for the yearbook. for candids, they were quite beautiful.

in any other situation, you wouldve been rightfully freaked out. but the thought of shy little wonwoo fantasizing about you as he took pictures of you to look at later only made you want to claim him even more.

looking to the pretty boy softly snoring next to you, you were already planning all the ways in which you'd mock and berate him over it, all while you ruined him under you yet again.

[physalian]

Pacing your Story (Or, How to Avoid the "Suddenly...!")

Arguably *the* most important lesson all writers need to learn, even for those who don’t give a damn about themes and motifs and a moral soap box: How your story is paced, whether it’s a comic book, a children’s chapter book, a doorstopper, a mini series, a movie, or a full-length season of TV (old school style), pacing is everything.

Pacing determines how long the story *feels* regardless of how long it actually is. It can make a 2 hour movie feel like 90 mins or double the time you’re trapped in your seat.

There’s very little I can say about pacing that hasn’t been said before, but I’m here to condense all that’s out there into a less intimidating mouthful to chew.

So: What is pacing?

Pacing is how a story flows, how quickly or slowly the creator moves through and between scenes, how long they spend on setting, narration, conversation, arguments, internal monologues, fight scenes, journey scenes. It’s also how smoothly tone transitions throughout the story. A fantasy adventure jumping around sporadically between meandering boredom, high-octane combat, humor, grief, and romance is exhausting to read, no matter how much effort you put into your characters.

Anyone who says the following is wrong:

Good pacing is always fast/bad pacing is always slow

Pacing means you are 100% consistent throughout the entire story

It doesn’t matter as much so long as you have a compelling story/characters/lore/etc

Now let me explain why in conveniently numbered points:

1. Pacing is not about consistency, it’s about giving the right amount of time to the right pieces of your story

This is not intuitive and it takes a long time to learn. So let’s look at some examples:

Lord of the Rings: The movies trimmed a *lot* from the books that just weren’t adaptable to screen, namely all the tedious details and quite a bit of the worldbuilding that wasn’t critical to the journey of the Fellowship. That said, with some exceptions, the battles are as long as they need to be, along with every monologue, every battle speech. When Helm’s Deep is raging on, we cut away to Merry and Pippin with the Ents to let ourselves breathe, then dive right back in just before it gets boring.

The Hobbit Trilogy: The exact opposite from LotR, stretching one kids book into 3 massive films, stuffing it full of filler, meandering side quests, pointless exposition, drawing out battles and conflicts to silly extremes, then rushing through the actual desolation of Smaug for… some reason.

Die Hard (cause it’s the Holidays y’all!): The actiony-est of action movies with lots of fisticuffs and guns and explosions still leaves time for our hero to breathe, lick his wounds, and build a relationship with the cop on the ground. We constantly cut between the hero and the villains, all sharing the same radio frequency, constantly antsy about what they know and when they’ll find out the rest, and when they’ll discover the hero’s kryptonite.

2. Make every scene you write do at least two things at once

This is also tricky. Making every scene pull double duty should be left to after you’ve written the first draft, otherwise you’ll never write that first draft. Pulling double duty means that if you’re giving exposition, the scene should also reveal something about the character saying it. If you absolutely must write the boring trip from A to B, give some foreshadowing, some thoughtful insight from one of your characters, a little anecdote along the way.

Develop at least two of the following:

The plot

The backstory

The romance/friendships

The lore

The exposition

The setting

The goals of the cast

Doing this extremely well means your readers won’t have any idea you’re doing it until they go back and read it again. If you have two characters sitting and talking exposition at a table, and then those same two characters doing some important task with filler dialogue to break up the narrative… try combining those two scenes and see what happens.

**This is going to be incredibly difficult if you struggle with making your stories longer. I do not. I constantly need to compress my stories. **

3. Not every scene needs to be crucial to the plot, but every scene must say something

I distinguish plot from story like a square vs a rectangle. Plot is just a piece of the tale you want to tell, and some scenes exist just to be funny, or romantic, or mysterious, plot be damned.

What if you’re writing a character study with very little plot? How do you make sure your story isn’t too slow if 60% of the narrative is introspection?

Avoid repeating information the audience already has, unless a reminder is crucial to understanding the scene

This isn’t 1860 anymore. Every detail must serve a purpose. Keep character and setting descriptions down to absolute need-to-know and spread it out like icing on a cake – enough to coat, but not give you a mouthful of whipped sugar and zero cake.

Avoid describing generic daily routines, unless the existence of said routine is out of ordinary for the character, or will be rudely interrupted by chaos. No one cares about them brushing their teeth and doing their hair.

Make sure your characters move, but not too much. E.g. two characters sitting and talking – do humans just stare at each other with their arms lifeless and bodies utterly motionless during conversation? No? Then neither should your characters. Make them gesture, wave, frown, laugh, cross their legs, their arms, shift around to get comfortable, pound the table, roll their eyes, point, shrug, touch their face, their hair, wring their hands, pick at their nails, yawn, stretch, pout, sneer, smirk, click their tongue, clear their throat, sniff/sniffle, tap their fingers/drum, bounce their feet, doodle, fiddle with buttons or jewelry, scratch an itch, touch their weapons/gadgets/phones, check the time, get up and sit back down, move from chair to table top – the list goes on. Bonus points if these are tics that serve to develop your character, like a nervous fiddler, or if one moves a lot and the other doesn’t – what does that say about the both of them? This is where “show don’t tell” really comes into play.

4. Your entire work should not be paced exactly the same

Just like a paragraph should not be filled with sentences of all the same length and syntax. Some beats deserve more or less time than others. Unfortunately, this is unique to every single story and there is no one size fits all.

General guidelines are as follows:

Action scenes should have short paragraphs and lots of movement. Cut all setting details and descriptors, internal monologues, and the like, unless they service the scene.

Journey/travel scenes must pull double or even triple duty. There’s a reason very few movies are marketed as “single take” and those that are don’t waste time on stuff that doesn’t matter. See 1917.

Romantic scenes are entirely up to you. Make it a thousand words, make it ten thousand, but you must advance either the romantic tension, actual movement of the characters, conversation, or intimacy of the relationship.

Don’t let your conversations run wild. If they start to veer off course, stop, boil it down to its essentials, and cut the rest.

When transitioning between slow to faster pacing and back again, it’s also not one size fits all. Maybe it being jarring is the point – it’s as sudden for the characters as it is for the reader. With that said, try to keep the “suddenly”s to a minimum.

5. Pacing and tone go hand in hand

This means that, generally speaking, the tone of your scene changes with the speed of the narrative. As stated above, a jarring tonal shift usually brings with it a jarring pacing shift.

A character might get in a car crash while speeding away from an abusive relationship. A character who thinks they’re safe from a pursuer might be rudely and terrifyingly proven wrong. An exhausting chase might finally relent when sanctuary is found. A quiet dinner might quickly turn romantic with a look, or confession. Someone casually cleaning up might discover evidence of a lie, a theft, an intruder and begin to panic.

--

Whatever the case may be, a narrative that is all action all the time suffers from lack of meaningful character moments. A narrative that meanders through the character drama often forgets there is a plot they’re supposed to be following.

[writingwithfolklore]

Subplots are your side character arcs

              Subplots are incredibly important in longer works as they assist in pacing out the main plot, develop your characters, and give you opportunities to explore parts of your world you might not get to in the main plot.

              So where do subplots come from? Often, they are the character arcs of your side characters (or connected to them). Today we're mostly focusing on side characters that are allies or close with the MC. Let’s talk about it.

1. Developing your side character

There’s as many ways to create characters as there are characters themselves, but for the purposes of this post, I’ll take you through my favourite way to do it.

              You’re going to need: A goal, an objective, a disrupting characteristic, and a formative event.

Objective: The actionable (your character can work at it) objective they want. It is likely the same as your main character’s if they are allies, such as Sam also taking the ring to Mordor with Frodo, or Flynn also working towards taking Rapunzel to the lights.

The difference is in their…

Goal: To what end are they working towards this thing?

Flynn’s goal changes throughout Tangled, but his goal in the beginning is to get back his crown because he wants to “be something” more than he is (rich). Rapunzel wants her life to begin so she works towards seeing the lights, he wants the crown so he works towards getting her to the lights. Same objective, different goals.

Disrupting characteristic: What internal reason do they not already have what they want? While characters tend to face external antagonists that keep them from their goal, it’s their internal conflict that is the thing they work through to provide change by the end of the story.

Let’s go back to Flynn—his disrupting characteristic is that he believes he has to be rich to “be someone”, so he’s turned to a life of crime.

A disrupting characteristic can be either a personality trait (selfish, self-destructive, naïve, relentlessly optimistic) or a belief about the world (I need to be rich to be worthy, I need career success to make my parents proud) etc.

Lastly, the formative event: An event in your character’s past (usually childhood but depends on how old they are) that has inspired why they are they way they are. The beginnings of backstory.

2. Building an arc

From this character development, we can figure out what the arc is. Take your character’s disrupting characteristic—what do they need to internalize or figure out in order to get past it?

              If your disrupting characteristic is, like Flynn’s, that he believes to be rich to be worthy, his arc is going to be discovering self worth separate from monetary gain—which we see throughout the story as he falls for Rapunzel, and caring for her becomes his new purpose.

              Your character’s selfishness keeps them from forming the close connections they crave with others—so they need to be thrown into a situation in which caring for another person over themselves forces them to be unselfish.

              That gives us an A to B.

3. Add conflict

To get from A to B, characters go through a whole lot of conflict. The conflict your side character will go through relates directly to their goal and objective—so the subplot is intertwined closely with the main plot while still exploring this side character’s internal change and journey. The conflicts they face on their own will likely be internal—typically side characters don’t have separate external antagonists from their main characters, but that’s not a hard and fast rule.

              Speaking of, check out my posts on antagonists and conflicts here, here, and here.

The last thing I'll say is that subplots that don't necessarily revolve around the MC but are kind of their own journey until they come crashing together with each other (such as the two POV characters that only meet halfway through the book) should be created as their own MC--so essentially two plots.

Questions?

[starleska]

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

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

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

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

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

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

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

it’s money.

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

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

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

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

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

a trident (referencing King Triton in The Little Mermaid)

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

a glass slipper (again referencing Cinderella)

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

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

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

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

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

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

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

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

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

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

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

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

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