#they’re so absolutely feral and need to distract themselves with big Little Projects that they get involved in almost way too often

[deathxproof-archive]

@anywherexwhen get tumbled into a very different universe with very similar casing

There was a cargo ship that wasn’t a cargo ship in a strange, somehow off little seaport town in the middle of coastal New England. Everything about the air was off, but that ship especially. There was something about it, like it was always there but stuck out as new and different every so often. Like it was almost… Alien. And ethereal. Nobody human could really pay too much attention to it, even if they wanted to. 

But as hard as it was tried, it was difficult to try and mask over humans’ perceptions of even an attempted small, relatively unassuming cargo sailing ship. People in towns and cities noticed it was there in a quiet, amused sort of confusion. And the people who needed it could see it, for the most part. And those people in a small, relatively odd and off feeling New England seaport town were talking about how strange it was to show up as well, starting their little human rumors about strange activity and dealing before they could even leave shore again. 

It was such a small ship that hearing there was any sort of stowaway from one of their few crew members had Koschei positively intrigued. It didn’t quite make sense— they had apparently just found him. Travelers and potential thieves and other stowaways were absolutely rare nowadays, and that had made it even more exciting for him, too. The Doctor was brought to the deck, and Koschei came to meet them where they were holding their discovery. “Alright,” he says, and it’s an all-too-familiar voice attached to an all-too-familiar face, all blonde and scruffy and dressed in a black hoodie, jean jacket, heavy boots, and a little fisherman’s beanie. “A for Effort, you at least got up and in, now I have to ask you…” 

Koschei paused as he walked right up to his crew and the Doctor, brows knit, expression pausing. That wasn’t, that was the same— He was— But Koschei had just seen… Oh, now this really was odd, wasn’t it?

“… Oh, hello.” he says, a confused little smile on his face as he leaned closer as if to get a better look at him. Not quite malicious as might be expected, just an amused curiosity as he looked at the Doctor with recognition... Did the crew that found him even notice the face, yet? “Oohh, look at you. Aren’t you strange…” He says, reaching out, poking at him briefly to make sure that he was even real. No questions answered since he got there, only more being asked. “What are you doing here? How did you get here?”

[nonasuch]

how I would fix star wars

inevitably, I have been thinking about How I Would Fix Star Wars, and make the parts of TRoS that displeased me into a more coherent story. 

unfortunately, to do so will require the use of a time machine and veto power over the Lucasfilm Story Group. but IF I had those things here is what I would do:

I actually would not make a lot of changes to TFA. The main ones would be:

toning down Starkiller a bit as a threat, to a one-shot-per-planet deal but with a faster recharge time

slightly more stormtrooper stuff -- establish what Finn’s leaving behind and give Phasma a little depth. 

if possible, put some kind of distinguishing visual marker on the trooper who marked Finn’s helmet.

a small background detail that isn't important yet: after the village massacre at the beginning, show stormtroopers collecting the bodies, trooper and villager alike. if possible, do this after every scene with a significant body count, throughout all three movies.

either give the knights of ren some actual stuff to do or cut them out entirely

show kyle chafing at snoke’s leash, maybe demanding to know more about some of snoke’s various Secret Projects, and being dismissed

give rey a little time to settle in with the Resistance before leaving to find Luke. we don't have to show it much, just make it clear that she’s making a home there and has bonded strongly with Leia

clean up some weird pacing and make the travel times/distances between planets more consistent

honestly other than that I wouldn't change much. I genuinely like TFA a lot and its strength is in how well it establishes the new characters.

for TLJ, some bigger changes but the bones of it I'd leave alone:

make it more clear why the tracking through hyperspace is a big deal and make the solution less of a fetch quest

I really like parts of the Canto Bight plot but I would probably swap it out for something with more stormtroopers in it -- let Finn interact with other troopers and remind us that there are individuals under those helmets

(a recurring joke: Finn can always tell troopers apart when they’re in uniform, and Rose can never figure out how. he thinks it’s because he was a trooper, but no, it's because he’s Force sensitive)

maybe get close to convincing some of them to desert, but either they fail last-minute or the deserters get caught and killed

Finn and Rose escape by the skin of their teeth thanks to a trooper who helps them, letting them know that even if they aren't brave enough to leave, there are plenty of troopers who aren't all-in with the First Order

again, after any major fight show the body cleanup. troopers carrying and stacking the dead in neat rows. start hinting that there is something more ominous here than fanatical tidiness

the Snoke stuff -- make it more obvious that Snoke is orchestrating stuff other than just running the First Order. maybe have Hux ask about the cargo ships they're sending to the Unknown Regions, and get shot down

make part of Kyle’s refusal to leave w Rey due to his burning need to Know All The Secrets, and conviction that as Supreme Leader he could really clean up the joint

once Snoke is dead, show Kyle getting access to his secret files/vaults; do NOT show what he finds there

I'd also want to clean up some wonky pacing and timeline/travel distance stuff, probably, but again I really like most of the movie so it’s nothing major

also keep Phasma around for the next movie! what the fuck, she rules, why would you not

okay so that brings us to TRoS, which… would need a pretty major overhaul. 

First of all, we are working under the assumption that I have a time machine, so I made Carrie Fisher go to the cardiologist on the reg starting on day 1 of TFA rehearsals, and she’s fine and able to play the part as she was meant to.

with that in place, here’s how I would restructure:

we keep the Hammer Horror opening scene, but tweak the Emperor’s reveal. he’s much more corpse-y, without the tech umbilical keeping him alive -- a wraith animated by Dark power. 

lots of grandiose claims about his unstoppable army and his impending dominion over the galaxy, ultimate triumph over the Light, etc

don't show the armada yet -- just kyle’s reaction, which is genuine fear.

news of the Emperor’s return isn't a broadcast, but a whisper. a transmission from a terrified First Order cargo pilot, who’s learned the truth about his one-way trip to the Unknown Regions. passed through the lower ranks by rumor and hearsay. eventually leaked to the Resistance by an unknown First Order source

I like the idea from the beginning of the movie, that Rey’s trying to speak to dead Jedi through the Force. but it’s not working, and she shares her frustration with Leia

make it clear that she and Leia have a deep, strong bond.

give Rey a Jedi artifact to hunt for. maybe there’s a place or a thing that she thinks will let her commune with fallen Jedi, and that’s what they go looking for.

that lets us keep some of the fetch quest, but the First Order’s not as actively on their tail. 

they keep crossing paths anyway, and every time there are troopers doing something worse. maybe at one point they see troopers refuse to massacre civilians, and being killed themselves instead.

also they take Rose with them, because this movie needs more Rose

still have those post-battle scenes of body cleanup. now the cleanup crews are being killed once they’re done

this could be a good use for the Knights of Ren, actually. whatever is happening, they're part of it

Leia is more active throughout: she's on the move, recruiting allies for the Resistance, trying to figure out what's happening in the Unknown Regions

she has an actual scene with Lando, and he goes to Rey on her orders

tweak Poe’s backstory with Zorii. he worked with her while undercover for the Resistance, and left them in the lurch when the General needed him back. 

he’d have recruited her, if there had been time, but now he's glad he didn't: most everyone Poe recruited to the Resistance died at Crait.

when Rey crosses paths with Kyle, he’s obviously rattled. he Knows Something that he won't or can't tell her and he's even more fatalistic than usual.

lean harder on the unease/whispers of dissent in the First Order as they're told to do more and more awful things. maybe a scene where someone -- not Hux -- disagrees openly, and Kyle says something that implies that he's getting orders from someone above his head.

this gives Hux a chance to snark at Kyle -- isn't he supposed to be the Supreme Leader, now? who's telling him what to do?

off Kyle’s reaction -- someone is telling him what to do, and he's terrified of them in a way he never was of Snoke.

(keep Hux-as-informant, that was done perfectly)

Rey’s artifact hunt still takes her to the Death Star wreckage, off rumors that Palpatine hoarded Jedi artifacts. 

we meet Janna &co. Finn is so relieved and happy to meet other troopers who survived defecting. Janna tells him that there used to be more, that it used to be easier to get out, but more and more troopers have been killed in the attempt, without escaping.

by now it’s clear: there is Something Wrong With The First Order, beyond the obvious.

Rey fights Kyle in the Death Star ruins. Kyle tells her the Emperor wants to turn her to the Dark Side, that he can’t be refused or stopped, that even death won’t let her escape from him.

the fight plays out similarly, but Leia’s distraction doesn't kill her. 

after Rey heals him, Kyle faces his fear and talks to Leia via Force bond. He tells her what the Emperor is planning, and it’s Ben Solo who leaves the ruins.

he can give Leia files or some other concrete proof via the same trick he uses with Rey in the movie, because that’s honestly very cool and it was used really well, so we’re keeping that

when Rey talks to Luke on Ach-To, he tells her that Palpatine used the Empire to sow chaos and fear, because that made the Dark Side stronger and gave him more power to tap into.

Luke says: “I think he would have been happy to burn the whole galaxy down, as long as he could rule over the ashes.”

Rey realizes she can’t hide from the Emperor, and knows he’ll never turn her to the Dark. she goes after him.

Leia sends the Resistance to back Rey up and sets out to rally the galaxy with Lando and Chewie

finally, it’s confrontation time! Rey faces Zombie Palpatine, and he reveals his plan in all its glory:

he’s built an army of the dead. ghost ships, crewed by all those bodies we've been watching the First Order collect for three movies.

some of them we recognize, if we’re paying attention: the trooper who marked Finn’s helmet, Lor San Tekka, Hux. there are long-dead clone troopers, little more than skeletons in filthy white armor. half-functional Separatist droids. Resistance fighters and First Order officers killed on Crait. countless civilians. 

they’re all dead, all animated by Palaptine’s Dark Side powers, fueled by the strife and chaos he continues to sow throughout the galaxy

he doesn’t want to blow up any more planets. he wants to kill the shit out of absolutely everyone: the end of all life, and all Light. everyone in the galaxy a soldier in his undead army

he wants Rey to strike him down and become the new Sith Empress, ruling over an empire of ashes.

but we are discarding the granddaughter shit, because frankly it is not necessary and makes no sense. 

he can just be like ‘ah yes, a feral desert child, powerful in the Force, with no inconvenient ties to hold her back. I've had good luck with those, mostly.’

now, a brief side trip: what is the First Order doing, in the midst of all this?

well, the rank and file are actually not super down with the ‘join the glorious army of the dead’ plan. half of them are in open revolt; some try to run, some seize control of their ships and decide to fight for the living

Phasma leads Team Living. yeah, I kept her for a reason! Gwendoline Christie is great at this!

Ben shows up as before, fights the Knights, does the cool lightsaber trick with Rey. he fights with Leia’s saber.

when Palpatine drains their life force to restore himself, though, something happens differently:

it’s actually Leia’s life force. she gives up her life for her son and for the daughter of her heart, willingly and gladly, knowing she has rallied the galaxy to their aid. she tells them, before she goes, that help is on the way

the giant fleet that arrives to fight Palpatine has First Order ships in it. finally, everyone is on the same side. Palpatine has been playing both sides against each other since Episode 1, but it won't work anymore, now that they know what he wants. the long con is over. they're united against him.

Rey beats Palpatine the same way, Ben revives her the same way, but Leia’s sacrifice means he has enough juice left to survive it. 

idk about the kiss; I am Reylo-agnostic

but he’s going to try to shepherd the First Order into something that builds and protects, instead of destroying. 

people like Janna and Finn, who got out, and Rose, who lived under their heel, will show him how.

Finn is Force sensitive, and so are some of the other former troopers. 

some of them want to become Jedi

Finn wants to follow Leia’s path: do the training so he understands how to use the Force, but he's not meant to be a Jedi. he's going to be a leader -- not a general, hopefully, but a leader for peacetime.

so like. they won! hooray.

Rey takes the name Skywalker, still. Ben is fine with this: he’s a Solo-Organa. 

there can be a touching Force ghost reconciliation, or not, whatever

so. that is how to fix star wars. you’re welcome. if anyone out there has a time machine and an in with Lucasfilm, hit me up I guess?

[godkilller]

ROLEPLAYING A FIGHT

DETAILS AND EXAMPLES.

As I touched on in my previous tips ‘n tricks post, fight threads should never happen in a void. There should be concrete connections to your character’s main storyline, their goals, their motivations, and other contributors to why and how they’ve found themselves in this current situation. That ALSO being said, the fight should literally not happen in a void: WHERE IS THIS CONFLICT TAKING PLACE? Describe, as an ‘establishing shot’, where your character is. Are they outside, is there a lot of room for them to run around and get into a scuffle? Are there trees, cars, buildings nearby? Will there be a high potential for objects (and people passing by) to get harmed / damaged in this battle? Does your character care about causing destruction during a fight, are they the type to say “let’s go somewhere else”?

Describing the space your characters are in is an excellent way of UNDERSTANDING WHERE YOUR CHARACTER STANDS, literally, because POSITIONING IS REALLY IMPORTANT! You don’t have to go absolutely crazy detailed when dishing out specs on where your characters are, but a general sense of “an opening within a clustered bamboo forest” or. “a half-constructed abandoned building” can really determine how the fight goes within that space, and most importantly how your character moves through that space.

HOW DOES YOUR CHARACTER MOVE? Are they fluid, are they clumsy? Do they hunch, do they stand tall? Describing essential details pertaining to your character’s appearance, their demeanor, can help solidify them in that space. Do they sway when they talk? Do they jitter when they’re nervous or anxious? A conflict is brewing, are they looking for an escape? Do their eyes keep darting to other distractions, or to look for an opening?

THE FIRST MOVE. Who makes it and why? Example taken from a threeway thread involving Matsumoto Rangiku, Nnoitra Gigla, and Ichimaru Gin. Featuring @oboete-iru​ & @despairforme​ respectfully. Gin’s POV:

“ ❝ I saaaid... that’s e-nou-gh. Besides, why would ya go ‘n break her wieldin’ arm if she ain’t a thre---- ❞ in a flashing beam, a bared blade, his left foot swept back to brace as black-lined white billowed to reveal Shinso’s lunging bite directly past Rangiku’s hip------to drive a deep unrelenting strike into his upper ribcage; close to the armpit of the limb that held her still in favor of convincing the uncoiling reflex of his fingers. Gin aimed with precision, and with deliberate proximity to the very target he wished to not be thrown into the line of fire----quite impossible for the Espada to potentially thrust her into the fray considering Gin’s angled approach... lulled by his interrupted speech. The traitor sought to be swift; the blow would surely send the Espada backward in its connection------and hopefully result in her release. ”

Throwing the first punch is a decisive moment for many reasons, but it also should still speak to your character: DON’T EVER FORCE A FIGHT THREAD FOR THE SAKE OF ONE, if your character would rather talk their way out of a situation, exhaust that route first before going feral at your thread partner.

With that aside, let’s dissect this moment.

We get some dialogue to start the moment off, because Gin is a character who will casually chat, but he’s also cunning -- he interrupts himself to create a more abrupt attack. The motion is described as swift, so NOT MUCH IS SAID ABOUT EXACT MOVEMENTS, but we get what we need: his blade is drawn (”a bared blade”) it’s moving fast (“a flashing beam”) Gin has added strength to this strike by falling into a wider stance (“left foot swept back to brace”) and we also get where he’s aiming “directly past Rangiku’s hip to drive a deep and unrelenting strike into [Nnoitra’s] upper ribcage, close to the armpit” We also get motivation: Gin wants Nnoitra to let go of Rangiku, striking to “convince the uncoiling reflex of [Nnoitra’s] fingers” -- so we get this all relatively quick. In fact, it’s all almost condensed into one big sentence.

I don’t really worry about proper sentence structures and lengths because in fights, things should not be adhering to neat sentence pacing, they should be paced the way the fight is unfolding. Gin moves fast, and a lot of things happen at once, so that’s my style choice when writing a lot in one sentence. You can do things differently, this is just my preference!

Notice that none of the language implies that Gin’s target is being struck. The words and phrases used are open for Nnoitra to respond to, to react to, rather than to submit to. I describe things as “quite impossible” for Nnoitra to, say, throw Rangiku in front of Shinso in time -- because I want to stress the speed of Gin’s attack, and guide Nnoitra’s writer away from doing something I feel wouldn’t be realistic without the outright act of godmodding. I say this, however, by still giving Nnoitra the OPTION to do exactly what I have just stressed as DIFFICULT TO DO. Maybe he can still try to throw Rangiku into the way! It’ll be a tight window, but hey, surprise me! Writing this moment also shows that my character is actively deciphering yours, deciding what they could do and preparing for that: Gin knows Nnoitra’s dirty, and thus he’s taken a measure to avoid Rangiku paying the price by striking quickly and at an angle that would make it hard for Nnoitra to bring her harm.

At the end of this Moment(™) I top off the attack by mentioning that IF IT HITS, it’ll do X. Not only that, but IF MY ATTACK HITS, IT’LL DO X TO YOUR CHARACTER, AND HOPEFULLY CAUSE X. This sets up a potential chain of events for your writing partner to consider. If they decide that Nnoitra is going to take this hit, they can also consider: will Nnoitra be sent back through a wall, or will he drive his weapon into the ground to slow his skidding enough to avoid that? Will this be enough to make him let go of Rangiku? I have now given Nnoitra’s mun a few things to think about, or “goals” to either reach or adjust the outcome in their following reply. Nnoitra now has to a.) react to an incoming strike b.) be moved by it, either via being struck or by dodging, and c.) deal with holding onto or letting go of Rangiku, with the option of d.) a counterattack at Gin, or at Rangiku, in response to Gin likely pissing him off.

Describing motion that impacts a character other than yours: KEEP YOUR LANGUAGE OPEN, you can legit drop a “if this hits” to keep yourself from unintentionally godmodding contact onto your opponent. If you’re ever unsure, write like your character is thinking: they’re not thinking that their sword has already landed, they’re thinking about what’ll happen IF it does, or WHEN, but in an open-ended sense. The character themselves should never just manifest a blow landing in their heads as they’re swinging it, if that makes sense.

Open-ended language go-to’s for me: “aimed with the desire to cause (insert what’ll happen if your blow were to land, like ‘causing an immense force to blast all debris, and even dare to throw [opponent] backwards’)” or “their weapon sought to (insert what their attack trying to do, like cut off an arm, slash across a chest, or chop at the other’s weapon) with a wide strike” or “they parried, then moved to attempt a disarming scrape of their blade against the other’s, the swinging momentum a convincing pull to urge the swift release of the blade” etc. etc. I’m staying very vague, but the concept’s there!

THESAURUS TIME! Does your character move fast? Swift, fast, quick… those can get a little boring if your character is ALWAYS moving in that nature. So try to sometimes spice things up by playing with words that can replace your common descriptors.

https://www.thesaurus.com/ is your fellow student who’s working on a group project with you -- you shouldn’t lean so heavily on it because they’re not your friend, but it’s there to help you get the job done and together you can spruce up a neat end result.

MAKE SURE THEY STILL MEAN THE SAME THING, and don’t go too crazy as to lose your reader or distinctly destroy your pacing, your style, and your voice. Sometimes simplified is better, like describing the WOOSH of a fast moment as opposed to saying “this moved fast” -- “a WOOSH of the blade” rather than “he swung his blade quickly” can sometimes make a moment more exciting and easier to read without things droning on.

Hey, speaking of droning on, (this post lmao!!! Amirite lads???) does your character’s weapon have multiple ways of being referred to? Since a fight stars your character and their trusty weapon, having a few different ways to title it in your reply can be a lifesaver from sounding too repetitive. Shinso is Gin’s Zanpakuto, a Shinigami’s katana, and it’s in a wakizashi form. This can be called a short-sword, a wakizashi, a soul-slayer, a blade, a sword, a Zanpakuto, a ‘fang’ (swords or blades in general can be called fangs, especially if your character has animal symbolism tied to them), a beam (when it’s being shot) … and a few other things, too, to avoid me having to constantly write “Shinso” or “wakizashi” when moving it during a fight thread. I try not to alternate TOO much, because then it becomes obvious, kind of like when people start deliberately avoiding ‘said’ and it’s a dialogue-heavy scene… don’t go out of your way, this is just to help you avoid having 34 mentions of ‘sword’ in your 5 paragraph reply.

So you threw the first punch, but what happens next? Well, you can actually end your reply once your blow’s been polished up and finished. But a little bit of juicy introspection can’t hurt, too! Your character’s just started a fight, what are they thinking? What’s the damage? Did your character just do something destructive or brash? Tell us how, and what’s to be made of the attack your character just threw. Here’s Gin’s following moment after striking at Nnoitra:

“ … it’d feel nice ( akin to a surging punch ) to slam his blade into the pitiful pawn’s side. One hundred sword lengths called for, due to their confinement, a collision course that involved Nnoitra taking a shortcut through a neighboring wall. No matter the Espada’s tough exterior, solid defenses, Shinso would not stop shy. ”

There’s some more info pertaining to Gin’s attack in here, drizzled with a brief introspection that Gin will feel immensely satisfied if he gets to land a decent hit on Nnoitra (coupled with a “pitiful pawn” quip that notifies readers that Gin really DOES NOT LIKE this character, nor does he think very highly of his status, which may or may not be a chance for the character of Nnoitra to surprise or impress Gin via a hearty fight)

The details of exactly how far Gin’s blow would carry Nnoitra are important due to the nature of Gin’s special ability / sword. Shinso will “not stop shy” implying that Nnoitra’s going to either have to dodge or get slammed, because the blade that’s hitting him won’t stop its travel until it’s 100 katana-length’s long. Now, back up to the first section of this post: describing your character’s surroundings. Gin and Nnoitra are in a hallway, and Gin struck in a way that means the hallway is not going to suffice in terms of room. SO DESCRIBING POTENTIAL DAMAGES IS IMPORTANT: it paints the scene better. If Nnoitra is going to take this hit, this also means that a wall is likely going to crumble and collapse due to how tough and tanky Nnoitra is. Cue a classic anime moment of dust billowing up, rocks tumbling, and rubble shifting.

In all of this, don’t forget to respect your opponent -- Gin’s strike may land, but right from the get go there’s never an assumption that Shinso will be able to pierce Nnoitra’s tough skin. Knowing about your enemy’s special traits and abilities can help you make these moments more respectable: I know that Gin’s Shikai will not be enough to cut past Nnoitra’s hierro, his ‘steel skin’ defense. The most that’s described is the action of Shinso batting Nnoitra aside and into a wall, despite it being a sharp blade, it’s not described as an impaling moment.

That being said, don’t pull your punches if your character is a powerhouse! Respect others, don’t godmod, but also look out for defending your character’s own strengths! This can involve you studying up on how strong your character is in their universe, and finding some relations and comparisons to draw from in order to properly ‘rate’ them against your opponent. This can also lead you to a very IMPORTANT step, though not always required if both writers feel comfortable enough to proceed unplanned: TALK TO THE WRITER.

Discuss what you think your character is capable of vs. their character in a respectful way, open to hearing “actually, I don’t think that would happen” or “maybe we can go this route instead, since my character can x y and z?” Learning how to protect your character’s power while also being mindful and open to your writing partner’s character can lead to a really fun exchange and a memorable fight. You can literally drop a tentative “hey, I’m replying to our thread and Gin wants to punch Nnoitra in the face” and be responded to with a “go for it, it’ll probably break Gin’s hand” or “oh snap! that’s his one weakness!!!” LOL. I mean, unrealistic, but seriously talk to your writing partner about things if this is something you’re both passionate and excited about!

PLEASE, PLEASE REMEMBER THAT FIGHTS SHOULDN’T HAPPEN IN VOIDS, if you feel like your characters should be interrupted, or end in a draw, or lose interest / dissolve back into talking rather than fighting, then do this! Will your character chose to run away if the fight starts going south for them? Will your character try to offer a merciful end, will they be open to sparing the wounded enemy character if they feel they’ve successfully won? Does your character end up saving the other character by getting them medical help? This can go so many different ways than just blankly fighting and someone winning whilst the other dies.

CONSEQUENCES! What will the consequences of this fight be? For Gin, he has struck out at a supposed ally in defense of a Shinigami intruder that by all means should be considered the enemy. He can get into some trouble for this, or at the very least gain some speculation on where his loyalties lie if word gets out about what he’s done. Other consequences include, too, the very real threat that if Gin fails, Rangiku’s going to be killed. Find how this fight between characters can ADD MORE WEIGHT. Gin really wants this battle to end quickly and quietly. It’s going to drive him to act in a no-nonsense manner, too, because he doesn’t have time to play around. THIS IS VASTLY DIFFERENT, DUE TO THE CURRENT CONSEQUENCES, IN COMPARISON TO HIM PLAYING AROUND WITH ANOTHER MUN’S CHARACTER IN A LESS STRESSFUL SETTING.

Long term consequences, and calling back to a past fight thread in a later thread can make things extra spicy. For example, now Rangiku knows that Gin’ll fight one of his own to defend her; he can no longer pretend to be some emotionless husk standing on the opposing side in the war, he can be confronted about this moment -- by Nnoitra, too, or by other characters who are told about what happened. Gossip’s a bitch, right lads?

Now let your character recover: have them take that nap, or indulge yourself in some juicy hurt/comfort threads with an ally of yours, or some angst about a lost fight hitting your character’s confidence and mentality hard; do they train, do they rest, do they seek out someplace safe to heal, do they hunt down their rival / opponent for a second try? Are they now afraid of certain things, do they have trauma? Near-death experience, or a major injury that now hinders them?

This is a great resource to writing injuries (tw for blood and other graphic depictions of violence, injuries, detailed there) If you’re not squeamish, you can really dive into the medical side of things and study up what kind of damages your character may be faced with. It’s alright to not be totally realistic, though, considering much of what’s being written is based entirely on fake super-powered scenarios.

Sometimes, when struggling on how to describe movement, I’ll go onto Youtube and look up “Battle choreography” or “top ten realistic swordfights” or other relatable content to assist me creatively. Watching things in slow motion or multiple times to nail the positioning can help immensely. By watching similar-themed fights, I can see how those people are moving and try my best to describe that motion in written form. I try to avoid TV/Movie scenes that have been obviously hounded on for their anti-realism, especially sword fights, the common victim to Hollywood’s ridiculousness. But hey, if your character is an absolute mad lad and can pull a John Wick moment, then pull up that badass clip and go for it!

THERE’S SO MUCH TO EXPLORE, SO HAVE FUN WITH IT!

[onthevirgeofdestruction]

35 Q’s for Fanfic Writers

From this post

I’m having a shitty, rude alter-y, crap night so I’m just going to answer all of these to distract myself and focus and to not bother anybody just making my own post and putting it under the cut btw, notice to anyone not aware: since I’m moving I won’t likely be updating anything until I’m done doing so.

1. From one to five stars, how would you rate your writing?  (No downplaying yourself!) 3/5? Could use more editing and description and can be weirdly paced.

2. Why do you write fanfiction? Because it’s better than focusing on pain 24/7. 

3. What do you think makes your writing stand out from other works? I don’t seem to have a specific narrative voice that people recognize but I’m pretty proud of mostly organic dialogue. 

4. Are there any writers that inspire you? as a rule i never look up to anybody for inspiration but there’s some stuff in my ao3 bookmarks I fawn over.

5. What’s the fic you’re most proud of? Right now, none of them. It changes normally, anyway. If get too proud then I’d get my ass kicked by RSD if someone didn’t like it so it’s safer this way

6. What element of writing do you find comes easily? Dialogue. 

7. What element of writing do you struggle with most? Organic description, poetic language kind of stuff. I can paint a scene but I’m not so great with bring out out a feeling with description alone.

8. Which character(s) do you find easiest to write? Janus and Virgil are probably tied. They both have things I struggle with but I don’t have to go back and do much adjusting of language and tone with them. Though admittedly my Virgil is signifigantly more foul-mouthed than canon and I tend to prefer pre-AA feral asshole Virgil.

9. Which character(s) do you find most difficult to write? Patton. I write him the least, so people can probably tell. I love Patton, I really do, but it’s so hard to keep away from fanon Patton. 

10. What’s your favorite genre to write for? Angst w/ H/C obviously. Or if you’re talking about regular book genres, Fantasy. I fucking love fantasy world building.

11. Who or what do you find yourself writing about most? Trauma. I blame Daeram. As if Ayri isn’t a giant Angst Demon.

12. Tell us about a WIP you’re excited about. Slopes. I’m really into it. I’ve got three one shots running right now. Patrons can read the first part of the unnamed cat remus one, there’s also a coffeeshop au tropey nonsense one like eglantine & lycoris, but Slopes is addiction angst. Mmmmm. Virgil is addicted to coke and alcohol and will listening to his friends even be in time? Who knows, especially not me, but there’s already over 30k. 

13. First fandom you ever wrote for? InuYasha. Or was it Harry Potter? Or shit, The Blue Sword? Fuck, I’ve been writing for a long time, I really have no idea.

14. What’s your favorite fandom to write for? Sanders Sides. The characters are the perfect dynamic for writing since they exist in balance of each other and the popular, easy to project on archetypes featured are incredibly fun to do basically any scenario with.

15. What’s the weirdest fandom you’ve ever written for? Weird storywise? Kingdom Hearts? I can’t even follow the plot anymore. Weird Fandomwise? Sanders Sides. Its simultainiously the fluffiest and angstiest nonsense at the same time.

16. Any guilty pleasure trope(s)? Vampires. Gay ones. Gay Vampires. I also love calm tol and angy smol.

17. A trope you’ll never, ever write for. Any tropes that normalize incredibly toxic behaviour or tropes that are inherantly ableist, but I can’t think of any.

18. Wildest fic you’ve ever written? Incorrigible continues to be complete nonsense.

19. Do you prefer canon-compliant, AUs, or something in-between? AUs. I mean closest I even have is canon-divergence other than a single short.

20. Gen fic or shippy stuff? I like it when there is gay nonsense along with a plot that is treated as more important than the relationship the most. But I like both. There’s more shippy stuff in tss so i read more shipping action by default.

21. Favorite pairing to write for? (platonic or romantic!) Anxceit/Sleepxiety, but in general, give me darksides or give me death/j

22. Do you listen to anything while you write? Almost everything I write has a special playlist I listen to to help me write it, but otherwise I listen to my Nyan playlist, an alter is picking the tunes, or a voidfam playlist. I never have music off. When my internet is down I just listen to the songs I own or Anxiety’s theme on loop.

23. Do you prefer prompts and challenges, or completely independent ideas? I’m fine with all of them. I love working with prompts but I tend to deviate. And I’ve never done a challenge since I can’t do deadlines and bad things happen bingo never sent me a card and I applied three times.

24. One-shots or multi-chaptered works? I am generally multi-chaptered stuff, but I’ve been working on a few one-shots lately that are much longer than most one shots.

25. Have you ever daydreamed about side adventures/spin-offs from your fic? Tell us about them! I was originally thinking of doing some little 13-year-old Dreaming!Roman (y’know, the one with a job) shorts but it turns out I just had an alter of that little bastard and that’s why I inexplicably know more about him then I ever even considered. I still might do them after Dreaming is done. But that’s paced so slowly who knows when that might happen. Otherwise I put stuff in my notes and just do shorts of it if I’m like “oh you know what’s cool???” but since I can’t daydream maybe this question doesn’t apply to me.

26. Is there anything you’ve wanted to write, but you’ve been too scared to try? I want to do more autism stuff, and I’ve had it demanded a few times, but I’m scared of being that explict about it for some reason. Possibly because I might be, possibly because I’m scared of doing it wrong even though I’ve accidentally coded multiple characters autistic. I’m scared of explictly tagging them as such, too. 

27. What’s the nicest comment you’ve ever received? That I can remember off the top of my head? I’m going with one from @a-genz-with-trauma-and-kins. It really helped me out and was just so kind and literally the best christmas gift I got in 2020. 

28. How well do you handle criticism when it comes to your writing? I can handle it alright but Daeram is a little fucking pissbaby about it. Constructive criticism helps people get better, so I appreciate it. I can’t handle critism that is incomplete, though. “i just don’t get it” or “I don’t know I don’t like it” kind of things. If I can’t understand the why to fix it then things get out of control. And then I spiral and RSD for like four days minimum. If it came from an anon or a troll, too, It might not bother me for as long. Things that are just like “this is shit and you should feel bad” just make me laugh. Couldn’t even bother to read it long enough to insult me proper? I don’t care.

29. Have you ever gone outside of your comfort zone for a fic? How did it turn out? I have a few times. Mostly in shorts and prompts, I think. I think they turned out okay. They’re not particularly inspired or anything.

30. Tooth-rotting fluff or merciless angst? Depends on my mood. Am I triggered? give me the fluff. Am I vibin? Angst. 

31. Do you have any OCs? Tell us about them! Fuck, fam, no, I can’t, I have so many. I have multiple original stories and some of them have very large casts and like holy fuck. Or do you mean in Sanders Sides fandom? Um, Morgan and Thorn in PD. The lesbian and her himbo dynamic. I love them. They’re dorks. Morgan is strong person with sharp tongue and soft romantic heart and Thorn is just so kind and so dumb and so exciteable he’s like a puppy. They were just filler characters and I got attached to them. Felton even gets redemption for being an ass later in PD, like oof i never intended to include so much OC content, especially for names I just picked randomly. 

32. Summarize a random fic of yours in 10 words or less. nope I’m doing all of them because these are fun plea for my new self: 2 gay vampires, 4 humans, 1 braincell dreaming while I wake: trauma child needs therapy and so do you break: big oof, oh dragons, oh why, go virgil go rebuild: virgil is so not okay there’s more virgil to deal painful death: gay teens drink themselves into a new religion stargazing: whoops we didn’t realize people actually cared whole castle: everyone will throw down for kid!patton, even you incorrigible: found family with a shot of psychological horror and crack dangerous instincts: wholesome crime syndacite action  slopes: addict gets mugged and thinks that’s just fine with him conflagration: logan avoids everything ever like a champ cat!remus: bored fae shifts gay pining from one person to another  caffeine cyptids: caffinated gay panic goes faster than regular gay panic eglantine & lycoris: more tropes than you can toss a shoe at storytime: overpowered virgil also overreacts literally always

33. Is there anything you wish your audience knew about your writing or writing process? an alter and I write together and I have absolutely no idea what’s going to happen, what I’m writing about, or even what year it is. I often don’t even remember what I wrote. There’s no outline. I have an idea and I pick things at random for it. There’s just notes and an evil gleam in a demon’s eye. The only reason I know more than readers is because I take a long time to edit and some of these stories have fucking alters up in my head who can tell me things. Daeram tells me nothing. The writing demon supposedly has all this knowledge but I have absolutely no clue because he does not talk to me, he just fronts and slams out 9k in a few hours or we cofront to write and I’m like “oh no she didn’t” while typing 

34. Copy and paste an excerpt you’re particularly fond of. i’m fond of the entire painful death series and I tried to find something I really liked without spoilers in stargazing and I couldn’t so here’s a random thing from incorrigble: “So, what do you do with your friends?” Patton continued on with a megawatt smile. “Grand larceny,” Virgil deadpanned and glared at Patton, who was taken aback. Remy and Andy just broke out laughing while Virgil tentatively sipped his still-too-hot-cocoa. 

35. Ramble about any fic-related thing you want!  slopes my dudes slopes i have learned so much about cocaine! like wow! I thought for a minute it was going to end with MCD around 30k but it swtiched from whump to hurt/comfort and I still don’t know if it’s going to be MCD but look at that funky little coke/alcohol addict go, it’s a medical wonder he’s alive! It’s not like there’s what seems to be a little talked about interaction between alcohol and cocaine that causes a toxic chemical to build up in the liver which can result in liver failure and sudden death at basically any moment! Which is part of why it may result in MCD but this time no ghosts! maybe it’ll be h/c with whump elements or maybe it’ll be whump with h/c elements we can’t know for sure