#three characters vs 1 can be a lot to write

[dragonmasterhiccup]

His smile widened as she gave him another peck, that warm feeling returning to his chest.

I love you, his heart wanted to say. I've known her for two days, his head reminded him. But he was certain that these feelings he had were very quickly growing into ones of love.

"I'll be right here," he replied, his eyes following her as she left, until she disappeared around a corner.

Still smiling, he sunk back down into the tub, fully submerging beneath the water. The merman relaxed, soaking in as much water as he could before having dinner with his human girlfriend's parents.

🐟

Phlegma thought that after being at sea for so long, Hiccup was probably tired of seafood.

A good mutton stew and fresh bread was exactly what the boy needed, get some meat on his bones. He was too skinny.

As soon as Astrid brought him in, the smell of dinner hit Hiccup's nose. "What...what is that? It smells incredible!"

"Have you never had mutton before, lad?" Phlegma raised a brow, serving out bowls full of stew. "Might want to get used to it, it's a staple around these parts."

"Oh! Yeah, yeah of course, I just, I haven't had it prepared quite like this," Hiccup said quickly, trying to cover up the fact that he had no idea what mutton was, aside from being used as part of an insult.

A chair had already been removed from the table, setting aside a place reserved for him. As his cart, with him sitting inside, was pushed up to the table, he thanked Astrid before turning to her parents. "Thank you both for having me. I hope you didn't go to any trouble."

He was glad Astrid would be sitting beside him. After his previous encounters with both of her parents, he wasn't quite sure what to expect.

All he knew was that he was determined to make a good impression.

After a long training session, all Astrid wanted to do was cool off on the beach. Maybe a tiny swim, even though the ocean was so cold at this time of year. She pushed through the brush and staggered down to the shore.

Only to find a boy lounging in the shallows.

“Oh!” She dropped her axe in the sand. From his bare torso, she assumed he was naked. “Sorry! I didn’t know someone else would be…here…” as the apologies flowed, she realized from the waist down, he had green scales and a pair of fins.

No wonder she hadn’t recognized him.

“No way…” she inched closer. “A real mermaid! In the flesh! Are the stories true?” She stamped down her overwhelming curiosity for a moment to give him a stern point. “Don’t try anything fishy, mermaid. I’m very capable of protecting myself, got it?”

((I saw the prompt and went feral, hope you don’t mind))

[X]

Hiccup started, the water around him splashing as he sat up straight in surprise, before he moved a little further back, his cheeks flushed.

"No, sorry, I, I shouldn't--" Ducking his head, the merman awkwardly held up a hand, "Usually no one comes here..."

But his movements only caused his tail to briefly break the surface, emerald scales glittering in the sun for a moment before dipping below the water again.

Firmly, he responded, "Merman. I am a merman. And no, don't worry, I, I wasn't going to try anything...I know you'd probably kill me if I did..."

Clearing his throat, he ran a hand through his hair, which had partially dried in his time sitting in the shallow water. "What, what stories are you referring to?"

He knew, or at least had a gut feeling about what she was asking, but he wanted to hear it from her. She appeared wary, but not fearful. Maybe these humans didn't have the same fears of his kind like the others?

[ryin-silverfish]

So You Want to Read More about Chinese Mythos: a rough list of primary sources

"How/Where can I learn more about Chinese mythology?" is a question I saw a lot on other sites, back when I was venturing outside of Shenmo novel booksphere and into IRL folk religions + general mythos, but had rarely found satisfying answers.

As such, this is my attempt at writing something past me will find useful.

(Built into it is the assumption that you can read Chinese, which I only realized after writing the post. I try to amend for it by adding links to existing translations, as well as links to digitalized Chinese versions when there doesn't seem to be one.)

The thing about all mythologies and legends is that they are 1) complicated, and 2) are products of their times. As such, it is very important to specify the "when" and "wheres" and "what are you looking for" when answering a question as broad as this.

-Do you want one or more "books with an overarching story"?

In that case, Journey to the West and Investiture of the Gods (Fengshen Yanyi) serve as good starting points, made more accessible for general readers by the fact that they both had English translations——Anthony C. Yu's JTTW translation is very good, Gu Zhizhong's FSYY one, not so much.

Crucially, they are both Ming vernacular novels. Though they are fictional works that are not on the same level of "seriousness" as actual religious scriptures, these books still took inspiration from the popular religion of their times, at a point where the blending of the Three Teachings (Buddhism, Daoism, Confucianism) had become truly mainstream.

And for FSYY specifically, the book had a huge influence on subsequent popular worship because of its "pantheon-building" aspect, to the point of some Daoists actually putting characters from the novel into their temples.

(Vernacular novels + operas being a medium for the spread of popular worship and popular fictional characters eventually being worshipped IRL is a thing in Ming-Qing China. Meir Shahar has a paper that goes into detail about the relationship between the two.)

After that, if you want to read other Shenmo novels, works that are much less well-written but may be more reflective of Ming folk religions at the time, check out Journey to the North/South/East (named as such bc of what basically amounted to a Ming print house marketing strategy) too.

-Do you want to know about the priestly Daoist side of things, the "how the deities are organized and worshipped in a somewhat more formal setting" vs "how the stories are told"?

Though I won't recommend diving straight into the entire Daozang or Yunji Qiqian or some other books compiled in the Daoist text collections, I can think of a few "list of gods/immortals" type works, like Liexian Zhuan and Zhenling Weiye Tu.

Also, though it is much closer to the folk religion side than the organized Daoist side, the Yuan-Ming era Grand Compendium of the Three Religions' Deities, aka Sanjiao Soushen Daquan, is invaluable in understanding the origins and evolutions of certain popular deities.

(A quirk of historical Daoist scriptures is that they often come up with giant lists of gods that have never appeared in other prior texts, or enjoy any actual worship in temples.)

(The "organized/folk" divide is itself a dubious one, seeing how both state religion and "priestly" Daoism had channels to incorporate popular deities and practices into their systems. But if you are just looking at written materials, I feel like there is still a noticeable difference.)

Lastly, if you want to know more about Daoist immortal-hood and how to attain it: Ge Hong's Baopuzi (N & S. dynasty) and Zhonglv Chuandao Ji (late Tang/Five Dynasties) are both texts about external and internal alchemy with English translations.

-Do you want something older, more ancient, from Warring States and Qin-Han Era China?

Classics of Mountains and Seas, aka Shanhai Jing, is the way to go. It also reads like a bestiary-slash-fantastical cookbook, full of strange beasts, plants, kingdoms of unusual humanoids, and the occasional half-man, half-beast gods.

A later work, the Han-dynasty Huai Nan Zi, is an even denser read, being a collection of essays, but it's also where a lot of ancient legends like "Nvwa patches the sky" and "Chang'e steals the elixir of immortality" can be first found in bits and pieces.

Shenyi Jing might or might not be a Northern-Southern dynasties work masquerading as a Han one. It was written in a style that emulated the Classics of Mountains and Seas, and had some neat fantastic beasts and additional descriptions of gods/beasts mentioned in the previous 2 works.

-Do you have too much time on your hands, a willingness to get through lot of classical Chinese, and an obsession over yaoguais and ghosts?

Then it's time to flip open the encyclopedic folklore compendiums——Soushen Ji (N/S dynasty), You Yang Za Zu (Tang), Taiping Guangji (early Song), Yijian Zhi (Southern Song)...

Okay, to be honest, you probably can't read all of them from start to finish. I can't either. These aren't purely folklore compendiums, but giant encyclopedias collecting matters ranging from history and biography to medicine and geography, with specific sections on yaoguais, ghosts and "strange things that happened to someone".

As such, I recommend you only check the relevant sections and use the Full Text Search function well.

Pu Songling's Strange Tales from a Chinese Studios, aka Liaozhai Zhiyi, is in a similar vein, but a lot more entertaining and readable. Together with Yuewei Caotang Biji and Zi Buyu, they formed the "Big Three" of Qing dynasty folktale compendiums, all of which featured a lot of stories about fox spirits and ghosts.

Lastly...

The Yuan-Ming Zajus (a sort of folk opera) get an honorable mention. Apart from JTTW Zaju, an early, pre-novel version of the story that has very different characterization of SWK, there are also a few plays centered around Erlang (specifically, Zhao Erlang) and Nezha, such as "Erlang Drunkenly Shot the Demon-locking Mirror". Sadly, none of these had an English translation.

Because of the fragmented nature of Chinese mythos, you can always find some tidbits scattered inside history books like Zuo Zhuan or poetry collections like Qu Yuan's Chuci. Since they aren't really about mythology overall and are too numerous to cite, I do not include them in this post, but if you wanna go down even deeper in this already gigantic rabbit hole, it's a good thing to keep in mind.

[tanaor]

Don't know how to create hooking character arcs?

(✨Dos and don'ts in character arc creation, part 1: don'ts✨)

Every writer knows that's a good character arc is something hard to achieve, and that there is usually a very fine line between making your characters evolve to the better and making them change completely... But don't worry! That's why today I wanted to share some of my tips to give your characters that something that will make their transformative journey unique, and also make your readers fall in love with them. So, let's get right to it!

DON'TS

1. Don't make your characters passive.

Your story needs someone strong to fight against whatever you are planning to put them trough! Making your characters strong doesn't necessary mean creating buff characters, but a good character will always have that *something* that can always push them to their try best. Could be a goal, a loved one, an ideology...

2. Don't give your characters some random disaster for no reason.

Of course, this things sometimes happen, but the best kind of disasters are the ones your character has put themselves into: they have no one else to blame (even if they tried). This are the disasters you should be pressuring for your characters, because they will teach your character something. Maybe your character was very egocentric during most of the story, and now they are alone. You can now either make them realize, or start a villain character arc were they believe the world has made them like that...

3. Don't make the decisions easy.

During the story, your character will have to take a lot of decisions, including many important ones, but here is the deal... Most of them shouldn't be easy. Make it hard for them to decide, make the decisions something that they feel guilty of, make them think that, maybe, "there really was a better alternative". Also remember that when taking hard decisions, characters usually decide what they think will make them suffer less: that's what we call pain vs pain.

4. Don't make everything terrible.

Remember: there's always calm before the storm. And, if you give your characters a false sense of victory, failure will always hurt more. (Even if you don't plan your characters to fail, it's a good technique to use before eventually everything comes down).

5. Don't be afraid of giving the character the ending they deserve.

When the story ends, you should be capable of naming at least three mayor changes in your character. But, of course, when the story ends you also want your readers to think "yes, that's what needed to happen". So, writers: don't be afraid. If the character deserves a bad ending, give it to them. If they deserve to succeed, let them win. Each story is different, but there will always be that ending that you feel is the right thing... Believe me, if a character deserves to fail, I'll want them to fail at the end, and there is not a feeling as good as someone getting what they deserve, what they have been earning since page one.

I wish this was helpful, and if you are interested keep tuned for the part 2: dos in writing character arcs. Happy writing everybody!!

Other tips for writers: previous | next

[thebroccolination]

THE EX-MORNING EPISODE 1 REVIEW (by key*!)

*das me

Okay, so I was very positively biased going into the first episode of "The Ex-Morning" due to my borderline religious adoration for KristSingto, but I had several pragmatic reasons to believe the first episode would be solid, too.

Let's list them!

1) It's KristSingto's comeback series, so GMMTV was always going to allocate some decent resources to the production.

2) The initial script concept was requested by Singto and crafted by Jojo and Aof, so it's an original work, which allows for a lot of creative freedom and flexibility for change along the way.

3) In 2024, filming was pushed back to allow the writing team time to rehaul the script and make sure it was its best. (Waa did the same thing for the script of "Be My Favorite," which is, as of now, still the best-written series I've seen from GMMTV.) Over three hundred (300!!!) BL series were produced in 2024, so I'm optimistic whenever a series I'm looking forward to (ThamePo, Ex-Morning, & Revamp) is allowed time to breathe in the writing stages.

4) In interviews and behind-the-scenes promotional materials, multiple actors in the cast talked about Lit being a collaborative director who worked with them to add layers to their characters so they were more dynamic and complex.

Essentially, I knew this wasn't a series slapped together on a conveyer belt. I knew it had a lot of talent behind it from the initial stages to the final day of filming, so I had high expectations.

Since the writing is almost always my highest priority with a series, let's look there first.

- THE WRITING -

Story structure can vary by culture, but generally, I think most audiences are looking for the following aspects:

1) Who's the story about? 2) What do they want? 3) How are they going to get it? 4) What's at risk if they don't get it?

Also: a character arc! Our protagonist should be markedly different at the end of the journey, so the first episode should be establishing a starting place for that character.

"Ex-Morning" checked all the boxes. This shouldn't be noteworthy at all, but sometimes I see a Thai BL series chugging along without several of them, so they're getting noted here. \o/

1) Who's the story about?: Pathapi, a weatherman with an idol-like following who falls out of public favor after tossing coffee on a coworker who interrupted his broadcast to annoy him on purpose.

2) What does he want?: He's been replaced by the coffee'd-up coworker and sued by a sponsor for marring his public image, so he wants his job back and his reputation cleared.

3) How is he going to get it?: Pathapi's ex-boyfriend Tamtawan has been summoned back to Thailand from Australia by Pathapi's boss to produce a new show intended to smooth over the damage. Pathapi does not want to work with him due to the as-yet unknown circumstances of their breakup, but he agrees after realizing he has no better alternatives.

4) What's at risk if he doesn't get it?: Death of his career and social ostracization.

- CHARACTER ARC(S) -

Like Krist's previous two BL roles Arthit ("SOTUS") and Kawi ("Be My Favorite"), Pathapi has an upward journey ahead of him from unlikable jerk to, presumably, beloved babygirl.

However! Where Arthit and Kawi are introduced as grumpy from the outset, "The Ex-Morning" introduces us to Pathapi in the past when he was an idealistic university student (asking people where they buy drugs). So when we jump ahead to the present, we're already endeared to him and the contrast between who he was and who he's become is stark.

Not only is his demeanor noticeably different, he's also inside and away from the sunlight which makes the impact of Tam's absence in his life all the more apparent.

No sun outside, either.

ALSO, Pathapi has my favorite protagonist thing going on: the inner conflict of want vs. need.

He wants his career back. He needs Tamtawan.

You can totally do a character arc with just a want, but I love when a character realizes in the midst of the story that their main objective has shifted. I loved it in "Be My Favorite" when Kawi realizes he's not in love with Pear, but Pisaeng, so he has to rehaul his whole plan. Also in "Peaceful Property" when Home realizes he wants his little found family over selling all of his family's cursed property and going back to the U.S. to live his cursed rich boy lifestyle. It's just a great narrative tool to show that the character doesn't actually know themselves very well, because once they do, their motivations change.

What's fun about Pathapi's case is that there's also a secondary need there, too. Because the career he has at the outset of the story is working as a handsome weatherman with sponsorships and a fanclub. But the career he wanted was as an investigative reporter who enacted real societal change. Losing Tamtawan seems to have broken his stride and sapped him of his movitation, leaving him coasting on his good looks and charm and living a soulless life in his cold, beautiful condo.

So Pathapi also needs his professional drive back, but he won't get that without Tamtawan in his corner again.

So he has a want and two needs, which makes him a super interesting protagonist.

But we also have a very intriguing character in Tamtawan as well.

In their university days, he does have hints of the sass we see when he's older, buuut he's much softer, too. What makes this interesting is that we know he's the one who ended things, and he doesn't say anything when Pathapi accuses him of treating him poorly, so that's a a big point of intrigue.

We don't know him very well yet since the show is mostly framed from Pathapi's perspective, but we do see one scene toward the end of the episode where it's shown that Yong, the head of the studio, is the one who called Tamtawan to come back to Thailand to help Pathapi.

As the series continues, it'll be very interesting to see what Tam's whole deal is. Given the amount of thought put into Pathapi's character, I'm confident we're going to get the same from Tamtawan's.

BREAK FOR:

Top Five Tam Moments

“Your trophy isn’t broken, but your laptop is.”

“I was just reading the news.”

“Your password is my number.”

“I’m rooting for you.”

“I’ve seen that often. No need to show it off.”

OKAY NOW:

- META -

There's so much, holy shit. I may have to wait until the series is properly finished to make a complete list, because people are still finding stuff a week after the episode aired.

Off the top of my head, though:

• Name meanings!

Tamtawan (ตามตะวัน) means "following the sun" which is a reference to Arthit from "SOTUS" whose name means "sun."

Pathapi (ปฐพี) means "Earth" which is a reference to Kongphob from "SOTUS" where the +phob means "world."

So basically, Krist's "Ex-Morning" character is a reference to Singto's "SOTUS" character, and vice versa.

• Fan culture

Krist's color is green (the turtle thing) so the signboards his fans take to events are green. So are Pathapi's.

• Probably the jewelry thing?

• Elements costume crossover:

I think both of these outfits are meant to mimic two of his "elemental" costumes from his Elements concert: earth and fire.

[sources: left, right]

Basically, Krist saw the Pixar movie "Elemental" with Gawin at one of those cinema events GMMTV does back in the summer of 2023 for "Be My Favorite" promo, and Krist was so captured by the movie's concept that he designed his two solo concerts in Bangkok capping off his Asia tour around it. It was the story of his life told by four elements, and it was a very emotional concert all around.

It meant a lot to him, so I think we'll probably see air and water represented in the series, too.

I mean…

[source]

Mmm, could be water, but I'm not convinced. It'll probably be a closer match like fire and earth above.

OH, and I also think Singto's outfit here was supposed to mimic his outfit during the PeBaCa corner of the concert:

[source]

Also, this could just be coincidence, but Singto's solo color is pink, so I thought this could be a nod to that.

There's so much to say about this episode, I can't get it all sorted in my head yet, so I'll settle with this for now.

FIVE STARS, NO NOTES \:D/

[anim-ttrpgs]

Eureka: Investigative Urban Fantasy Itchio Beta Update January 30th 2025

You can now get a much more polished version of Eureka: Investigative Urban Fantasy on itch.io! Payment is optional, but greatly appreciated!

I’m proud of this update despite it not really being quite as extensive as I would’ve liked it to be considering the three months in between the last big public update and now, but as if my some act of God, nearly every single member of our team had some kind of personal life issue (moving, illness, etc.) across all of November and December, which really slowed down our progress on Eureka. We were back full steam ahead in January, and that allowed us to at least push one really big improvement through in time for this update: The mystery-writing guide.

It was important to me to release a big public update this month because January 2025 is when we stated on the Kickstarter that Eureka would be releasing. Well, underestimation and unexpected complications have meant that the game isn’t finished yet as of January 2025, but this big update that you can download and play is us making up for that at least partially, it shows our fans that even though we haven’t met our deadline, we haven’t been slacking off, and we do have a lot to show for it.

In addition to new art, new traits, and rules clarifications, the Eureka rulebook now sports an in-depth mystery writing guide. This comes just in time for those of you participating in our mystery module game jam. (Sign-ups are open now, submissions are open from March to April of 2025.)

In addition to a rulebook update, we have released two previously patron-exclusive Eureka mystery modules, “The Eye of Neptune” and “FORIVA: The Angel Game.” You can find them at this link here. Payment is optional but highly appreciated!

Patreon updates will continue monthly as we work steadily on the project.

Oh and one more thing before we get to the full changelog. As many of you know, we run a “TTRPG Book Club” where the club votes on games to play and then splits off into groups to play them (it’s very schedule-flexible), and discusses them as we go. Well, at the time of writing this, Eureka: Investigative Urban Fantasy is currently in the lead, which means we are very likely to be playing that next. Join the book club during the sign-up period in the next couple of weeks if you want to play Eureka and discuss it with the developers!

Here’s the full changelog!

Copy-editing Progress: Thoroughly copy-edited up to p. 302. Half-ass copy-edited up to p. 322.

We also released Eureka adventure modules “The Eye of Neptune” and “FORIVA: The Angel Game” into free beta on itch.io. Scroll up to find the link and a game jam!

WHOLE BOOK

CHAPTER 1 

Better clarified Unconsciousness. 

Better clarified the penalty negation of Grievous Wounds, gave guidelines for what aid may negate what Grievous Wounds, and made it so that these aids can stack to a penalty negation of up to 4.

Edited and simplified the travel time math when using Ticks.

Worsened penalty for using Medicine on oneself from -1 to -2.

Added some quick fix patches to the Assistance Roll section to make it more clear when Assistance Rolls should and should not be allowed. May end up completely rewriting some parts of this section in the near future to make it so that the divide is less based on Investigative vs Non-Investigative, but instead provide clearer stipulations. One potential issue is we really have to be careful not to write the rules so that every character assisting with every Investigative Roll is the optimal strategy, because that would make the game less fun. 

CHAPTER 2

New Traits: The Truth Comes Out, Poser

Buffed Believer Trait

Nerfed I’m Okay, You’re Okay Trait

Un-Nerfed I’m Okay, You’re Okay Trait

Made vampires and characters with the Arithmomaniac Trait immune to the “Click” Woo Roll effect

Added Crutches to Item List

More art has been added

Buffed Elementary! Trait

Buffed The Ascot Trait 

Buffed The Other Trait 

Buffed Poser Trait

Added Nobody’s Fool Trait 

Added That’s No Way to Feel Trait

Made some clarifications on Tiers of Fear

Made it so there is a flat PM penalty for investigators that are living out of their vehicles. 

Added RVs/campers/trailers to Homes

Lowered the PM of vans and SUVs

Moved Police from Optional to Mandatory on Tiers of Fear

CHAPTER 3

Added a Compromise Armor attack that is also a Movement and can only be done starting from a Grab

More art has been added

CHAPTER 7

Added “How to Write a Mystery” section, a big step-by-step guide on how to write your very own Eureka mystery module. 

Added “Starting an Adventure with Disaster” section

Added more guidelines for Eureka’s tone, setting, and lore.

CHAPTER 8 

Made it so fairies have to make a reflexes roll to be able to spirit away people with extremely brief contact. 

Better clarified some other things about Spiriting Away and “voluntary” skin-to-skin contact.

Added that a Potion of Healing can also cure non-chronic disease. 

Added that more potions than just the curse potions can be made curative by adding an extra Table 3 ingredient, and that curative potions can be bought with WP just like other potions. 

Clarified that gorgons can’t eat rocks.

Clarified that advanced curses can override each other.

Changed Monsters Eating Monsters section to Monsters vs Monsters and made it a more generalized section about all kinds of edge cases that might come up when monsters interact with each other. The section is kind of disorganized right now but will be cleaned up in copy-editing. 

Clarified that all wolfmen have a human form as one of their three forms.

Redid the hunting tables and added the tables for the Bar/Nightclub, Gay Bar/Nightclub, and Gaming/Hobby Store. They are not fully complete but they are at least functional at this time. 

Vampires now have a chance to start partially phasing through objects when they are at 0 Composure.

Changed the standard Stealth bonus vampires have at max Composure from +3 to +2.

Adjusted the mechanics for how to permanently “kill” a vampire. 

More art has been added

Buffed Learning by Example TFB Ability 

Clarified fairies taking voices 

Clarified the animal options for the Curse of Transformation

[alpaca-clouds]

Why do people struggle so much with understanding pacing?

Okay, let me talk about my pet peeve when it comes to writing in any medium. Pacing.

People, who know me for long, will know that this has been the thing I have been complaining about since I was like 12. And there is a good reason for it.

See, when I learned to write, there was this guy who I greatly admired as an author. And after bugging him for a while (look folks, the internet was a very different place from what it is now) he did give me some recommendations on books on writing. And a lot of them went deeply into his pet peeve, which - you guessed it - was pacing as well.

And thus, I learned early on about story structure, and pacing, and how to pace out a story in a way grips the audience. This material I read went onto different techniques for different mediums, into how different cultures had a different ways of dealing with this, and so on, and so forth.

Some of my main take aways were, that a lot of very long stories struggled massively with pacing, and that a ton of people also very miscalculated their ability to handle characters in terms of pacing - because characters and pacing are two things that are very, very heavily connected.

I also learned something else, though: That a lot of western writing advice did not understand anything about pacing outside of the idea that stories were supposed to have three acts - or maybe five - and ideally from a certain fateful day in the early 2000s on, would follow the "save the cat" formular. (Mind you, I do not hate "Save the Cat", however, this formular has been created for movies. It works at times somewhat well for books, too. But it definitely does not for for pretty much anything serialized, because that is not what it was developed for.)

And I also learned another thing: Most people do not understand pacing either, because pacing is not a thing that is ever taught in normal school (like most things that are about creative writing are not). So, while some people might have a gut feeling that the pacing of something might be off, they rarely can actually say why. And this is only worsened by the fact that today's tiktok addicted society is so used to consuming ultra condensed media, that they will perceive anything less condenses than 1 minute tiktok videos as "too slow and boring".

So, please allow me - the guy who kinda hyperfixated on this specific writing skill - to talk about pacing. And this will be in the following points:

What is pacing actually?

How do characters relate to pacing?

Pacing, Streaming and the supposed "filler episode".

Pacing and Fantasy

Pacing in Action vs anything else

Pacing in books vs visual media

What Is Pacing actually?

Okay, I think one of the main issues when it comes to understanding pacing is, that a lot of people see pacing on a on a spectrum that goes from "I am bored" to "I can't follow the plot anymore". But that actually does not always have to do with the pacing - obviously.

Technically pacing is the speed in which the plot moves. Or, to make it more quantifiable: "How many plot points (beats) are covered per either time (in any timed medium) or per page (in anything you read)". Which makes sense at the first glance - but does actually often not line up with the subjective perception of this. Becau se here is the thing: No, fight scenes are not automatically fast paces. A lot of modern action movies have super slow paced - in terms of story pacing - action scenes. Because yes, during those action sequences a lot of STUFF happens, but nothing of it actually is in any way related to the plot.

Look, I freaking adore the Fast & Furious movies. But you could literally edit those movies down to like 45 minutes each and not lose a single plot beat. But of course, nobody would watch those movies - because yes, me and everyone else who adored those movies, is there to watch them lunch cars into space and see stuff blow up. I don't much care about the characters or the plot.

This is by the way also the kinda point that me and other people talk about, when we are unimpressed by "oh, but sex scenes don't add anything to the plot", while the same people would often not make the same argument about action scenes - even though there is a ton of movies and shows where the action scenes really do not add anything to the plot. A lot of people just do not perceive action sequences as slow pacing, because even if nothing that happens on the screen actually adds anything to the plot or moves it forward, it is undeniable, that STUFF is happening. So basically monkey brain will go: "Hehe, things go boom!"

Don't get me wrong: there absolutely are stories in which the action is moving the plot. Mad Max Fury Road is a great example. The movie is also about 60% action - but the action scenes actually add to the plot.

Meanwhile nothing tells you as much about how unimportant some of the MCU action scenes are, than the fact, that they are often done by a completely different team and will be done apart from the rest of the movie.

But yes, traditionally the idea was, that towards the "finale" of a piece of media, a lot more plot beats would happen over a shorter amount of time. You will see that also in a lot of beat sheets. There are more beats that need to happen in the third act of a story - if we go by three act structure. And often there is actually even more plot developments, as usually in a finale all the "plotlines" will kinda finish up in the end. So even plotlines where not a lot has happened to this point - this shows especially in serialized works both in TV shows and stuff like manga or comics - the important plot points will then often happen close to the finale, because it feels more "right".

In older serialized media - especially TV shows prior to streaming - you also had the same thing hold true towards the finale of a "story arc". In a lot of older shows, you would usually see a structure that looked like this.

The "rise" here technically has less to do with more stuff happening in later arcs or seasons - and more with the threat-level rising, and the convulutedness of a story. lol

But yeah, the take-away from this part should be: No, action does not equal fast pacing. There can be action-heavy shows with super slow narrative pacing - but it will to many not feel this way, because at least action is interesting to watch. Which also might be an explanation to why people are a lot worse in seeing the issue with action-scenes that are not adding anything in visual media, but might actually notice it in written stories. Because in books action scenes do not feel "fast paced" in the same way they feel in movies, where the often faster editing and the amount of motion on screen will create this effect.

Oh, and on the other side: Of course there can be slow paced plots that will leave you having problems following. At times, because they are badly written (aka: the media does not give you all the information you need) - and at times, because a piece of media might expect you to know a certain bit of information that you do not know. I can definitely think of a variety of scifi media, that just expects you to know stuff about computer stuff or space, and will not explain it to you. Which might make you need longer time to take plot developments in, and then leaves you reeling.

Another thing however that is also important is: If the pacing stays actually the same throughout a piece of media - rather than accelarating towards the finale (or finales if there are multiple) - it actually will feel wrong in some way. Often people (even I, who hyperfixates on this specific thing) struggle to point at it at first. But yes, this very much is an issue that also can happen. You want the pacing to accelerate towards certain points in the plot - and then slow down. If you had an important point, you want a few slower scenes/episodes/chapters afterwards, to allow the audience to somewhat absorb all the new things you presented them with.

How do characters relate to pacing?

Alright, now we come to the dicey part - specifically, because a lot of people (which includes narratologists, creative writing professors, and people professionally writing) actually kinda do not fully agree on this. So, fair warning: This is how I think.

A character arc in many cases absolutely is a part of the plot. Most media we consume these days are character driven, so the characters are absolutely centrally connected to the plot and the plot mainly exists to have the character move from point A to point B. Or, to make it more basic: To have a character realize that their WANT is not their NEED.

Sure, those characters will usually also accomplish something plot-related. But them accomplishing them is more often than not heavily connected to them fulfilling their character arc. (Please note: characters having a want but having to realize a need is something that is core of western storytelling. However, given that it makes for interesting character arcs, a lot of Asian media these days also will use this as a central driver for character development.)

In some pieces of media, the character arcs are way more heavily tied into the beats of the main plot, than in other. In adventure, action, and related a lot of fantasy and scifi, there is most of the time a character arc happening parallel to the main plot beats. Meanwhile often enough in more down to earth drama and romance, plot beats and character development beats are heavily interwoven. This is not a hard and fast rule - there absolutely is fantasy where the character arc is the plot arc, just as there is romance where the development does not play as heavily into the main plot - but you can generally observe it.

However, no matter how strongly the character development beats line up with plot beats, you cannot deny one thing: character beats are beats that also add to the pacing - even if they technically do not move the main plot forward. So, for example, if you have an episode in a show or a chapter in a book, where important beats happens in terms of a characters development (for example: they realize something important about themselves), this does not necessarily slow the pacing down - even if no actual plot beats happen.

What the fuck is a plot beat? What is a character beat?

This part of the essay was originally not included, but the people reading over it said I should include this.

If we say, that Pacing is basically the description of "Plot Beats per Time" or rather "Plot Beats and/or Character Beats per Time", then we also need to say, what exactly a Plot Beat is. I will fully admit, that this is one of those things in which I forget that this is not a thing taught in school.

I mentioned "Save the Cat" before. "Save the Cat" is a book about writing movies and specifically about pacing out a movie in a way that it is captivating. It mainly focuses on action, but you can absolutely use it for most other genres. And this comes with a so called "beat sheet", a collection of the main story beats that happen, showing when they are going to happen. It looks like this:

Basically a Beat is a scene, in which the plot (or a character arc) is moved forward by a bit. Basically anything that reveals something to the main characters, anything where the basic assumptions about the plot change, anything like that.

Examples for Plot Beats would be:

Character learns about something going on

Characters find out something important about the plot

Someone (either protagonist or antagonist) gets killed or injured

Characters get a new power or item that is important to the plot

Romance goes forward or a reason for the romance to happen is found

Characters find a hint for something they want to reach

And examples of Character Beats would be:

Character learns something about themselves

Character makes a decision for themselves

Characters realizes feelings about something or someone

Character overcomes trauma

And mind you, because I cannot fit this anywhere else: If you read these you might realize, why Musicals are basically a cheat for very fast pacing. Because you can put an entire character arc into a 4 minute song. This is why musical animated shows like Steven Universe or My Little Pony managed to pull some insanely paced episodes, like the Empire City episodes for SU, and the episode in which the Cutie Mark Crusaders finally got their Cutie Marks. Musicals are insane when it comes to this.

And something that you have to realize: While for movies and books certain Beat Sheets (Save the Cat is not the only one) work rather well, those Beat Sheets usually do not work well for Shows. And currently we are living in a time, where this becomes very noticable - because a lot of modern shows are written and aired as basically 4-8 hour movies, using often just the "Save the Cat" beat sheet (if you have read Save the Cat, you will see it EVERYWHERE, because it is so frequently used in western media), but... obviously, Save the Cat is made for something that has 2 hours, and as such a lot of modern media feels strangely slow and stretched out.

Pacing, Streaming, and the supposed "filler episode"

(Yes, this needed to be the gif for this. Because no filler episode has lodged itself quite as strong into my brain as this one.)

So, let me talk about the issue in modern media. Because oh boy.

As I said: I hyperfixated on this specific writing skill forever - and as such I was annoyed by "filler episodes" in TV shows. To explain for the youngest people (not that I am assuming a lot of those are on this hellsite lol): "Filler" was the name given to material that did not move the plot forward at all. So a "filler episode" was an episode, that was just there to fill the episode slot for the week, while no plot was happening. I am not fully sure whether the term originated with anime - but at least back in the early 2000s, before Shonen-Anime were done as 12-26 seasons that then allowed the manga to get ahead in between, "filler" was also the name used for those story arcs that the anime people made up for shows like Naruto, One Piece or Dragonball, that were not in the manga - and hence obviously also never added to any overarching narrative.

And what can I say: We did not appreciate the filler episode enough. Because this related very much to the last part: While filler episodes did indeed not add to the plot and usually by definition did not the character development, they actually still added something often enough.

They allowed the audience to get to know the characters a bit better and get a better feeling for the character relationships - and those episodes take out a bit of speed, which is actually important.

As said before: The pacing should not be even throughout an entire piece of media. In a TV series after an episode that was especially tense and pushed the plot or characters forward a lot, there should be ideally at least one or two episodes that move forward slower or even not at all. This allows the viewer to sit with the new developments for a bit - and of course the characters to have a moment to breathe and process whatever happened to them.

There is also the fact that those episodes usually give the audience a better understanding for the characters - and if you have an audience who at this point ideally care about some the characters, this will even be more successful.

And as I said. Back in ye olden days, a lot of people - me included - complained so much about Filler. But we were wrong. Fillers are amazing, as long as they do not overtake the whole show.

Pacing and Fantasy

Okay, let's talk about a thing, that is somewhat funny. A lot of fantasy - specifically written fantasy media - often has a pacing problem. And this problem comes from the Worldbuilding. Others forms of fantasy media (other than games - though pacing in games is whole different matter) have this too at times, but it tends to be worst in books.

Basically, when you are a fantasy worldbuilder, you have this whole world. And this leaves you with two problems.

a) You are afraid that people will not be able to follow the plot if you not give them a lot of information about this world and how it differs from ours.

b) Well, you build this entire world. And the people should KNOW.

So, a lot of fantasy media basically regularly will stop to explain to the reader or audience, whatever is happening right now. Some writers manage somewhat naturally put this in. Maybe they have a character that does not know a lot about for example magic or dragons, and they can ask questions and act as an audience stand-in. But even in cases, where the worldbuilding is somewhat brought in naturally (which by far is not all of them - because people usually do not naturally talk about stuff they both know, or think a lot about something they find naturally) those "explanation" pieces will make the plot come to a screeching halt.

So, the more worldbuilding you explain, the slower your pacing is.

And of course, pacing is not a reliable thing to keep people reading, and pacing will not always turn people off. But you know how people complain about how slow Lord of the Rings is? This is because of course, every time that Tolkien describes a piece of landscape over multiple pages, there is no plot happening on those pages. And while I personally think some of those descriptions are darn stunning, it is one of those things many people will not like.

However, this makes it a bit complicated. Because yes, worldbuilding explanations will slow down the pacing to a degree that can be problematic. But if you explain too little worldbuilding, people might struggle to follow the story. Which again is the most common problem if the pacing is "too fast" as well. Basically, people do not properly follow the plot and will struggle to understand what is happening and why.

But the opposite is true as well. I have read way too many fantasy books, where after the first 100 pages, I know a lot about the city the plot is set in, or about the magic system, but sadly have so far not been privy to any information what the plot is about, what the characters try to archive, or even who actually the characters are. And that, yeah... Is probably the most common reason why I put aside a variety of fantasy books in the past.

Pacing in Action-media vs anything else

Okay, let me talk about one other thing. See, the word "pacing" is at times used in some other context: In visual media, pacing will be used for the editing of what we see. Basically the amount of cuts that happen within a scene. Or, in a comic, the distribution of panels is also seen as a pacing element.

And anyone who heard people complain about how at times confusing the editing in action movies is, you know that this at times can get too much.

Still, in visual media action scenes feel usually fast - because the characters are moving around rather fast. In a visual piece of media, action scenes are often thrilling, because the characters are in constant danger of dying, and because a lot of stuff is happening. This often works better in visual media, than in written pieces. While it absolutely is possible to write thrilling action scenes, a lot of writers struggle with this, because they tend to overdescribe and that takes the speed out of the prose. But generally speaking, a couple of punches thrown - something that in a movie takes about 10 seconds - will in book easily end up in 200-500 words, which you will not read quite as fast. A bit more about that later.

And then there is the issue with the action scenes, that even is true for visual medial, is that they often really do not have any important plotbeats. Sure, if the characters have their final battle, that is a plot point. But in a lot of action media - especially TV shows - there are a lot of scenes included that really do not add anything, but just are there because folks love watching action scenes.

This goes so far, that people will think a show or movie with a lot of action scene will just be seen as "good fast pacing", even though if the actual pacing in terms of plot beats being spaced out is rather bad. As a good example I will once more nod at the Fast & Furious and the Mission Impossible movies, that often have horrid pacing and very confusing plots - but they do not feel really like it, because the movies are like 60% action scenes, and hence they do not feel like it when you watch them.

It can work at times. I spoke about my love of the F&F movies. Can I tell you a lot of the characters? Nope, but the action scenes are fun to watch!

But this also tends to mean, that in a badly paced movie or show, that is badly paced because the action scenes not adding any plot beats, everything tends to fall apart when the action scenes do not work. And often enough action scenes will still be prioritized over everything else in many of those pieces of media, making things fall apart easily.

Pacing in books vs visual media

I have hinted at this now multiple times: Written media is generally a bit harder to pace than visual media, because of the things you can and cannot control. While a writer in a book has full control over the scenario, a director of a show or movie had actually influence the timeflow of the things happening on screen. As a writer meanwhile you absolutely have no influence on the speed in which your reader will read.

Sure, you can somewhat influence it. Shorter sentences are easier read. An general lower reading level will allow people to read quicker. So simpler words, shorter words, shorter sentences will make parts appear quicker. You can use this for example in action scenes to have a bit more of this breathless feeling that an action scene on screen might have. Use short sentences. Do not link sentences up. Quick hits. Quick impressions. It can work - but it needs some training. Not to say it is fucking hard.

Generally speaking to my experience when you write a single novel, the "Save the Cat" Beat Sheet actually works rather well, if you are the kind of writer who is fairly good at planning things out. If I actually try, I will usually manage to plan out a story and predict fairly well how many words a chapter will have. So yes, for books I can very much use "Save the Cat" and it will work.

However, some things simply work a lot better when you have visual parts going on - but there are other things you can do better when you do not have the visual stuff. For example: A writer can do much more when it comes to motivation and introspection of characters. Yes, this slows down the pacing - but it is something that writing has basically over any form of media that is not a musical. (In a Musical you can characters do introspection through songs. Musicals are the ultimate way of cheating. I love them!)

Something I feel so many writers struggle with in terms of books is actually putting in a clear goal for the character from the beginning. Again: I have put too many books aside where I reached page 100 and did not yet have any goal for the main character.

That goal you give them does not necessarily need to be their final goal. Again: A lot of western storytelling deals with the incongruent nature of a characters "needs" (aka something that would actually help them) with the character's "wants" (aka what they think they would need). But at the very least the plot needs something that it can head towards from the very beginning - a hook to capture the reader.

There might be readers that are absolutely fine with just reading an exercise in worldbuilding - but you cannot expect them to be.

[mommymothma]

Spoilers for Andor Season 2 (with pictures)

Okay I just watched episode 9 of Andor season 2 and I simply cannot neglect my duties any longer. I would not be a star wars blog if I did not put to writing the pure ECSTACY I felt watching this arc. The season's previous arcs have been exceptional, but this one has been PHENOMENAL. I mean COMPELLING. My ass has been sat for damn near three hours, thinking, contemplating, considering everything I was watching unfold in front of me. I watch A LOT of TV, and if you ask me what I think are objectively some of the best shows ever (some are even my favourites) Andor will be up there. Whether you are a Star Wars fan or not, this show has something for you. Season one blew me away in all regards-- "One Way Out" is still in my top 5 list of the best episodes of all time, "Welcome to the Rebellion" is now creeping up on its seat. I am going to go IN DEPTH on my favourite aspects, and break down some scenes and imagery because I'm a nerd, so I will hide it behind a break so that those who do not care, or do not want spoilers, can keep scrolling

Mon Mothma's character, development, story is honestly my favorite arc in the show. I have been ON MY KNEES for her since season 1 (and really long before that). Her arc in S2 1-3 was no exception, and added to one of the more personal plotlines explored in the series. In season one we see her make the ultimate sacrifice for the rebellion- her daughter. And as a result we are rewarded with this incredible piece of imagery:

Which in case you already aren't aware of the significance of this image I insist you examine the Rebellion logo below (shoutout to Sabine). Picture the flanking pillars on the side as the edges of the semi circle and Mon as the center "pillar".

I have been thoroughly obsessed with this still since season one, so you can imagine my eyes have been peeled this season for more imagery, and I am probably reaching here but I found an interesting pattern with Cassian (keep in mind, I had to scroll a lot to find these images so I might have missed something in episodes 1-6, if I did, please please please reblog and show me so I can loose more sleep).

In episodes 7-9 of season two Cassian is based out of Yavin, and coincidentally his house has a circular door. So I was on the edge of my seat, watching tentatively WAITING for a similar setup for him. But I noticed a pattern, whenever he is framed for a proper position to replicate the logo he is sharing the space with someone.

Like here where he is sharing it with Bix and Wilmon. Also in this scene, he is the first the leave.

I was getting frustrated at this point because they kept getting close and I was on the edge of my seat. The next opportunity, and I was SO sure this would be it, Wilmon is missing, but Bix remains, forcing the frame to widen him out of position and show like this

WE EVEN HAVE THE TREES POSITIONED AS PILLARS THIS TIME

Now you can probably guess where I'm going with this. Now that Bix is gone, I believe there is a much higher chance he will get center screen, and his "official-unofficial" Rebellion badge. It is all I want please Tony Gilroy. I will owe you for the rest of my life If you just give me the cinematic experience of this framing one more time!!!

But moving on to my next topic- Ghorman vs Ferrix

I probably don't need to like draw it out for everyone, because this was way more obvious messaging. I felt distraught for Cassian who essentially had to witness Ferrix all over again, only on Ghorman... they lose. It's like an insight into what COULD have been. The Ghorman genocide draws a lot more attention to background characters deaths to emphasize the fact that this is a LOSS, whereas in my season 1 rewatch I notice that there is less (but still some) emphasis on civilian death. Other parallels include the catalytic throwing of the bomb, the singing as a means of choral rebellion. The site of the massacre occurs in a grave/memorial in both locations (Ferrix the wall, Ghorman the memorial plaza). In Ghorman, the imperials were given the go-ahead to shoot to kill, while on Ferrix, they were asked to bring in Andor alive, causing some hesitancy to be the first man pulling the trigger. I'm sure there are so many more people who will add, but off the top of my head, these are what I could recall.

Episode 8 also shows us the death of one of our main characters Syril. He has been with us since season one and I'm sure he will be missed. I think the interpretation of his character will be extremely varied among fans, but my general understanding is this; Syril was not willing to do whatever it took to achieve his goals, and for that reason he died... morally grey. On the other hand, Dedra was willing to set aside literally everything, albeit reluctantly. Watching her breakdown and repeatedly slip through the first two episodes was endearing and captivating. It's almost like beneath everything is a woman who just wanted to prove herself. Regardless, I don't think this is the end for her, I think it's the beginning (and thus, I also really want a frame of her imitating the imperial symbol to add to my collection). But back to Syril, I chose two images that sum up his character ambitions. He is selfish in every sense of the word, but he is also weak.

On the top we have Syril choking Dedra. At first this seemed out of character, but we have to remember that while Dedra was locked up in her Hightower, devoid of any Ghorman notion, Syril was not. I can totally see how he would get frustrated and lash out at her. I also got the sense this wasn't the first time, based on her reaction. But that is purely speculation. In season 1 Syril could not hold his own whatsoever, he WAS the battle-avoiding officer, who was humbled greatly at his first combat exposure. It's clear that since his demotion he has gotten used to being a soldier, being expendable. So now it is his turn to show the elite that real power comes from the people, and not the elite. It's interesting because he could have prevented Ghorman, or at least delayed it in this moment, but he has never truly overcome his doubt and weakness, a point that is solidified when he loses to Cassian and the Ghorman rebels. Although I wouldn't consider Syril redeemed, I think it's fair to say that he tried. Given more time, he might have finally learned how to use a blaster.

OKAYYY back to Mon because I'm not done with the senate. Bullet points first;

Shout out to Bail Organa, I love this man, and I would die for him. I appreciate that they went for the subtle recast, no unnecessary CGI budget. The actor was phenomenal and embodied the character well. Great chemistry with Genevieve.

Mon absolutely losing it at her daughter's wedding was one of the most tragic things I have ever witnessed on screen, and keep in mind this happened simultaneously with Brasso's death (RIP Brasso, if I had the energy I would give him more screen time). Watching the ceremony was harrowing for multiple reasons: the first, being that they were literal children. Child marriage. The second, is that it was COMPLETELY OPTIONAL. Leida CHOSE to do that, even after Mon gave her an out. I felt her pain in my chest, when Mon tried to have a civil, loving conversation with her daughter and Leida practically spat in her face. If Anakin was going to kill any kids it should have been her sorry not sorry. But I can't imagine what it is like to watch your child voluntarily participate in the same thing that traumatized and radicalized you. To add to that, the only person from her past she still trusted, maybe even loved (platonic or otherwise) was murdered by the man who was her closest ally. I simply just envy her strength, and I could talk about that wedding scene for hours. For now, I'll leave it with one more note, and that is: I was acutely aware of the braid-cutting symbolism. This is definitely me reaching again, but we know that Jedi braids are a symbol of growth, knowledge, acquired wisdom, and age. So seeing in the universe a normally sacred thing be cut and discarded was a little jarring. It represents an abandonment of all those things. (I am once again reinforcing the head cannon that Leia fills the role of her daughter once she joins the rebellion because Mon deserves to be a good mom to somebody.)

Last week Mon Mothma's arc was sidelined a bit for the sake of some other things, but this week we finally got the bigger picture. Making Cassian the agent that brought her to the rebellion and saved her life was just genius. An incredible way of tying the story together and FINALLY placing the main characters in the same setting. I almost can't believe we have three more episodes to go, because episode 9 felt like a finale. I didn't think I would be fed so well, let alone given DESSERT next week. Her speech about the abyss... jaw breaking. Her and Bail thwarting the system to make it happen? Fucking incredible. The ESPIONAGE of Andor sneaking into the senate and out of the senate with a WANTED senator by-- let I remind you alllll the way back to season 1 episode 3 "pretending you belong there". Her reactions to the deaths of the "bad guys", especially Kloris who she had known betrayed her the moment he showed up. She expresses empathy, even to her enemies. This messaging is something that was reinforced in the Ghorman episodes prior: "There is nothing to save if we give up what makes us Ghorman" (or something similar). It's also a massive wake-up call to her, that the rebellion is MESSY. She had been lucky thus far, to avoid associated bloodshed. But she is struck with the realization that this will be her life now and forever, unless the empire is defeated. Tears roll down her cheeks and she expresses how scared she is, but like everyone else she puts her trust in Cassian, and our boy "always pulls through".

Last things I want to squeal about "Rebellions are built on hope"

I don't need to explain. And if you are confused, wait till next week and go watch Rogue One ASA you finish episode 12 thank me later.

Live, laugh, love Saw Gerrara screen time. He is freaking me out a bit, but I am intrigued.

K2SO ORIGIN BABY LETS GOOOOO. Still one of my favourite droids in the franchise, and I hope to GOD he gets at least a little screen time next week.

Incorporating Krennic is an incredible decision. I have no notes on this, other than I think someone needs to die via asphyxiation while trying to achieve their goals (Dedra perhaps)

Now do I have predictions for the finale???

Yeah. Unfortunately, most of them are tragic. I think we will be saying farewell to a large assortment of characters next week, most prominently Wilmon and Luthen. I just think that Andor has to lose his last connection to Ferrix in order to truly become endowed to the rebellion. I don't think Wilmon will die, but I can see him siding with Saw in a heated argument and parting ways. Luthen has been and always will be a mystery. At one point, I thought they might explore his character more, like his premise is certainly interesting: how does a random shopkeep in Coruscant become the underground leader of the rebellion?

I don't know, and I don't think we ever will. The kyber he wears around his neck may point to an explanation, but to be honest, I think he probably stole it. Andor and Mothma will agree that Luthen must step out of the shadows or leave, and Luthen will leave. Then probably die. Rumbles on Kleya and potentially Vel dying as well, but for Mon's sake I hope not. Those are the only people she has left, and I don't think I could stomach watching her say goodbye to Vel. Kleya is less important, but I am emotionally attached to her for some reason. I think I like that she is a good balance between Luthen's dogma and Mon's morale.

Last but certainly not least, I truly, from the bottom of my heart, anticipate that episode 12 will end at the start of Rogue one. I think Tony is gonna go back to the source material, and much like Rogue One did with episode 4, I think he will do it again. Do I think we will get a Jyn Erso cameo? Not a significant one, I think it's more likely we see Andor heading to the meeting point, or being introduced to his next mission.

If you read for this long, I seriously thank and appreciate you. Slide into the DMs my friends, if you want to talk about Andor, or anything Star Wars at the moment. I'm certain I will have another novel-length dissertation next week (probably written in all caps). If I don't, please check on me, my anemic ass is prone to fainting under pressure and if Gilroy keeps cooking my bp may not be able to handle it.

Cheers, and may the force be with you.

[disregardcanon]

this probably seems like a weird question from your end,but why do fanfic writers care so much about comments? aos already tracks hits and likes, sorry ""kudos"", so why are comments such a big deal to the point that people will stop writing?

okay, so i'm going to take this question very seriously and i promise it's not to make you feel bad. this is a comprehensive explanation of reasons that comments are important for me, both as a writer and as a reader

engagement vs numbers game

seeing trends

buy-in

community building

engagement vs numbers game

let's look quickly at two different fics of mine. this is the kudos count for a fic called Of First Kisses and Burnt Lips

it's old. it's been up on ao3 for almost 11 years now. 258 people liked it enough to leave a kudos, 12 people liked it enough for a bookmark, and it's been clicked on 3,859 times.

i have no clue what almost any of these people on ao3 THINK about it. beyond "huh. sure. i'll kudos that". compare this to its crosspost on ffn, where i got 5 reviews

3/5 mention it being cute. 3/5 give appreciation to me for taking the time to write it. 2/5 praise the writing itself from the attention to detail with grammar to the craft. 1/5 is an "um..." which is hard to decipher but appreciate and 1/5 is a silly reaction, but it's a reaction! look, someone felt a felling reading my thing! that made me giggle!

looking at the stats here from a purely numbers perspective, my fic DID better on ao3. it got a lot more kudos than it ever got faves or reviews on ffn. but those ffn comments are still what i think about when i remember this fic.

sure, a shear number like hits or kudos can be comforting and motivating. i'm definitely not telling you to NOT leave kudos! but the fics that i've come back to, recently, are the ones where i don't have a lot of kudos but i do have a few people who are invested in the stories and leaving comments to tell me

2. seeing trends

lets look at a few of the comments on my fic The Maid of Honor Made Them Do It

so just in these two comments, we see both commenters hone in on the same detail: my choice to include a special christian music playlist that this characters' friends made for her. a few other people in this thread mentioned that same detail, so i know this bit really worked well! it's great feedback that lets me know that a good chunk of readers agree with my characterization here.

these readers zoom in on specific details that they really liked! things that made them laugh, the absurdity of the concept, enjoying reading it, and that they could see it staged, which is a HUGE compliment for a work in a fandom for theater.

i've always had trouble with imaging where characters are in a space, how they're occupying it and moving, and how to use that for characterization purposes. however, i got more than one comment on this fic about how people could see it staged! that means that i'm improving in an area that i've always struggled with. that's huge. it makes me want to keep working on this thing! it makes me feel like what i'm doing here matters, because lots of people are picking up on similar things! they're invested enough to give me a comment! and it makes me want to keep writing for the hatchetfield fandom because some people are invested in my work here. that is BIG! seeing trends in the way that readers experience your story helps a lot with writer buy-in for a project and also for writers self-analysis.

as a commenter: this helps me JUST as much. when i really dig into what i enjoyed about a fic to tell the writer about it, that helps me analyze and articulate the strengths and things i might want to take away from the storytelling, and that makes my writing better too!

3. buy-in

this is a comment on a series that has less than 100 kudos across three fics, but has thoughtful, appreciative comments on each work. it's called Melting Pot

the commenter deleted their ao3 account. they may be one of the people who commented on the next fic, which i posted recently. they might NOT have been! honestly, it doesn't matter that much to me. this person gave me a gentle and nudge about a fic that matters to me and mattered to them at the time, and they were part of the push i needed to get back to it.

from a commenter perspective, i know that hearing a kind word can help someone keep up their motivation to write, even when i can't write in depth comments the way that i like to!

just recently i only had the time to comment "nice update" on a favorite fic of mine called Teeth That Turn. but they know that i come and i read and they know and talk to me by (user)name. because they know i care about this thing they care about! and it's way more fun to do something like this when i know i can chat with the author about theories and thoughts and ideas. and this isn't a "wow aren't i so cool other writers like me! tehehe" bragging thing, it's just evidence for the case of why comments matter?

if i didn't want this to be a two way buy-in, i'd ONLY read published fiction, you know? we're all playing in the sandbox on the playground and i like what they made. they like that i like what they made :) we're scheduling a play date to fight with sticks after school my mom said it's okay!

4. community building

now i know that i just mentioned above here why i like being a commenter and how it helps authors, as well as why i like HAVING commenters as an author. i'm still arguing those things as a lead up to this section, where i have two other points to make about community building here too.

1. you can comment on OTHER comments! if you go through and read to see what other people are saying, you can agree with them. you can add some commentary! sometimes you can make a joke! and i've only ever had fun responses from something like that. authors tend to love that their fics are getting such a response that people are talking to each other about it! like look!!!!!! my thing got you to talk to someone else about it holy shit?!??!

2. commenting on fics in your fandom builds you a good reputation and makes other authors you comment on more likely to read YOUR fic. i'm not going to post any screenshots on this one because it would be embarrassing for everyone involved, but there have been authors that i really admired who gave my stuff a try after i commented on theirs. and they've told me that's why they tried it! like obviously it's not just networking or whatever, but it's really nice to have someone give your stuff a try because you've been enthusiastic and thoughtful about theirs.

and you make friends this way! fandom friends! who want to talk about your blorbos! you get to go on little play dates in cyberspace with cool people who like what you like. you don't ever HAVE to be a writer, of course. if you don't want to throw your hat into the ring or make art or edits or gif sets or anything, that's cool. no one ever has to participate in fandom outside of their comfort zone! but if you want to, you know that you'll feel more welcomed if you have some people in your corner for it, and making friends in a space, screaming about how much you love the characters you love, and remembering that fic authors especially are just fans too will help you feel like you "deserve" to exist in the space. maybe you don't write, but you go here too. you've got a space in the fandom and your comments don't have to be, like, perfect literary essays for authors to appreciate them and get a motivation boost from them still existing and us being able to go back to them and go!!! look!!! i don't suck!!! this person liked what i did so i'm okay! :)

[hattersarts]

gomens s2 thoughts, all spoilers!

I spent 10 hours talking to my housemate about the season after we binged the whole thing in the morning but here are the highlights and the biggest takeaways from the season.

okay i did love the ending, i love that we get the conformation of love AND going into the divorce arc next season (if they're not properly together by the end of season 3 however, i am rioting) they're slow burn and a whole season of them getting to the final 10mins was tasty.

HOWEVER. it was an extremely clunky season when it comes to writing, lots of either set ups missed OR set ups repeated 4 times that they're drilled into out heads. there was also lots of dialogue that really needed to be tightened up. the lesbians were so poorly written i thought they might have needed to be cut BUT they just needed to have more bearing on the rest of the plot AND say things like real people would say things and LITERALLY SHOW ONE SINGLE REASON WHY THEY WOULD LIKE EACH OTHER WITHIN THE FIRST EPISODE.

gabe/bulz romance was the one that should have been cut, have them do more of a oh-my-god-my-boss-sucks kind of thing, lean into them complaining about having to avert a civil war after armageddon stopped and touch on the "structural problems" the angels mention later. Have gabe/bulz be super punished for working together which puts huge fear into az and crowley about what happens if you try to team up as an angel/demon pair (but an extra reason why az takes the job at the end so he and crowley can be the same)

imo it works more if the only mirror of their romance is the HUMANS which should lean into themes to season 3 of how they need to team up with humans (re:"us vs them" line at the end of season 1) to actually achieve their happy ending.

Nina and maggies best scene was their last one telling crowley he needed to talk to az but i think that was one that needed to be cut, it would have been far more satisfying to have crowely work out it out himself that he loves az and wants to tell him (still via maggie and nina but more subtle rather than them telling him to his face AND via spending more time with az in the season)

flashbacks were all pretty good, loved the jobe one and that final "lonely" scene. the nazi one needed some trimming the most (why did all three come back to earth, it made scenes too crowed, have them fight to be a zombie)

shax was disappointing, she was kind of just incompetent the whole way through which didnt make the stakes very exciting, (that whole scene of her talking to the legion was unfunny and pointless) i wanted crowley to mentor her more like when he gave her advice in the first few meetings we saw (kind of in a very non-demonic way, not expecting anything in return) and her to then meet him on equal footing in the finale. would have been a little accidental taste for Crowley to have his good deeds come back to haunt him while showing he's different to demons.

speaking of the finale fight, that halo had NO set up, it was sick as hell but ??? the fuck did that come from. the fight should have been won by az and crowley performing another HUGE miracle together, discorporating the demons (which then would alert heaven and hell something was up in the bookshop and the final scene can happen)

az taking the job from metatron was very good, its consistent with his character where he still hasn't let go of his faith in good/god, he's only been upset by the angels running heaven and still has faith in the system while crowley has realised none of it works and it's only them together that matters. it was nice to show he still hasn't truly accepted crowley for who he is now (tho imo he knows he loves him, he just hasn't quite unrepressed himself) and him not turning down the job after crowley confesses to him shows he still thinks he can fix it. Crowley on the other hand thinks he's now lost him, az has broken he the trust he had in him, he's going to be in big depression mode

few thoughts of good directions for S3:

finally delivering on what crowley said at the end of S1 I think is the most satisfying. the final showdown should be humans Vs heaven/hell with Crowley and az on the human side, helping them win the conflict. there would be suggestions that this is actually god's ineffable plan, this is a conflict she wants to happen and the things that Crowley and az went through are what make them perfect ambassadors to help the humans.

the set up for az in S3 to finally work out he and Crowley can't work out within the unfair rules of the system and for him to abandon heaven (tho not I think, becoming a demon) is good. a sucky ending imo for season 3 is if az somehow "fixes" heaven and via bureaucracy and not via blowing it all up.

growth moments for Crowley in S3 might be having more contact with humans since he's already abandoned hell and it would put az & crowley on similar footing (as az very much loves humans already) when they decided to side with humans for a humans Vs heaven/hell conflict.

anyway, gay people

[vulture-venom]

Hello! Hope you’re doing well. Okay, might be much to ask & someone may have asked before. But JPV sounds so cool but pretty underrated. I know of him & some facts but not a lot! I’d be so intrigued to learn more if you’d like to talk about it! 

What comics of his would you recommend?

Your fave things about him (though I’d be hard, I’m sure).

Also I remember him & Leslie Thompkins having a unique + sorta interesting relationship. She was kinda motherly to him (but also a lot. Not to ramble bout her but I think she’s complex & interesting but dc sometimes does portray her off. Adore her)

Hmm, what do you wish people knew about him more? Misconceptions you hate? 

His relationship with the other bats? 

I hope these aren’t too many questions! Thanks 

Hello, Anon! These aren’t too many questions at all, I love talking about JPV 🙏 there’s a part two to this if you check the reblogs.

So for his core reading I recommend:

-Batman: Sword of Azrael. His first appearance and one of my favorite comics ever. It’s a 4 issue mini series, so it’s not incredibly long, but it helps you understand the fundamentals of Jean Paul and Azrael as characters (there is a distinction between the two). It also explains things like “the system” and “the Order of St. Dumas” which are incredibly important to his lore.

-Batman Prelude to Knightfall/Knightfall/Knightquest/Knightsend: The Knightfall saga is absolutely fantastic and holds a great significance in the Batman mythos. It’s the story of Bane “breaking the Bat” and having Jean Paul step in to take over as Batman while he heals. It’s an excellent deconstruction of what Batman is, the failings of antiheroes, how Bruce’s particular mindset allows him to be Batman, and the importance of fathers and legacies (or lack thereof). It is also very important to Dick Grayson and Tim Drake as characters as it marks the start of Tim’s Robin run and leads into Batman Prodigal where Dick becomes Batman.

-Showcase ‘94 #10: Not exactly a required read, but I personally recommend it. It is a short intermittent story about the aftermath of Jean Paul’s tenure as Batman and exactly what happens to him when he leaves the Batcave. Adds some context for Azrael #1 as well.

-Azrael (1995)/Azrael Agent of the Bat: His 100 issue solo series! It starts off as Azrael then later is renamed Azrael Agent of the Bat about halfway through. It can technically be read without the prior knowledge of Knightfall, but I would strongly recommend reading the Knightfall saga first even if it’s long because it is a very big moment for JPV/AZ. His solo explores a lot, it continues to sort of pick apart antiheroes and explore things like redemption and pacifism, nurture vs nature, self identity, the corruption that comes with absolute power, etc. It crosses over into a lot of bigger arcs (Contagion, No Man’s Land, Bruce Wayne Murderer, etc etc) and it wouldn’t hurt to read them in their entirety separate of Azrael but ultimately isn’t really needed. Just adds some context for the things Azrael doesn’t explain. His solo series at times can be a little frustrating and the writing is somewhat inconsistent but if you are interested enough in JPV you sit through it.. it’s slop but it’s our slop. It also has three annuals and two one shots! They aren’t very important other than Azrael annual #1 because it talks about his father but they’re all pretty fun stories. His one shots and annuals are:

-Azrael Year one (very important imo)

-Azrael Annual #2 (very fantastical and campy but there’s definitely some meat to it if you really pick it apart)

-Azrael Annual #3 (silly oneshot mission with him and Catwoman)

-Azrael/Ash (team up)

-Azrael + The Question (team up)

-Azrael #1000000000 (a part of the one million series, no real importance or significance it’s just a kind of silly futuristic story)

After Agent of the Bat he isn’t really relevant until Blackest Night where they bring him back. I won’t lie to you, most of his comics after the big reboot for the New 52 and everything are completely out of character and very disappointing reads. There are some that are pretty good though and are my personal favorite modern JPV/Azrael stories:

-Azrael Dark Knight of the Soul: This sort of sets the standard for all modern Jean Paul stories. It’s short, just a miniseries from Batman Urban Legends but definitely a worthwhile read.

-Arkham City Order of the World: This explores Azrael himself more than Jean Paul, it weaponizes his righteous fury and just sort of points him like a loaded gun. It is a verrryy interesting read even outside of Azrael, the art and the “villains” are so cool.

-Saved by the Belle Reve: An anthology of a few stories but the one with Jean Paul is called “How Angels are Made.” It talks a bit about his more modernized backstory and what shaped him as a child.

-Sword of Azrael (2022): 100% his best post-reboot storyline. It hits just about every mark I’d want from an Azrael storyline and introduces some new lore for the modern origins of Azrael and the Order of St. Dumas. It does slightly twist some of the older 90s lore but it is good enough that I could look past that.. It introduces some really interesting characters and Jean Paul’s newest supporting cast which are very well suited to him. I’d maybe recommend reading Catwoman’s 2021 annual before this, just for a bit more context, but that annual doesn’t touch on Jean Paul himself as much as it explains the connection between him and a new ally and gives some background information for the Order of St. Dumas itself. Sword of Azrael 2022 goes back to themes we’re familiar with, forgiveness and redemption, self identity, but it ultimately ends in acceptance and catharsis which is something very new for Jean Paul and Azrael as characters and was so narratively satisfying.

-He’s briefly in Gotham Nocturne as well, mainly Detective Comics #1076-#1089. Nocturne revisits some of my favorite Jean Paul/Azrael batfamily dynamics and sort of establishes which characters are really fit to succeed Batman (in my totally unbiased opinion….).

Overall, I prefer his 90-early 2000s characterization but once he’s reintroduced in modern comics, anything written by or in association with Dan Watters is very good. I think out of all the writers who have taken a stab at bringing Jean Paul and Azrael back into relevance, he has done it the best. By FAR.

As far as my favorite things about him go… I really love that he is someone who isn’t perfect. Which, every character has flaws, obviously, but there isn’t a single Batfamily member that I think is as deeply lost and struggling with their morality as Jean Paul is. He’s stuck between violence and pacifism, sometimes he relishes in fighting, other times he feels extremely guilty and considers abandoning heroism altogether. He’s a very unique character and brings a lot to the “Batfam” table that I don’t think anyone else really does! He is terrible at his job, he is lame, he is confused, he is difficult to trust but he’s sometimes the most competent and reliable person you know. He has a sort of gentleness as Jean Paul that is so sweet and you can’t help but feel awful for him when you see him go through all these terrible things and struggle to balance being Azrael with being Jean Paul. He is a narrative parallel to Dick Grayson but where Dick excels, Jean Paul falls flat 90% of the time. He’s volatile as Azrael, he’s pitiful as Jean Paul, he’s desperate and lonely and searching for direction. He struggles and suffers in ways that are not pretty. He is someone so very sympathetic while also being so frustrating. He does things, both as Jean Paul and Azrael, that make you want to beat him into the ground, but you can’t help but feel for him and want to see him succeed even though he never will. It’s like betting on a horse who will lose every race just because the horse has a good nature to it. He is very selfish at times and even his acts of good are only done because they somehow appeal to his emotions or he gets something out of it. But other ones he’s so very compassionate and would give you the clothes off his back. He is soo complex and there’s so many layers to him and Azrael.. he has such a unique story and relationships with everyone and it just immediately sucked me in. I literally never had an interest in reading Azrael but once I had read Batman Sword of Azrael I was like.. genuinely enchanted. He is so very compelling while also just being some guy. He is capable of destroying everything around him or being the best hero in Gotham.. but ultimately is very middle of the road because of internal struggles and it is just so.. shaking him around. He’s so compelling. He is very fun to analyze and pick apart. Probably one of the most interesting Gotham vigilantes (⬅️ completely objective and not founded upon my own clear interest in him).

Now his dynamics with other characters.. ohh there’s a lot to say here. Especially touching on Leslie and Bruce but we’ll start with Leslie.

Leslie meets him in the No Man’s Land, which if you’re unfamiliar, is a somewhat post-apocalyptic Gotham suffering from the aftermath of an earthquake which they dubbed the cataclysm. As Jean Paul, he is very eager to help Leslie and she is very caring towards him. There is absolutely a mother-son bond here, she says she loves Jean Paul. Personally, I’ve always viewed her relationship with him as a sort of way to make up for not being able to steer Bruce away from violence. Jean Paul is someone who is a bit distressed by the hurt he causes (less because he had done it and more because he doesn’t feel bad about it but that’s another thing entirely) and she tries to steer him towards pacifism and medicine so that he can help in ways other than fighting. Jean Paul and Azrael are ultimately two sides of the same coin and he can never just.. stop being Azrael, since it is quite literally part of him, but he tries. He tries for Leslie, and Leslie sees Jean Paul in this very caring and understanding light that I don’t think any other character really does. She defends him to Bruce, tells Bruce he is to blame for Jean Paul’s struggles, she tries to steer Jean Paul towards the path to pacifism, she celebrates his “first” birthday with him. She is his rock, probably the most important person to him. She is dependable when no one else is, he trusts her completely. She does have some clear judgements of Jean Paul, more accurately Azrael, but is mostly supportive in her approach to helping and working with him. Especially when you consider the lack of kindness Jean Paul has come to expect from “authority figures,” Leslie is a breath of fresh air which was absolutely needed for Jean Paul.

Leslie and Bruce I’d say are like the Angel and Devil on his shoulder, but ultimately both have this very polarized view on helping people and are more so imposing their ideals onto Jean Paul than trying to help him with his own (100% Bruce is more guilty of this than Leslie, but I digress). They expect him to choose one or the other and don’t exactly understand that he can’t. He wants to, but it just isn’t possible for him. They have these pretty black and white views but Jean Paul is a very grey character so he’s torn between the two.

Batman…now there is a LOT to say about this one. It’s got so many layers to it and it’s founded upon distrust but also compassion, and a sense of necessity. They are almost father and son, but not quite. They are almost equal partners, but not really. He is both terribly important to Bruce, but also someone Bruce feels relatively little guilt about manipulating. They meet at a spectacularly low point for Jean Paul, he had just lost his father (literally died right in front of him. In Jean Paul’s bed), learned that he was brainwashed from childhood to be an assassin, and recently discovered an alter. He is pretty lost and without direction, which Bruce tries to give him. Bruce makes him a security guard at Wayne Enterprises, he has Tim train Jean Paul (Robin and his grown ass student), they give him a new suit. He starts to get Jean Paul “on the right track” but it doesn’t do much to help Jean Paul with all the trauma he’s endured, so he is still not the most mentally sound at the time. When Bruce is paralyzed by Bane, he gives the very lost, clearly unwell Jean Paul the cowl. His reasoning for this is that he can’t give it to Dick because “Nightwing is his own man” but he clearly has no qualms passing it to JPV.. if that tells you anything about his views of the two. Jean Paul revered Bruce as this sort of father figure because he was the one guiding Jean Paul after his own dad’s death. bruce shapes his morality, gives him purpose, and then gives him a sense of identity (Batman) which Jean Paul had previously lost. Being Batman is obviously not good for JPV. He starts gradually slipping and pushing away some of Bruce’s allies (Robin, Gordon, Catwoman) and isolating himself while he tries to fully immerse himself in the identity of Batman. I’d argue that Azbats is more Azrael adjacent, if not his own persona entirely, but that isn’t to say Jean Paul had no agency or is free of guilt. He quite literally starts hallucinating his dead dad referring to Bruce as a “false father” and saying JPV is shaping himself in his image. He cuts his hair to look like Bruce, mimics Bruce’s voice, wears a Bruce’s suit (until he makes his own), lives in the Batcave (and Wayne Manor, by extension), carries on Bruce’s legacy. He is Batman. And it all just festers until eventually he reaches this breaking point. He is nothing if not Batman and Bruce (understandably) attempts to take the mantle away from him once Bruce is healed. This creates a sort of identity crisis for Jean Paul, who had been basing his whole life around being Batman for the past year or so. They fight and their whole battle is such a rich and powerful thing.. you have to see it to really get it all but there’s so much to take from it. Bruce’s perspective on JPV, JPV’s views on fathers and on being Batman, etc. Bruce chooses to spare Jean Paul and let him go after their fight, acknowledging that Jean Paul was lost and needed to see the light. Jean Paul is then homeless for six months and Bruce does absolutely nothing about this. for six months. During his struggles with homelessness and coming down from being Batman, he is once again, at an all time low and given direction again by Batman. Given identity by Batman. Bruce comes back, out of a sense of guilt and responsibility, and gives Jean Paul a reconstructed Azrael suit, some money, and a mission to go find the Order of St. Dumas. After Jean Paul completes this task he continues to go to Bruce for help, Bruce usually says no but still helps in some roundabout way after completely shutting down Jean Paul. He keeps Jean Paul at an emotional distance and they never quite bridge this gap between the two of them. He goes to Bruce out of a need for guidance and approval, Bruce usually doesn’t really give him that. Bruce comes to him and gives him a task that always benefits Bruce, the cycle repeats. He admits to using Jean Paul, and Jean Paul allows himself to be used because he cares for Bruce (and Bruce, in his own special Batman way, does care about him. A lot, strangely).

[bangpop91writing]

This is something I have been thinking about a lot since Bobby's death in 8.15 with wondering who the next Captain of the 118 will be. I did briefly touch on the Hero's Journey in regards to 9-1-1 in this post. Because of that I've decided to sit down and write this meta breaking down how even though 9-1-1 is a procedural, at it's core it follows the literary device of the Hero's Journey, particularly as it pertains to Chimney, Hen, and Buck.

You can read the full meta bellow under the cut, or for a slightly easier read you can find the full meta broken down into chapters on my AO3

What is the Hero's Journey?

The Hero's Journey, or monomyth, is a narrative template that involves a hero going on an adventure, is victorious in a decisive crisis, and returns home transformed. While the concept of the monomyth isn't new it was popularized by Joseph Campbell in his 1949 book A Hero With A Thousand Faces.

Campbell describes the Hero's Journey as having seventeen steps that can be broken down into three stages.

The Departure

The Initiation

The Return

Not all monomyths contain the full seventeen steps, and some may focus on only one or two of the stages; others may deal with the stages (steps) in a slightly different order.

Another defining mark of the monomyth are the characters. There are eight different archetypes that typically appear in the monomyth. Because pop culture is filled with many examples of the hero's journey I will be using The Lord of the Rings as a visual shorthand as examples of the different Character archetypes commonly found in the monomyth.

The graphic below contains a full breakdown of the stages of the hero's journey and the characters that appear.

To learn more about the Monomyth, you can find that here.

There are four key Character archetypes within 9-1-1.

The Hero

The Ally

The Mentor

The Herald

These are the most important archetypes because they are the most static. Within each character's own journey these roles are the ones that rarely shift and change. The other archetypes are extremely fluid and changing. A great example of the fluid nature of a stationary character archetype vs a shifting character archetype is Sue Blevins vs Tommy Kinard. Within the world of dispatch Sue is unchanging, always filling the role of mentor and leader. Where as Tommy as a character archetype has changed with every begins episode he appeared in.

And while 9-1-1 as a monomyth predominantly focuses on the second stage of the hero's journey, it also gives insight to the first stage through various characters begins episodes. Using all the above information, I will be breaking down Buck, Hen, and Chimney's Begins episodes and their story arcs so far.

After breaking down their respective stories, I will give my opinion on who's journey 9-1-1 has been telling for eight seasons as well as use that information to speculate where the story will go following Bobby's death, and what Chimney, Hen, and Buck's arcs will look like in season nine.

I will be covering the begins episodes in chronological order of when each character joined the LAFD rather than the episodic order.

To break down Chimney, Hen, and Buck's individual Begins episodes as they begin pertain to the greater 9-1-1 monomyth I will be identifying the following Character archetypes and which steps of the monomyth occur within each of their begins episodes,

Hero

Ally

Mentor

Shadow

Call to Action(The Departure)

The Initiation

Because Chimney doesn't receive the nickname of Chimney until after 2010 I will be referring to him as Howie or Howard in this section.

The Ally:

Kevin is more than just Howard's friend, or even best friend, he is Howard's brother(3×11). It appears that even after his death in 2x12 he is looking after Howie as a guardian angel(7×6). Obviously after Kevin's death the role in Chimney's life and journey shifts to Hen.

The Mentor:

Even though Eli only appears in three episodes(2x12, 5×7, 5×12) Eli is the Character we see Howie get the most guidance from aside from Anne Lee and on occasion, Hen. By the time Bobby arrives at the 118, Chimney is settled, he has been a firefighter and paramedic for more than a decade, of the original four, in season one Chimney is the character who is treated to be a peer and friend to Bobby which continues on through season eight.

The other character who could be considered Howie's mentor is Anne Lee. She is his second mother, finishing the job his mom started(4×10). Often times Anne is the one who we see giving Howie advice as it pertains to his personal life.

The Shadow:

I know the obvious answer for the shadow(nemesis) archetype is Gerrard. While he is the same nasty bigot in 2x12 as he is in 2x09(Hen Begins) he isn't the nemesis of Chimney's story. Sang Han is.

From season one on it is made clear that Howard has bad relationship with his father and that Sang isn't a good father to Howard and it is something that affects him well into adulthood and still affects him as season eight wraps up. In 2x12 it becomes obvious that Howard's self worth issues stem from the treatment he receives from his Dad and is also why he develops the hero complex that he does.

But it's also important to acknowledge Sang isn't evil. He's a bad dad, and a byproduct of his generation, but he is not evil. Sang is Howard's nemesis because he represents the generational trauma Howard must overcome to break those cycles.

The Call To Action:

Howie's Hero's Journey begins in 2005. He's trying to break into entrepreneurship and become an angel investor but is working at a karaoke bar with Kevin, when there is an accident resulting in a fire which Howie instinctual puts out and feels the call to become a fire fighter and starts developing a hero complex.

When Howie reveals to John and Anne that he has applied for the academy. Anne worries about the dangerous nature of the job, while John is incredibly supportive. Kevin also reveals he has applied and John has his "are you out of your mind" moment. The entire scene plays out as foreshadowing both of Kevin's death as well as Howie's general story arc through the seasons.

There is of course the training montage that ends with Howie and Kevin receiving their assignments at the 118 and 133.

The Initiation:

Howard enters the 118 for the first time and is immediately met with the realities of serving under Gerrard. He is assumed to be a delivery man, given a dressing down about arriving on time rather than early, and regulated to the man behind. What follows is another montage of Howie consistently being regulated to the man behind, and trying to prove himself inter cut with clips of family dinners where we learn Kevin is thriving at the 133, and Howie lying about his job in order to look like he is doing just as well as Kevin.

Following the montage we get a scene to set up Howie becoming a paramedic, as well as the conversation with Tommy where Howie tries to connect with his team member but is shut down. Directly following this Eli comes in and takes Howie under his wing, training him to become a paramedic.

There's two pivotal scenes that follow the paramedic training montage, Eli's origin story and Kevin's death.

In the first scene Eli attempts to give Howie a reality check about the teams hesitate to accept him, also foreshadowing Kevin's death, as well as the hard lessons Howie has yet to learn. Eli tells Howie about how he decided to become a paramedic after a call had gone sideways.

"A few years ago, I pulled a ten year old, third degree out of a car fire. Right? And I handed her off to some rookie M.D., who everyone said was a golden boy and I watched him do everything wrong. She died on that scene before we left."

"Yeah, but for you, it's- it's not about the rush anymore. You know, the thrill?"

"If that's the question you're gonna ask after that, I'm sorry in advance for the lesson you're gonna learn."

Of course directly after this conversation the 118, 133, and several other houses are called to the scene of a structure where Kevin and Howie are sent to the roof to ventilate the building when a pregnant woman stumbles out onto the roof that is unstable. The roof starts going out from under her. This time it is Kevin who leaps to action, pushing her out of harms way, but in doing so he is the one who falls through the roof onto the fire.

After Kevin's funeral when he returns to work, Eli expresses his surprise at seeing Chimney who shrugs and says he had no where else to go.

The 118 responds to a floor collapse that turns out to be a gas leak as well, resulting in the building exploding, but not before Howie runs back into the building to save Tommy, and carries him to safety. In the hospital Eli once again arrives to check on Howie and give him advice and delivers his most iconic speech.

"Hand it off, man. You're gonna get hurt in this business. You, me, them. Hell, we all signed up for it right? We raised our hands and said, 'Yes, please' to the burns, and the broken bones, the cartoon bruises, two weeks without eyebrows. Right? But you know that's not the hurt I'm talking about. The things that can't be treated with ointment and a splint are the things that will kill us. The guilt, the loss, the images... we can't drink or sniff or screw them away. Hand it off."

"Kevin died, Eli."

"And Tommy didn't. Because of you. I know it's easy when the girls on fire or the guys bleeding out to think that we're god, but we ain't. You gotta let that ego burn away, man. You are not that powerful. Hand it off. We treat the wounded, we hand them off. These Doctors, they do their job, they hand them off to god or the universe, karma, whatever the else you want to call it. Hey. But we hand them off so we can pick up the next guy. And st the end of the day maybe ourselves. Because if we don't... "

"We become the patients."

"And the world has too many of them. What it needs is more caregivers. Go give care."

One of my personal favorite things about this monologue is that in many ways it acts as the thesis statement of 9-1-1, not just the show, but the entire universe.

The episode comes to and end with Howie moving into his own apartment, a nice moment between him and Anne, Tommy and Howie making amends, and Howie meeting the woman Kevin saved and her newborn son. There's a nice moment where Tommy asks Eli about Howie as a Paramedic and Eli confirms that Howie is a "damn good one" before another montage showing how far Howie has come as another paramedic before a hard cut to Chimney bleeding out after being stabbed by Doug.

Beyond Chimney Begins:

Remember what I said earlier about the roles of characters within 9-1-1 being fluid? Chimney Begins and Hen begins are a perfect example of this. Between both episodes Chimney fills the role of hero and ally, and to a much smaller degree we see him fill the role of mentor in both episodes. What Chimney Begins really does is plant the seeds for Chimney to later step fully into that mentor role as seen with Bobby in 1x08 as well as with Ravi in 6x14.

"Listen that's rough. But a situation like that. You got to hand it off. Focus on the task in front of you. We're in the buisness of saving lives, not judging them."

"Do you ever stop and think that some people's lives just aren't worth saving?"

"If you're thinking that, then you don't belong on the rig."

Chimney and Ravi, 6x14

Refusing the call:

Incidentally 6x14 is also when we learn about Chimney refusing the call of leadership when he tells Ravi how he has avoided readership ever since Kevin died because he had been the one to lead the charge on him and Kevin joining the Academy which inevitably lead ti Kevin's death, of course then we get the above quote which is a direct call back to Chimney begins and both of Eli's big monologue's showing Chimney start to step into that role of both mentor, and possibly leader.

Atonement with the Father:

This is a popular step for the Hero's of 9-1-1 to take, but this step is a bit different for Chimney.

For Chimney the step of attainment is taken with John Lee. There is a quiet moment at the end of 3x11. John and Chimney have a quiet moment where it is left unspoken and can be interpreted as a moment where John forgives Chimney for Kevin's death or that he no longer blames him.

Chimney has another version of this moment with his own father in season six. But the season six arch between Chimney and Sang is less about forgiveness and more about catharsis. That arch in season six is Chimney's victory(ultimate boon).

"Parents aren't perfect you know? They're just regular people who make mistakes and sometimes they hurt you even if they don't mean too. But you know, being mad at someone for most of your life is pretty exhausting and I was tired of carrying that around."

"So you forgave him?"

"I made my peace and I let myself move on."

Howard Han and Denny Wilson, 6×13)

Ally:

It is fairly obvious that within Hen's hero journey, Chimney is her ally and she is his. The only characters that ride as hard for Hen and Chimney as Hen and Chimney are Karen and Maddie. Referring back to Lord of the Rings, Hen and Chimney are the Sam and Frodo of 9-1-1 they would no question carry each other up the mountain to complete a quest.

But Athena is the other character that also fills the roll of Ally in Hen's life. They are friends and confidants. Athena is the character Hen is closest to besides Karen and Chimney. But Ally isn't the only role Athena fills in Hen's life.

The Mentor:

Athena also fills the roll of mentor is Hen's life. And with the exception of the 'support group' Athena invites Hen to in 2x09 that was never mentioned again. We only see Athena fill the role of mentor with two characters, Hen and May.

Throughout the eight seasons of 9-1-1 we see Hen as someone who is very confident, she is sure of herself and her decisions.Hen has a very well earned confidence. But during those times that Hen needs guidance either personally or professionally it is more often than not Athena we see Hen turn to and vice versa.

The Shadow:

The short answer is Gerrard. But truthfully is is more complicated than that.

Gerrard is a physical representation of the sexism, racism, and homophobia that Hen faces in her day to day life.

Tommy and Sal could also technically be classified this way, but because of how the episode ends, they are a better fit for the shape shifter archetype.

The Call To Action:

After quitting her pharmaceutical sales rep job Hen goes to see her life coach Stacey Mullins where she takes an aptitude test. Stacey winds up tearing up the test telling Hen it will only work if Hen is being honest with herself rather than answering with what she thinks Stacey wants to her. When asked what she hates most Hen responds with bullies. Stacy points out then Hen feels a desire to protect the vulnerable and Hen almost jokingly suggests she the job vigilante which her and Stacey joke about.

"You know. You don't need a test to find out what you are supposed to do. You have a fire within… You have a fire, a passion, a purpose. And I know this is gonna sound cliche, but there's a voice inside of us that, when we listen to it, when we quiet ourselves and just listen, all will be well. All will be revealed…

Stacey Mullins, 2x09

Stacey then collapses having a heart attack. Without hesitation Hen checks on Stacey, calling 9-1-1, and immediately CPR, saving Stacey's life.

Later we see Hen at home with her then girlfriend, Eva. Hen is trying to explain to Eva how saving Stacey made her feel like she's found her purpose, her vocation. Initially Eva appears to be supportive, but does try to dissuade Hen which is where it is revealed Hen had actually received the call much earlier in her life, and all this time she has been on the second step of the Hero's journey, 'The Refusal of the Call'.

"No I think the sign came from God when when I was sixteen and I got shot and lived. This is him sending me a reminder."

Hen's training montage on the surface is about preparing her for the next stage of her journey, but more than that it is about her embracing her calling and herself as she really is.

The Initiation:

Hen's arrival at the 118 is met with mixed reactions. She is met with immediate disdain from Gerrard, Sal and Tommy show initially positive attitudes but otherwise follow Gerrard's lead. It's Howie who bucks convention by remaining warm and welcoming, trying to bond with Hen and befriend her.

Gerrard is regularly hostile to Hen questioning her ability to do the job hiding under the guise of worrying about wasting the tax payers money which Hen doesn't let slide, pushing back against Gerrard's outdated, and bigoted opinions. This all culminates on a call to a home that had been destroyed in a mudslide, trapping a mother and daughter inside. Hen uses her intelligence and ability to think outside the box in order to free the victim even if it wasn't in time. After the mudslide call, Gerrard threatens to fire hen before benching her, siting he doesn't trust her, but it is much more likely he didn't like being shown up by a black woman.

Prior to this Howie had once again tried to connect with Hen, even offering her comfort which Hen denies. She does however take his advice to talk to someone and reaches out to Athena.

At the bar we learn Athena gets together with other first responders to drink and swap war stories. Towards the end of this scene Athena reminds everyone at the table that they are the first responders of change but change doesn't come easy.

"I have something to say to all of you. I see you. I saw you the second I walked in that door. All of you staring down at me. I see you when you're hazing me, not like all the other rookies. Whether we're here in the house or-or-or we're out on a call, I'm watching you, I'm look, I see you. When you look at me what do you see? A woman? A black woman? A lesbian? Good. 'Cause I'm all those things. And I don't expect you to love me. I don't even ask you to like me. All I ask is that when you look at me, see me. See me the way I see you- as a proud member of this department. One of the rare few that chooses to spend their life in service of those who are hurt and those who need to be saved. Yes. And one other thing. If any of you have a problem with me being here, I suggest you ask for a transfer. 'Cause I'm not going anywhere."

The remainder of the episode is in an interesting way Hen's triumph, her ultimate boon, even though Hen is still early into the second stage of her journey. It's Hen's moment of showing her brilliance, her competence and having it save the day on the scene of a car accident. This accident is also the scene that marks the beginning of the Hen & Chimney partnership with Chimney defying orders to follow Hen down the hillside, the first of many.

The end of the episode also reveals Sal and Tommy’s true allegiances with them embracing Hen. It is also likely that they had been part of the fire fighters complaining about Gerrard and his treatment of Hen while also giving her glowing reviews. Of course, this moment of triumph is marked with the reveal that Gerrard has been removed from the 118 and a new Captain will temporarily be taking charge.

Beyond Hen Begins

As stated above, Hen's triumph over Gerrard doesn't mean she has left the second stage of her journey yet, she still has a long way to go in the years following.

Woman as Temptress:

This step isn't necessarily about women being sexual temptresses so much as it is about worldly pleasures leading the hero off their path. But within Hen's hero journey Eva is the representation of this. Aside from the obvious, Hen having an affair with Eva in 1x05, Eva is the one who tries to dissuade Hen from following her life's calling telling her all the ways it will be to hard, trying to get Hen to give up before she even starts.

Beyond the affair, Eva is an example of temptations designed to lead the hero off course when Eva starts manipulating events and people, trying to make Hen and Karen lose custody of Denny thinking that if she herself regains custody of Denny then Hen will leave Karen and reunite with her.

"You had me Eva. You had me. I loved you. I woulda done anything for you. That wasn't enough. I wasn't enough. See you have this fantasy of us playing house, as if I haven't already lived through that. I know how it goes, it's me trying over and over and over to build a life for us and you tearing it down brick by brick by brick until I'm left alone heart broken in a hole I don't even know how to climb out of. I survived you Eva, and I'm sure as hell not going to let you put Denny through this."

Henrietta Wilson, 1x09

Of course Hen overcomes the temptations and roadblocks Eva puts in her path, returning to the journey and moving forward.

Atonement with the Father:

While Hen does have a moment of finding forgiveness towards her absent father and catharsis in 2x07 for Hen this step does not occur with her Dad, it's with her mom.

Hen and Toni have a complicated relationship, and at the start of the series they are not close, with Toni not supporting Hen, going to far as to not attend Hen and Karen's wedding.

"Henrietta, let me say this. I'm sorry I didn't come to your wedding. I had my reasons, my excuses, I didn't understand, I wasn't ready. I needed more time to catch up with the way the world was changing. But the truth is, honey, I was just wrong."

"It's okay, Toni."

"No, it isn't. I don't know how you found it in your heart to forgive me, but I'm grateful you did. We all lost something that day. I think today may be our chance to get it back."

Toni Wilson and Karen Wilson, 5×18

Over the course of season four and through season six Hen and Toni heal their relationship, becoming closer, and Toni even learns to be supportive of Hen not just in her professional life, but in her personal life as well.

Refusal of the Call:

One thing I find interesting is that Hen actually rejects her calling in a sense for a third time in after the ambulance accident that resulted in the death of a young girl and it's when she and Karen have a run in with Stacey that she re-accepts her calling.

"Well, um, nothing supernatural, but I have definitely seen things. Six years ago, I saw my daughter walk down the aisle, four years ago, I saw my first grandchild, last year my second. I've seen the world. I have visited everyone who's mattered to me, and I've told each and every one how much I love them. And every day I wake up grateful. Grateful for my second chance, I'm grateful to God, but most of all I'm grateful to you, Hen. Thank you for saving my life."

Stacey Mullins 3×09

It is actually this speech from Stacey that starts the chain of events that leads Hen to answering the call of medical school(the step of Apotheosis).

With that understanding seasons four through six were actually intended to be the final leg of Hen's journey only to be walked back when the show decided not to go forward with the medical school plot line leaving Hen in an awkward sort of limbo in the step of The Refusal to Return.

The Ally:

I know this is going to get a lot of people hot under the collar but in Buck's journey Maddie is Buck's ally. This does not cheapen his relationships with Eddie or anyone else, but in the story of Maddie and Buck they are each others closest allies.

The ally is the hero's closest most important companion and this dialogue from Buck Begins perfectly summarizes why Maddie and Buck are their own alliance in the same vein as Hen and Chimney.

"No matter how hard it got, I always had these [postcards], I always had you."

We always had each other."

Maddie and Evan Buckley 4×05

The Mentor:

Bobby is the character that we see Buck most often go to for advice, or even just general guidance. Bobby and Maddie are without a doubt the two strongest influences in Buck's life and have their own unique bond within this archetype where Bobby fills the role of the father and Buck fills the role of son - more about that later.

The Shadow:

I'm sure there will be an assumption that Daniel is the Shadow or nemesis because of his role in Buck's coma dream, but that wasn't actually Daniel, we don't ever really learn anything about Daniel. It's about what Daniel represents.

In Buck Begins, and truthfully much of Buck's journey, Daniel is a shadow looming over Buck's life, but Buck doesn't understand why that shadow exists. This all manifests into the Daniel we see in Buck's coma dream which is a manifestation of generational trauma, unresolved grief, and Buck's worryingly low self worth.

Because Buck's episode deviates from the formula followed by 2x09 and 2x12 I will be breaking down 4x05 in terms chronological events rather than scene by scene.

I will also be using Evan in place of Buck as he doesn't become Buck until he joins the LAFD

Evan's origin story starts in 1996 with Maddie teaching him to ride a bike and continues through 2004, and ultimately 2012. While the earliest aspects of Evan's journey do not cleanly fit into the over all narrative of the stages of the hero's journey they are important both in establishing the obstacle he must overcome(Daniel and his parents grief), but they are establish the depth of the relationship between Maddie and Evan

"Boston's not that far. And I'm just a phone call away whenever you need me.

Maddie Buckley 2004, 4x05

The Call to Action:

In 2012 after crashing his motorcycle and once again being kicked out of college, he begs Maddie to let him stay with her. Maddie is at this point still hiding the abuse she is experiencing in her marriage so she tells Evan no, but she does promise to help Evan figure it out.

Later that night after Buck is enduring a berating from their mom about his recklessness, Maddie arrives and Evan leaves with her. Maddie pulls over not long later telling Evan to get out of the jeep, she tosses him the keys and offers him some money to get started. Evan doesn't require much persuading to leave Pennsylvania and their family behind, but he does ask Maddie to leave with him, and she agrees in the moment.

The following day Evan goes to pick up from the hospital and receives a letter from her friend Omar.

Dear Evan,

I'm sorry to tell you this way, but I can't leave with you. For one crazy moment I really thought I could do it. But then reality set in and I realized that my life is here. But yours isn't. It's still ahead of you and I want you to find it. Find the thing that makes you happy, the people that make you feel loved. This is your time now, Evan. Go find your place in the world and never look back.

Evan leaves and lives an incredibly nomadic live style over the next five years sending Maddie post cards to let her know where he is, what he is doing, and that he's still trying to figure it out. Eventually he winds up down in Peru working as a bartender where he meets Connor and several other guys. He's watching the film Back Draft when Connor approaches him, inviting Buck to go back to LA with him and the other guys.

Once in LA Buck enlists in the LAFD and becomes a probationary fire fighter at the 118 in 2017, which is when he becomes Buck.

Beyond Buck Begins

For Buck his begins episode is the first part of his journey, the second leg out his journey plays out in the canon timeliness. But there are a few specific steps that play out over the seasons that I want to touch on.

Woman as Temptress:

I'm going to keep this step brief, but it does need to be touched on. In 1x01 Buck calls himself a self diagnosed sex addict. Buck was absolutely using sex to fill a void in his life to the point it had become a problem and he lost his job (temporarily as it was).

The meeting with the Goddess:

This is the stage where the hero receives items to help him in the future.

This step specifically applies to his relationship with Abby, which he himself defines as the most transformative relationship of his life(8x06). Buck isn't given a physical gift, but the relationship with Abby is where he truly starts growing up and maturing so that he can start moving forward on his journey.

When this relationship occurs in season 1 Buck is very much an island. His relationship with the 118 is still in it's early days, he has been separated from Maddie for years and, aside from Maddie, Abby is the first person to show Buck affection just because. Buck doesn't have to act out, he doesn't have to be reckless to be deserving of love. That is the gift Abby gave Buck.

Atonement of the Father:

By the end of Buck Begins, Buck finds a way to forgive his parents for their emotional abandonment of him and Maddie and by the time season six rolls around and Buck is struck by lightening in 6x10 the relationship between parents and children is in a better place they are not particularly close. And by that measure even in season seven things seem to still be improving but they still do not have to close a close relationship. Buck even calls Bobby the father he never had (7x10). So while catharsis has been found, has atonement been reached?

Yes, but not necessarily with Phillip and Margaret.

This step comes to fruition through Bobby's relationships with Buck, May, and Harry. While the three will never, and could never, replace Brooke and Bobby Jr, Bobby is able to find atonement through these relationships(as well as his relationship with Athena and the 118) particularly in those moments where he saves their lives, something he couldn't do with his first family.

The Ultimate Boon:

This brings us back to Daniel, or really what Daniel represents to Buck. Daniel is Buck's first lost save, but also the cause of generational trauma do to the Buckley parents unprocessed grief. This is not to villainize Margaret or Phillip, at the time of Daniel's death in the early nineties they did not receive the proper means or support necessary to process that grief.

But because of that unprocessed grief that made them retreat into themselves and emotionally abandon their two living children they caused Maddie and Buck a lot of harm and trauma, unintentional as it may have been.

In 6x10 during a Han-Buckley family dinner that is going well, Buck asks Maddie if she wonders what things would be like if Daniel had never died. Of course later that episode Buck is struck by lightening and dies for three minutes before being revived and in a coma.

While in his coma Buck dreams of a life where Daniel had lived, and that world is great. Until it's not. By the end of the episode and his dream Buck is in a stand off with this dream version of Daniel, who later changes becoming an alternate version of Buck himself. For Buck the defeat of Daniel isn't about forgiveness or seeing an abusive boss removed from power. It's about himself, and about loving himself and accepting himself. It is about letting go of things that are beyond his control.

With all the above information what does that mean within the greater story of 9-1-1? The short simple answer? There are three ongoing monomyths occurring simultaneously.

The longer, more complicated answer?

9-1-1 is Buck's hero journey. Season one starts with Buck as a hot-head, wet behind the ears probie. As of 1x02 Buck has only been with the 118 for six months, even though it's never acknowledged, he had not yet completed his probationary year. We the audience are watching his entire journey unfold in real time.

And on a practical level Oliver Stark is the forth billed actor on the call sheet behind Angela Basset, Peter Krause, and Jennifer Love Hewitt. Two of the three top billed actor's characters are intrinsically tied to Oliver Stark's.

Quick side note about Athena. Athena's story is it's own separate monomyth completely separate from the monomyth of the 118 or even the monomyth of Dispatch. 9-1-1 has multiple monomyths occurring at the same time and has ever since the first season.

The next point to 9-1-1 being centered around Buck's hero journey is the the one hundredth episode(7x04) is centered around Buck and his queer awakening, and his new feelings for Tommy.

Speaking of season seven, and tangentially season eight, while they do still follow the narrative template of the hero's journey they are odd to say the least.

There are new obstacles introduced, but nothing lasting. Any sort of nemesis presented to our hero's is quickly vanquished, and not even in a satisfying way. Plot lines are picked up and dropped at will, and for much of these two seasons it seems that our hero's are just being kept in limbo.

An argument could be made that Buck isn't being kept in limbo because of his arc surrounding his sexuality, but up until the back half of season eight what does he experience that he hasn't experienced before? Why is this?

Well, season six was originally going to be the final season, the show had been canceled by Fox. Because of that our hero's journeys had to be completed. Then the show was picked up by ABC, saving it from cancellation. Seasons seven and eight seem to be about walking it back, forcing our hero's back into the early steps of their stories and keeping them there. Right up until Bobby's death anyways.

I'm going to address this very quickly before moving onto discussing Bobby's death in terms of the monomyth. I'm only addressing it because I can already hear the wailing and gnashing of teeth.

Why am I not discussing Eddie as part of the Hero's Journey Template? Well there's a couple reasons.

As stated in my introductory statement, this meta is focusing on Chimney, Hen, and Buck as they, and Bobby, were the original fire fighters of the show, and have been around since the pilot episode. These are the characters within the 118 whose arcs most strongly follow the seventeen steps of the Hero's Journey. Which leads into my next point.

Eddie's over all arch does not follow the template of the monomyth. If you go back to his begins episode there is no Ally, No Mentor, No Shadow. There is no defining Call to Action.

This isn't me saying Eddie isn't a hero, he is. But his character arc does not fit into the narrative being discussed in this meta. So he isn't going to be discussed alongside Chimney, Hen, and Buck.

And before I get crucified for stating Maddie is Buck's ally rather than Eddie. I am not saying that Eddie isn't important to Buck, he obviously is. In Buck's own words Eddie is his best friend. But that doesn't mean that Eddie fits the ally archetype, and that's okay. Let me explain.

Going Back to Lord of the Rings as my basis of comparison. Frodo is the hero and Sam is the ally. But the rest rest of the Fellowship are allies as well. And taking it a step further, just because Sam is the ally, it doesn't make Merry or Pippin any less important to Frodo. Sam is Frodo's ally because they are together to the very end, that was their journey. Merry and Pippin's journey took them somewhere different. Merry and Pippin are heroes in their own right in their own individual journeys. What does any of that have to do with Eddie and his relationship with Buck?

Simply put, Maddie is the character who is with Buck to the very end. Eddie is not. Eddie has his own journey to pursue and his own battles to fight. That doesn't make him lesser to Maddie, or Buck, it just means the journey is different.

Let's get back to the monomyth of the 118 and Bobby's death.

The Breaking of the 118

Even though the death of the mentor is not a formally recognized step of the Hero's journey it is a very common and pivotal step in the hero's journey. Let's once again return to the Lord of the Rings for comparison. When Gandalf dies during the Fellowship of the Ring it is a turning point for every single member of the Fellowship but it has the largest impact on Frodo and Aragorn. It is Gandalf's death that Frodo to leave the Fellowship not wanting anyone else to die for him. It is also Gandalf's death that forces Aragon to take leadership of the remaining members of the Fellowship.

After Bobby's death the 118 fractures. They are all trying to deal with their grief on their own instead of leaning on each other, they are so fractured that Buck applies for a transfer because without Bobby the 118 is just a number(8x18).

"This is our firehouse. This is the 118. And it's not just a number. It's us. And you're right, Buck. Things are never gonna be the same again because Cap is gone. But leaving won't change that. It won't make you feel any less sad. It just means that you'll be sad all alone. Bobby died so that I could live. And it has screwed me up in ways that I cannot fully express, but the truth is... he would've done that for any one of us. You see, he knew that just coming in to work every day, there is a chance that one or more of us would not make it home. And his job above everything else was to make sure that we did. And we're all standing here right now because of him. This team, we are his legacy. So we can miss him. And we can mourn him. And we can even curse his name, but we are not going to disrespect him by throwing away what he built right here. So you hang up your turnouts, you hit the showers, you go home and you get some rest. 'Cause we are all gonna see each other on our next shift right here. Together. Understood?"

Howard Han, 8x18

By the end of the episode, and season, things appear to be back in stasis, Eddie has returned to the 118, Buck isn't transferring, there is even the birth of Bobby Nash Han. So what's next?

Return of A Captain

Of our three heroes who is the most likely to take up the mantle of the 118?

In my original tumblr post about this I thought Chimney was the least likely to take up that title but I have since changed my mind and believe Buck is the least likely to become Captain while it is a coin flip between Hen and Chimney becoming the next Captain.

I very strongly believe that Buck will not be the next Captain. With everything that happened to Buck prior to 8x15 and then Bobby's death, Buck has been simaltaniously been forced back into the steps of The Road of Trials(the sixth step) and Apotheosis(the tenth step). Essentially Buck is repeating the hardest parts of the Hero's Journey.

As for Hen and Chim, I no longer feel there is a clear answer. Both characters have been bit into the limbo of once again Refusing The Call, with Hen turning down the position for her family, and Chimney refusing it because of a fear of leadership due to Kevin's death.

There is also the matter of their personal hero's journey. Unlike Buck they weren't forced backwards into the Initiation Stage, however they are both in an odd sort of limbo of being in the stage of The Refusal to Return home.

At the moment of writing this meta, my hesitant belief is that once season nine comes we will see Chimney sitting in the Captain's chair simply because of his big speech at the end of 8×18 and Hen's response to it, calling him Cap before correcting herself.

Truthfully I don't have any idea where the story will go for Buck, Chimney, or Hen in season nine and have even less of a solid idea of who will be Captain. I would love for it to be Hen. She is smart, capable, compassionate, and shows the same outside the box thinking as Bobby. But I also have a feeling it will be Chimney. He is just as smart and capable as Hen, he has also shown the same propensity for being a natural mentor that Bobby did, and there is also the fact that with the exception of Athena Begins(3x07) and Bobby Begins(Point of Origin, 1x05) Chimney has appeared in every single begins episode.

Hen or Chimney taking over the Captain's seat is the most logical conclusion as they are the true OGs of the 118. Making anyone else the Captain would make about as much sense as if Pierce Risher became Captain of the 126 instead of Judd at the end of Lone Star.

The problem is, Tim Minear is being purposely vague, leaving it completely open to speculation. He could of course choose to follow through on those plot threads he has set up. But look at the transition from season seven to season eight. Those plot threads that were set up at the end of season seven were either ignored, or done in the laziest most unsatisfying way possible.

For all any of us know, Tim could decide that none of the three original team members deserve the position and brings in an outsider. He could make up an entirely new character or bring back a former guest star. All we can do is wait and see, and hope that Tim decides to promote Hen or Chim, the 118 is their house.

[iamyourdailydoseofbi]

WHY ARE PEOPLE LEAVING FANDOM'S? WHAT I HAVE FOUND OUT.

So, I have noticed that a lot of my mutual's for many fandom's ( TUA, TWD, Z-NATION, WWDITS, Derry Girls, HOTD, etc. ) have been dropping like flies.

[ I love you my beautiful friends, and I hope one day you will feel comfortable and safe to come back 😘 ]

It got me thinking, why? Why? WHY IS THIS HAPPENING?! But, after talking to a few of my mutual's on other apps, it came down to mainly three common things with these mutual's. ( note, this is not for every fandom / fan, this was just the mutual's that I talked to, okay? )

1. The TV show ended, so there isn't much reason to stick around anymore. ( Umbrella Academy, The Walking Dead, Derry Girls, Z-Nation, What We Do in the Shadows, etc. )

Which is valid. If there are no more ( Ex. Sunday episodes for HOTD or Sunday episodes for TWD ) not many fans wanna stick around.

Then, after so many fans leave. It kind of becomes a 'dead fandom'. Where people sometimes goes back to time to time and be like, "Oh, I remember that show.." for nostalgia.

2. Their interests have changed.

Like any common trend, some people just say, "Nah, I don't like *insert show* anymore. I liked the 5th season and 2nd. But, I'm just not that into *insert genre* tv shows anymore." Again, valid.

Everyone had gone through one kind of phase before. It could have been books ( PJO, HP, etc. ) or fashion ( Skinny jeans, graphic t-shirts, etc. ) or music ( MCR, Blood on the Dance Floor, etc. )

It's fine to grow and change.

3. The fandom doesn't feel like a fandom anymore. This is a BIG one that many have told me.

People are clashing together, book vs tv show fights, character x character ships are constantly hating on each other, death threats are being sent to actors / fans / fanfic writers, you can't share your opinion without someone sending hate, etc.

The best example is HOTD. A fandom that I am in / write for.

Now, now, here me out! I have been very open about the hate in the fandom. You can check. I've gotten hate for writing about highly requested character's ( Aegon, Aemond, etc. ) and I have called out how fans are acting towards each other / actors.

What I don't get is this. We are all in the same fandom.

How did we go from, "Oh, Tom Glynn-Carney is really cute in Aegon's wig. It suits him.", "I have a fan theory that maybe in the next episode they'll do this part from the book because the teaser at the end of the episode it shows..", and, "I hope they put this scene in the show!"

To "Oh, you think Tom Glynn-Carney is cute as Aegon? Well you support r@pe and deserve death threats!", "Oh, you wrote a fanfic / oneshot / etc. for this character? Oh, it has a trope that it being used by a lot of other writers? Here's hate for that!", and, "Tom Glynn-Carney says that Aegon is a complex character...so clearly he supports..."

The main point is that this is why soooooo many of people are dropping out of fandom's. And when people call it out, they either get run out of the fandom as well or blasted for it with death threats.

Fandom's used to be places where people could go to geek out with others. A safe place. It's why there is comic con, etc. People want to know other fans, the want a safe place to go to.

Now, it's become a place where you have to mostly keep your head down low and not say a thing to avoid being run out because you share a different opinion.

In conclusion? I hope that fandom's can be kind to each once again so that people feel safe / comfortable to come back.

To all my beautiful fans who were run out / felt like they had to leave a fandom, I love you and understand why you left. I hope one day you will come back and find joy in the fandom that you once did.

To those of you running out fans / sending death threats. It's you that ruins the fandom. Fandom's were safe places for people, now you've ruined it for those people.

If you don't like a fandom / other fan, you have other options :

1. IGNORE THEM AND LEAVE THEM ALONE!

2. BLOCK A TAG / ACCOUNT YOU DON'T LIKE!

3. DON'T SEND DEATH THREATS!

4. FIND A PART OF THE FANDOM THAT MATCHES YOU AND STICK TO IT!

5. Block their account / tag, ignore them, not send death threats, leave them alone and enjoy the parts of the fandom that matches you.

It's that simple!

----

hopefully i can get this out there. so i am tagging some of the bigger people i know / follow..

@lovelykhaleesiii

@danytar

@lady-ashfade

@targaryen-dynasty

@cayenne1

@perfinn

@two-white-butterflies

@youraverageaemondsimp

[disarmd]

I adore listening to you talk writing! Truly would love to just sit in a coffee shop and pick your brain for hours about it. Since I can't actually do that, I thought I'd do the next best thing and send along some questions that you can feel free to answer or not :) 1. Have you or do you write original fiction? I'm being a bit nosy with this one but I'm so curious because of the way you talk about writing, etc, etc ^_^

2. Per chance do you have any tips to avoid procrastination? I really like writing but I have such a hard time just getting *started*, I find I do everything but the writing! And then sometimes I have the opposite problem, I'll get started but I won't be able to finish. I'll put it off and put it off and next thing you know a month has gone by and I haven't written more than a few sentences. Wishing you all the best with your current writer's block! I hope you can work through it ASAP!

You are truly so so kind for sending me this ask, nonnie, thanks for chatting with me about writing. I’m absolutely pretending that we’re having a lovely latte in a coffee shop with a massive greenwall ☕️🌿

1. I’ve written original fiction in an amateur way, but I’ve never had a go at getting published or anything. I was majoring in writing in my first undergrad before I switched, and then in my twenties I did a lot of continuing ed writing classes, and had a writing circle where we met every two weeks and workshopped each others’ stuff, but the volume of fanfic I’ve written is much higher than original. I’ve obviously thought a lot about it so I’ll just share where I landed, but I’d be really curious to hear what you or anyone else thinks on this topic!

So for me, I’ve thought before that I should try to focus more on original stuff mostly because of the secrecy around fanfic. I can’t talk about writing with rl people, so I have this hobby that I spend so much time on that's completely secret. I do sometimes wish I was able to show people the stuff I write (or like… some people, occasionally, anyway). But if I think about what you “get” from fanfic vs original, it’s like. Fanfic: community. Tons of people to talk to about the thing you're interested in. A level of interaction with people who read your stories that you wouldn’t get for original unless you’re like the 0.01% of successful writers. even if you get like three comments, i think that's probably three more than the average short story author is going to get. And you get to write exactly what you want, in exactly the way you want to do it. Vs with original, you’d be able to talk about it in real life. theoretically there would be some monetary compensation - but there is no chance I could earn as much writing as I get from my actual job. And you lose that complete freedom to just write literally whatever you want because now it’s become a commodity. For my writing in particular, I know I’m not as good as great writers and what what I write is not widely appealing, so I don’t think that it would be possible for me to be published, but that’s my rationale for not even trying haha.

Anyway, I'm so curious to hear anyone’s thoughts on this - I’m assuming it’s something many of us have thought about before and I’d be really interested in where others have landed.

2. Re: tips to write more... there are so many different facets to this! if you mean you have trouble getting started writing, maybe just create a routine. write 15 minutes every day at 8 pm or whatever. If you mean you have trouble starting a story, i think there is a feeling that comes with the wanting to write a specific story that is very motivating compared to the feeling of just want to write, in a vague way. having a particular story you want to tell and knowing all the aspects of the story, not just a concept - like you know the characters/settling/conflict/plot arc/etc. the full story. makes it much easier to start writing that story.

to the second part, in terms of finishing: there has to be motivation to go through the work of writing, so it really helps to have someone that you’re excited to share it with. It’s very common for people to share drafts with friends to get that encouragement to keep pushing through to the end. I sent Liza the first 5k of In Abidance like a month ago, and then the next 5k after that, and it helped because a) it motivated me to finish drafting those continuous sections of the story so now I’m not thinking about The Full Story; the first 10k are done and in the different gdoc with Liza where they’re safe, and b) having a nice friend say encouraging things makes it feel a lot better compared to being completely alone in the gdoc. I reread the comments Liza left in the gdoc as a comfort when i'm spinning out about writing more. and then my motivation for writing the story at all is that i want to write it for odds, who's been the kindest, and made the experience of writing this series so completely satisfying. they left this incredible comment last night and it got me so excited that i wrote 800 words before bed.

so not writing to an imagined audience or trying to please hypothetical strangers, but writing is an act of communication and i don't think anyone would finish anything if there wasn't one person they planned on sharing it with. have a writing buddy that you share your writing with every week or month can be very motivating. if there's a story you know one person wants to read, then you can write it for them... and you feel so much more motivated to actually finish it, for them.

but to also consider things a bit more broadly, if you like writing but are having trouble doing it - is it because you've been working at a difficult job all day long and don't have creative energy left when you get back home? are you too burned out from following the terrifying and unrelenting current events and don't have capacity to write on top of staying regulated? or, on the more fun side, is it that the other stuff you're doing instead of writing is just genuinely more appealing and that's where you want to spend your time? because that's fine too, like we don't have to write if there are other things we prefer. or if we're burned out or otherwise don't have capacity.

I'll be a bit more vulnerable because this is a long post and probably not that many people are still reading, but I don't have writer's block - i've been writing an average of 2,350 words/week for the last two years straight (I checked the actual stats on ao3 haha. and that's only published fic, it would be higher if we included all the wips). i'm not blocked from writing, it's just i've been feeling quite sad, which for me looks like self hatred, so the unpleasantness of continuing on while the mean voice says very cruel things. the reason why i muse about writing so much is certainly because i find it interesting, but it's also that i'm always trying to figure out how to be better because i feel tormented by all the ways i suck.

with the way people talk about productivity on social media, I could tell you that my "hacks" are to try to write a bit before bed almost every day and have some longer writing sessions on fri-mon (weekends & work from home days haha), and to move around throughout the story to write what is most urgent and interesting to me, and to only start stories when I mostly know the ending, and to set deadlines for myself that i have to stick to, and to motivate myself by sharing with friends, and all of that is sort of true, but i can make myself do almost anything because i have a nonstop internal monologue telling me that if i don't, i'm worse than worthless.

the myth of productivity is that you can reach a point where you feel like you've done enough and you just have to keep pushing until you get there, but in fact that point never comes.

so i'll just end with that, because any time I talk about anything with an achievement orientation (writing more! writing better!), i want to acknowledge the full picture.

[pokeballvictim]

I think in terms of superpower "universes" there are two major approaches to distribution of powers. Option 1 is the standard comic approach; the kitchen sink. These settings have people getting powers from birth, from radioactive waste, from being a god, from anything and everything you can think of. Literal christian demons will fight side by side with aliens and transforming sentai heroes. They tend to have a lot of really important-seeming side characters who feel like main characters of their own stories, even if they're only tangential to the story actually being told.

Option 2 is a little more reactive, a counterpush to that exact trend in comics. In these settings, all powers come from the same source. Extradimensional radiation is a surprisingly common source, but there's also alien gods, contracts with supernatural deities, divine ancestry, etc. These stories tend to have a somewhat more rigid bound of possibility; you can expect to have a decent and semi-consistent idea of what's possible or not within the setting.

There are, of course, blends between the two, some of which are lazy writing and others of which I find personally kind of fascinating. I'm a big fan of settings where powers come from two or three different but vaguely opposed powers, competing specifically because they're mutually exclusive. (Let's ignore protagonists that inexplicably combine both powers!) A lot of the science vs. magic dichotomy settings belong here, though depending on flavor you could easily count this as option 2.

What's more interesting is that there aren't too many trends you can actually draw from this. Some writers take option 1 to showcase how silly it is, while others take it completely seriously. Some writers of option 2 are trying to fix the problems that comic book universes have, while others are trying to tell a story that benefits more from those limitations. All superpower writers need to have at least some kind of familiarity with comics (if they want to do the space justice, at least) but some are writing loving homages and others are writing angry diatribes proving their own superiority.

I've never really clicked with the medium of comics, but there's so much stuff to explore in a superpowered space depending on what the author feels like tackling. I've seen writers use superpowers as a metaphor for celebrity culture, I've seen them tackle climate change, monopolies on violence, class warfare, discrimination (zzzz), the concept of talent, and even eugenics, to varying degrees of self-awareness. I love superpowers.

[nobodysuspectsthebutterfly]

Thoughts about the supposed direction Rhaena's storyline is going in Hotd and the apparent Nettles erasure? Disappointing but... I can sort of see where they could take it? Idk... looking at grrm's posts in hindsight kinda makes me even more disappointed if he is as well (he just can't get his adaptations right atp but idk)

Well. Pre-ep7, we're still pending any Rhaena-Sheepstealer bonding, but I'm basically 😑🫠 about the rumors. (I dislike borrowing trouble, I'm not even sure how many of the rumors are true -- actually I'm pretty sure many of these supposed "leaks" are straight up lies -- and yet. Still *disgruntled meh* and *"we're all fine-everyone's fine here" dread*.) Rhaena is one of my more beloved F&B characters (it's the Sansa parallels, I can't help myself), and Nettles has been a super fave since TPATQ and TWOIAF. (Particularly TWOIAF, since the Burned Men fire-witch reveal; heck, I think my little dollmaker is still one of the few fanarts of Nettles in the mountains.)

I mean, sure, I understand that Rhaena's book storyline during the Dance, where she's offpage from basically the start of the war until nearly the end of it, socializing in the Vale and waiting for her egg to hatch, would be difficult to adapt in an action-oriented visuals-oriented television show. (Like Rhaenyra this season sure isn't just catatonically crying from Luke's death until Jace's.) And I'm glad Rhaena's getting more to do, and I'm glad it's directly addressing her feeling slighted and ignored by her family since she doesn't have a dragon. However...

I do not want Rhaena merged into one character with Nettles! I do not want Rhaena to have Sheepstealer and not her hope-for-the-future (doomed hope, and yet) baby dragon Morning, that hatched for her. Also note how pink Morning, worn as a fashion accessory, so suited Rhaena's coquette personality vs her sporty, adventurous twin sister... I mean, I've said before, I understand adaptations can be different, this still wouldn't make HOTD even close to a "loose adaptation".* But I do not want this adaptation to lose Rhaena's personality that I loved.

Or for that matter, to lose Nettles's character, and her importance to the themes and worldbuilding of ASOIAF. (See also.) And her importance to the plot -- but god knows, they're doing all sorts of things with Daemon and Rhaenyra on this show, toxic romance or what have you, who knows if once Daemon reaches his emotional breakthrough or whatever at Harrenhal this season, if they want to backslide him into a cheating plot in S3 while Daemon is again stuck in a castle for months.** Nevertheless, I'd be deeply disappointed to lose scenes like "as well as her dragon, the girl had taken to riding Daemon", or the last morning in Maidenpool scene... and um, you can't really fit Rhaena in there, or if you did, it would certainly put the lie to the ship denialists' "he just treated her like a father, platonically bathing naked together!" (Also the pretty blatant fake S3 leaks including one where Rhaenyra decides Rhaena has betrayed her... are pretty blatantly fake, sorry.)

And then there would be the frankly racist erasure of the one book black character. "Oh but the show made the Velaryons black, so it's not erasing, it's adding more!" No, sorry. (1) I was and am all for adding more racial diversity to the show and especially to Valyrians, but face it, when you take the book's secondary character Velaryons, two who get killed off early and are portrayed as lesser to the "true" Daemon/Rhaenyra marriage, and make them black, you've already done a lot of hinky damage there. (2) What, it's that hard to write three distinct black girls with very different personalities and one from an incredibly different background? I don't see Addam and Alyn getting merged. I don't see Aemond and Daeron getting merged. I don't see Hugh and Ulf getting merged. But I'm not really one to speak here, for this particular discussion I'd point you to @ride-thedragon and @venusintheblindspots-blog and @chrkrose, among others, they have many many posts on this subject in far greater detail and better argued than mine.

OK, so. I still have hope that Nettles -- even if not cast for this season (sorry y'all, that extra is an extra) -- may appear next season, and all this worry will turn out to be a tempest in a teapot. Per last report from the HOTD panel at SDCC, the rumor of Rhaena and Sheepstealer definitely doesn't happen in ep 7, though, yes, there's one episode after. And if it does happen... I'll be strongly disappointed. Deeply, deeply disappointed, and probably far more suspicious of future adaptational changes. But, for me at least, it's not a dealbreaker like GOT S5 was.*** I won't be happy at all about the storyline, but I would like to think the show will remain high quality re themes and character and all. Time will tell, though. Time will definitely tell.

As for GRRM, when his complaints seem to be "wild dragons shouldn't be in the Vale" and "the heraldry with four legs is wrong", well, I struggle to see that he's that disappointed in the adaptational changes. Believe me, I am well used to reading between the lines re GRRM and adaptations, something like the fact that he's not visiting the HOTD writers' room when he's in the UK is nothing. Catch me if at Worldcon or his Oxford lecture in August, GRRM again says that he could write a whole novel about Nettles, or if actually says something about non-Valyrian dragonriders, ok?

*I was just reading up on The Beast (2023) vs Henry James's “The Beast in the Jungle”. lol HOTD doesn't compare. Don't even think it, man.

**You know, this reminds me of how the Dance in F&B is not paced very well for individual characters, they keep going offscreen for months at a time. From shortly after Rhaenyra's crowning to the Fall of KL, Daemon just sits at Harrenhal and occasionally ventures out into the riverlands. From shortly after the Fall of KL until the Battle Above the Gods Eye, Daemon just... sits at Maidenpool and occasionally ventures out into the riverlands (with Nettles). Yeah, obviously a show would need to write more for him to do, he's a main character.

***Thank god HOTD isn't the sort of exploitative shitshow that GOT was. All y'all thinking it was a better adaptation because of your nostalgia goggles (and/or shitty memory) need to actually reread the books (especially AFFC/ADWD) and then submit yourself to the real-world misogynist and homophobic nonsense of S5-6 again, ugh.

[icypantherwrites]

Hey!! I’ve always liked the way your fics are written and you seem to have a lot of experience so i wanted to ask for some advice.

how do you go about writing dialogue in a way that doesn’t sound unnatural and fits/flows within a work/story?

Dialogue can be tricky as it has so many nuances and there's no one right way to write it. That said, here's a couple things you may want to keep in mind to help with the flow and always remember, emotion, emotion, emotion.

1. Ask yourself what the purpose of this dialogue is. If it's to share information -- and potentially a lot of it -- writing offers the lovely ability for us to take dialogue and turn it into exposition, so long as we frame it correctly. Sort of with a lead like, "Okay, here's what we're gonna do." And then the next paragraph or two is essentially recapping what your characters just discussed. It makes it more concise and definitely easier to read.

2. Dialogue is more than just words; it's expressions and movement too. We can say a lot without actual dialogue and incorporating that definitely helps with flow. Saying, "I don't know," she shrugged, "it just doesn't make any sense." reads a lot more engaged than "I don't know," she said, "it just doesn't make any sense." And I'll get on the 'said' part in a bit.

When you're having characters exchange dialogue, whether it's two or three or more, break up the words with movement and expressions because it really does help it to read more naturally.

3. Unless a person is giving a rehearsed speech or they're in full-on talk mode (whether it's ranting, talking about something they're passionate about, etc.) where they're more of talking at a person than with them, there are pauses in speech. We take breaths. We say "um" or "uh" even when we know what we're on about. We gesture. We repeat words, we can stutter, we can have a mind blank where we just stare for a second with a pause before we continue. Don't forget to incorporate pauses in dialogue.

4. To the 'said' point. I have nothing against 'said.' I love 'said' but you have to be careful with it. If your character is just said said said all the time then why are you even needing to use it? Clearly we know someone is talking. Using an adjective in front or behind it can help set tone and provides a better glimpse as to what the characters are saying.

Then there's all of the amazing words that literally have the tone built in. Use them! I have no qualms watching characters engage in dialogue with a different verb every other exchange. I think it it breathes life and movement into the story. And if you can combine those things with action? Even better!

Read these few examples for comparisons based on mood, tone, and delivery.

"I don't know," she said softly, "it just doesn't make any sense." -- adjective to set the tone of the conversation.

"I don't know," she said softly, her shoulders curling in, "it just doesn't make any sense." - adding action

"I don't know," she whispered, her shoulders curling in and eyes lowering, "it just doesn't make any sense." -- multiple actions, verb

"I don't know," she whispered, eyes downcast, "it just... it just doesn't make any sense." -- extra pauses, repetition

"I don't know," her shoulders curled in, "it just doesn't make any sense." -- a physical action fully takes the place of the 'said' portion, but it relates to the feelings and outward emotions of the character to convey the tone without saying such.

VS

"I don't know!" she said angrily. "It just doesn't make any sense!"

"I don't know!" she snapped. "It just doesn't make any sense!"

"I don't know!" she snapped, eyes flashing and hands curling into fists. "It just doesn't make any sense!"

Please note the . vs the , in the 'angry' examples as well because of the use of the !. Periods make you stop/pause more than a comma (and also gramatically correct in this instance.) We could write it as

"I don't know," she snapped, "it just doesn't make any sense." We lose some of that immediate impact and it feels more like she's talking rather than actually snapping.

"I don't know!" her hands curled into trembling fists at her sides. "It just doesn't make any sense!"

"I don't know, okay?" she snapped, eyes flashing and hands curling into fists. "It just," her voice cracked, "it doesn't make any sense." -- adding in that sort of "um / natural pause" and repeating a word, ending with a . instead of ! to show we're no longer shouting.

Each of these examples can read very differently with what message you're conveying despite the dialogue is, for the most part, identical.

5. To all of the above, dialogue is emotion. Unless we're reciting facts or giving a status report -- which should still have actions to accompany them -- we are inflecting something into our words. If you can't feel the conversation then what is the point of having it (writing it)?. In that case exposition is going to be your friend.

6. This is just a general thing, but paragraphs, please. And if you're running on more than 3 (longish) sentences split to a new paragraph. The way you do that is rather than closing the first paragraph with a " leave it open (with punctuation!) and then restart the " at the next paragraph.

Hope that helps!