Tumgik
#((and i think it's super-cool that you got to choose the elements of them! i think you made some great choices there))
jojo-schmo · 11 months
Note
Curious, you got some bandee headcanons you’d like to share? (doesn’t matter if it’s in the roleswap au or not)
My sweet Bandana Boy! I love him SO MUCH! I'm happy to share some of my personal headcanons for him!
Tumblr media
First, I am a strong believer that Bandee is the same Dee from Kirby 64. I know there's evidence that both supports and denies this out there, but I choose to believe it!!
Tumblr media Tumblr media
So that's why I think his spear could be tipped with the crystal shard he's gifted at the end of the game!!
Yes, the spear point is the same shape as a crystal shard. But there's more to this! Hear me out!! :D
So Kirby, Meta Knight, and Dedede all have demonstrated some cool powers over the years that help them beat back some pretty fearsome foes! For lack of a better word right now I'm calling them "Cosmic Powers." Kirby is... Kirby. His powers are pretty much limitless. Dedede and Meta have had different elemental powers over the years too, like electricity, fire, wind, etc... (Meta could very well be a cosmic being like Kirby, and I have my own theory about Dedede's elemental abilities here).
The members of Team Kirby do great things together, but they're also very powerful on their own! So what's Bandee's thing? He is a humble Waddle Dee by birth! He hasn't demonstrated any extra "Cosmic Powers" that I can recall. Other than the cute hover jump- but most of Kirby's Helpers and Allies can do that too! And even back in Kirby 64, Waddle Dee helps Kirby out in very practical ways. Going down a river together in a log flume, operating a mine cart or sled... stuff like that.
Bandee's Spear moveset is also very practical and purely skill-based. It consists of intricate and powerful spear maneuvers. It's got to be a result of his diligent training that's been hinted at over the years!
But one of his moves always stuck out to me since it's not purely skill-based- his Spear Throw.
Tumblr media
How is he able to toss out an unlimited supply of spears and regenerate another in his hand immediately afterward?
Tumblr media
The Crystal Gun has an unlimited supply of ammo, so it makes sense to me that his spear could very well have that same property if it's part Crystal Shard!
A fun personal theory is that he forged the Crystal Shard he was gifted into a weapon after he made the decision to train and grow stronger to protect his loved ones. Probably in between the ending of Revenge of the King and the beginning of Return to Dreamland. And he's only gotten stronger over the years!
Using a spear made with a crystal that is shown to be one of the only weapons effective against Dark Matter is just so super cool to me!! It would definitely complement his great loyalty, courage, and personal strength. A wonderful tool to put him right up there alongside Dreamland's Defenders like he deserves to be!! <3
475 notes · View notes
It Should Have Been Jonathan: Why Swapping Jonathan and Mina's Roles for the Blood Ceremony Makes Dracula a Better Story Both Thematically and Plotwise
Bram Stoker did not write it this way, so swapping Jonathan in is not a headcanon, but rather an adaptational choice that adaptations like Murray Mysteries or fic writers (like me!) choose to make over and over again. Here's why you should engage with this premise.
(No spoilers for those caught up to October 3rd of Dracula Daily)
(non-graphic mention of rape, sexual assault, etc)
The Story As It Is: The Good Points
Jonathan um. Goes Through it this novel. If you hadn't noticed. Mina takes care of him a lot, and after the blood ceremony, Jonathan gets to take care of her. This is very sweet, and I do enjoy that both Mina and Jonathan take turns rather than Jonathan always needing help.
It's not like it's unrealistic. Dracula would totally retaliate against the men fighting against him by targeting Mina. He super would see this as very apt revenge, and he's definitely that brand of sexist that sees women as a prize.
This plot point goes out of its way to frame the actions of the men in excluding Mina as utterly disastrous, which is cool.
Mina as the Victim: What is it Accomplishing + How Did She Get There
Mina spends most of the novel taking care of the people Dracula's victimized. She is a force to be reckoned with, but as Stoker wrote her she is a very good sort of English woman, pious, obedient to the men, respectable, etc. etc. Although she and Lucy have very different characters, when Dracula targets them they serve the same role as good English women who are coming under attack by Dracula, an evil Eastern European man. In Lucy's case he literally kills her and in her place is a hot sexually impure corruption of the original person. Victorian nightmare fuel. In addition, there are all kinds of sexual non-con rape vibes to what he does to both Lucy and Mina. Hot forceful foreign men are invading England and targeting good women. That's the whole fear that Dracula represents.
This manifestation of xenophobia doesn't hold up at all. For me, it's always been the worst element of the novel. I don't find it compelling.
Something else you might have picked up from this update: martyr talk martyr talk martyr talk. While (trust me) Mina is still smart and still given a lot of agency by Stoker to break her own curse, after the blood ceremony, she suffers Very Piously. Like a hair's breadth away from publishing a video entitled "How To Suffer A Tormentor From Hell in A God Honoring Way" on her Youtube Channel.
I personally don't find this interesting. I don't think it holds up. I don't want to see Mina suffer like a Perfect Little Christian. I want to see her kick ass and take names.
In conclusion: the driving forces behind Mina's attack and trauma are at best uninspired and outdated, and there is a very nasty undercurrent of xenophobia and sexism there as well.
I don't love it. I'm either bored or actively turned off by what Stoker is trying to say.
Jonathan as the Victim: What Could It Accomplish?
Dracula choosing to attack Jonathan again would shift the narrative so that it becomes a story about an abuser who will Not Let Go. An abuser who follows across a continent. An abuser who waits until you've just started to recover from the first round of trauma and started to feel safe again to start an onslaught even more vicious and concerted than the last.
I think Stoker laid the groundwork for this twist to be more terrifying and compelling than for Mina to be targeted 2/3rds of the way through. Obviously Dracula is an abuser no matter what, but it so much more terrifying to me to think of him playing a long-term game of cat and mouse over like 6 months with one man, than it is to see him target Mina over the span of three days.
This is also in character for Dracula. I agree with the common interpretation that Dracula continued to target Lucy even when it got ridiculously difficult and dangerous to continue because he can't stand to lose a test of dominance.
If we carry that over to Jonathan there is absolutely no way that Dracula would be ok with learning Jonathan escaped and is recovering. He would Hate that. He would absolutely want to target Jonathan again.
So you remember "I too can love" "tonight is mine" the gaps in the journal? All that abuse that is hinted at and never explored? The same sort of sexual assault motifs that are so present in Lucy and Mina's attacks? The implication that Jonathan was fed on by Dracula? All these hints that Stoker doesn't do anything with or develop further? Well Making Jonathan the one who undergoes the blood ceremony gives us a very natural chance to discuss them again.
In conclusion: Jonathan's history with the Count makes him being the victim (again) a more compelling story. We've watched the Count slowly escalate aggression with him over the course of a novel, and this final attempt to literally claim Jonathan's soul and make him a thrall is the natural conclusion of that. To me those are some compelling stakes
Jonathan being Targeting Makes for Less Plotholes (and less Infuriatingly Sexist Plotpoints)
Not that Mina being excluded is unrealistic or unworthy of engaging with in the original novel but I find it to be such a drag
And actually to a certain point it is unrealistic to me because I think the decision to completely cut her off and stop talking to her about anything comes completely out of left field. Everyone was acting like she'd work with them in some capacity right up until Van Helsing says differently. I find that jarring.
Switching the target to Jonathan eliminates that plotpoint entirely, which I think is cool. Maybe Stoker never would have written Mina as one of the boys, but it's not the 19th century anymore and we can write Mina however we want. I think having a Mina that sticks up for herself and refuses to be excluded is neat.
But on what grounds would they choose to exclude Jonathan? Well I actually think that some obvious solutions present themselves.
Murray Mysteries goes the "Jonathan you have PTSD you shouldn't retraumatize yourself route" which works for them, since it's a 21st century retelling
But I actually think it could potentially make sense for Van Helsing to want to exclude Jonathan, and to need to be secretive about it.
So you know how in the canon Dracula gives Mina his blood partially because his intention was to make himself a spy? The plan was to use an unwitting Mina to his advantage but the polycule bursting in killed that idea.
Well if I were Van Helsing, I would immediately suspect that the Count had fucked with Jonathan at the castle. I mean it would make so much sense wouldn't it? Jonathan was there for two months, he could be compromised in so many different ways.
If Van Helsing had these suspicions, then it would be the natural next step to try and exclude Jonathan from the business as completely and utterly as possible under whatever flimsy excuses he can make up (and this man has been making up flimsy excuses for the whole novel so it's in character).
This adaptational change would lead into Jonathan getting attacked again very smoothly, except in this version, Van Helsing's reasoning has more grounds to it than just Sexism, so he would be not only a smarter character, but also one I'd want to punch less.
I think that makes for a stronger plot
Also it seems very natural to me that Jonathan wouldn't realize he'd been attacked again by Dracula. More natural than Mina not realizing. This man has been having PTSD nightmares and flashbacks about Count Dracula attacking him for the entire summer and early fall. Canonically his trauma made it difficult for him to separate dreams from reality in the past. He would just assume they were particularly nasty dreams.
This would also apply to Mina not noticing Jonathan was being fed on as well. She's used to him not looking well and having bad nights. It would not immediately be apparent to her that this was different that the usual.
In conclusion: Jonathan being the one who is attacked opens the door to other obvious plot changes that create a better story structurally.
Okay You've Convinced Me, I Want to Explore This
Listen to Murray Mysteries! Listen to Murray Mysteries if I haven't convinced you, it's really good and it's the only adaptation I know of that actually adapts the Polycule in a good way.
Read my series! I don't mean to self-promote but if you couldn't tell I feel incredibly strongly about this premise and I don't see people tapping into the potential so I've had to do it myself. Strange Wonders is a series of short stories that explore the plot of Dracula if this change had happened. The goal was to create something that mimicked Bram Stoker's tone and style as much as possible, while being the story I liked better in my head. The first in the series, Uncommon Horrors and Unnatural Hurts is Dracula Daily friendly, and the next in the series The Resilience of the Dawn will be Dracula Daily friendly by October 4th. I'm still updating as well although the story is technically complete and has a climax.
here some would stand between you and death by princ3ssf33t is a great little one-shot fic I've found that deals with the role reversal and features some stellar Jonmina
There is a Pleasure in the Pathless Woods by calliopes_pen is another epic reimagining where both the Harkers are targeted by Dracula
Your fic/art/content here!! Endless potential.
TL;DR
Having Jonathan undergo the blood ceremony instead of Mina makes for richer horror, stronger character arcs, less teethgrinding sexism, and less plotholes. The Dracula fandom should be exploring it more.
530 notes · View notes
deadvnstudios · 6 months
Note
How would everyone take care of a sick MC?
Tumblr media
"No, just...sit up. Here, drink this."
Noel is methodical in his approach to care. By the time the MC has awoken from their nap, he'll have already whipped up a hardy broth that warms their bones and tastes like home. Noel prioritizes the MC's comfort: helping them sit up for every meal, fluffing their pillows, changing their sheets - and often does so without being asked. He is very strict with the MC on not overworking themself, making sure they take their cold medicine on time, and keeping them hydrated.
"Wait...I. Let me put these in your water."
And he certainly carries a couple of electrolyte packets on him with several flavors for them to choose from.
Tumblr media
Mona is a bit overbearing in her approach to care. If the others were not already aware of it being a common cold, they'd be led to believe it's bordering on terminal. Though her dramatic flair remains, she takes to her caretaker role very seriously and has no shame in babying the MC. She's constantly adjusting pillows and sheets, pressing her hand to the MC's forehead, and monitoring them in between crafting sessions for any signs of discomfort.
"Here, something to soothe the sickened soul. Oh my, why so shaken? Worry not, even I am aware my work would be wasted on such a...diminished palate."
She laughs at the way the MC's face twists in horror as she carries soup to their bedside. But don't worry, she didn't prepare it. Merely heckled Noel into doing so.
Tumblr media
"Such feverish skin...slowly, go slowly."
Sorin is very gentle in their care. He isn't disturbed by the grosser aspects of human sickness and takes no issue with more intimate tasks such as wiping down the MC's clammy skin, bushing their sweat-slicked hair out of their face, and helping them walk to-and-fro with them pressed against his side. They have nowhere else to be, but beside them. Tending to more delicate things is in their nature, after all.
"Her breath, drawn up from the dank, sunken cavern of her lungs, perspired in the humid twilight air. She wandered the shore alone, all shaken puffs and sulken skeleture, aimlessly careening in a feverish haze. Despite the distance, the sea could not quell its love for her. Seafoam tickled the soles of her feet, teasing heated skin with cool caresses, before whisking her away into its pool of tears. And there they could wallow in their sadness, together."
They go silent, peering up from the tale when they're interrupted by a soft snore. A small smile paints their lips at finding the MC asleep. They had grumbled earlier, upset that Sorin had urged them to reconsider reaching for their phone when they awoke. Instead, Sorin had offered to read them to sleep once more.
Tumblr media
Mary's already at MC's bedside when they wake up.
"Hey, I got you some grub."
The porridge is already cold when MC grabs the bowl. Mary presents them a spoon that she was hiding somewhere in her skirts.
"I've heard that if you manage to shove a spoon down your throat, you instantly get better. Wanna try?"
She's definitely joking... Right? Her smile never wanes, only becoming sweeter when she hands them the spoon.
Tumblr media
Tempest is sincerely at a loss when it comes to care. Used to suffering in silence or bitching about it to no one - someone showing any dependence on him puts him way out of his element. He's bare bones in the way he 'watches over' the MC, but he emulates what he's seen in shows and movies. He probably thinks they look gross.
"Seriously, what a drag. Can't you at least wear something nice to look at?"
And tells them so.
Still, he tucks them in, feeds them, and fills their water up with minimal mumbled complaints. And he’ll whine all around the commune about all the fun he's missing out on, even while on his way to ask Noel whether a hot or cold compress would be better for them.
Tumblr media
"Oooo here it is, ah - wait! No, let me pour it, it's like super hot."
Vein is carefree but caring in her approach to care. Always looking for ways to keep the MC entertained and engaged, tethering them despite any lingering fever. She'll visit Sorin at times like these, requesting any medicinal plants to steep for soothing relief. She happily prepares a pot for the two of them to share and sip on as she loads up a film. No matter how much the MC complains that she'll get sick, Vein sticks stubbornly in bed beside them.
"Ah - look look! They just added this one, you wanted to see it, right?"
Vein will play whatever the MC wants for a change, even if it's not up her alley. But she'll still sneak in a horror flick or two when they pass out.
63 notes · View notes
taytjiefourie · 11 months
Text
How to Outline a Novel
Hi there, Darlings! I'm excited to dive into the fascinating world of outlining a novel with you today. Don't worry, we won't be here as long as you might think. So, let's get started and have some fun!
Note: this is a longish post and relies on my preferences and experience.
When it comes to outlining your story, you may hear some people insist that the more detail, the better. However, let's be real, we don't want to get bogged down with trivial details like how the trash is being disposed of in our fantasy world, right?
No way, we're all too busy to devote that much time and energy to it! Personally, I have two versions of an outline that I like to use. The first is a basic outline, which works well for stories set in a world similar to our own, or stories that draw from existing myths or legends like Supernatural, Paranormal or Greek Mythology.
The second outline is a bit more detailed, but don't worry, it's not as complicated as some people make it out to be. Since creating a unique Fantasy or Sci-Fi world requires a bit more thought, this outline helps you add in those extra details without overwhelming you. To use it, you'll start with the basic outline, and then add some additional information to create the more detailed version.
In this blog post, I'll be sharing some insights into why certain elements are essential in your outline (for those who love to write but don't know all the 'why's' when it comes to certain things), and how they can make a huge impact on both your writing process and the readers who pick up your book. And don't worry, I've got you covered at the end with a summarized version of each outline - minus all the extra details - so you can simply copy and paste it for your own use.
Without further ado, let's dive in and start with the basics of outlining your novel!
Tumblr media
I hope you've got a tiny inkling of what your story might be about - whether it's a character with a vague purpose, an antagonist with an unclear hero, or even just a cool world with no plot in mind yet. Whatever it may be, it's totally okay to start with just a little dot of information. The important thing is that you've got something to work with!
Book Information.
Starting a novel can be a daunting task, but having the right information can make a world of difference. Let's go over the three key aspects you should consider before diving in: Genre, Trope, and Target Audience.
First up is Genre, which is the category or type of book your story fits into. Once you've picked your genre, you can explore the different tropes that are commonly used within it. A trope is a recurring literary device or theme that helps readers understand the story and its themes.
By combining your chosen genre and tropes, you can begin to define your Target Audience. This is the group of readers who are most likely to enjoy your story based on its genre and themes. It's important to remember that you don't have to stick to just one genre or trope, and that exploring multiple options can help you find the perfect combination for your story.
Genre:
Choosing the right genre for a book is super important because it gives readers a sense of what to expect in terms of plot, themes, tone, and style. Think of genres as categories that books fall into based on their subject matter, writing style, and intended audience. For instance, a mystery novel is all about solving a crime or puzzle, while a romance novel is all about lovey-dovey relationships.
Knowing a book's genre can be helpful for readers who are searching for stories that interest them. Plus, it can help publishers and booksellers market and sell books to the right audience. For writers, it's helpful to stick within the conventions of a genre while still adding their own unique perspective.
All in all, genres make life easier for everyone involved in the book world, from writers to readers to publishers. They help us understand the style and content of a book and make communication and engagement between authors and audiences so much smoother!
With so many genres to choose from, it can be overwhelming to decide which one is right for your story. But don't worry, I'm here to help! Let me give you a quick rundown of some of the most popular genres out there and how they can shape your story:
Romance Plot: Focuses on the development of a romantic relationship between two characters. Theme: Love, passion, and relationships. Tone: Emotionally charged, often with elements of humor or drama. Style: Emphasizes character development and emotional depth.
Mystery Plot: Involves a crime or puzzle that needs to be solved. Theme: Crime, justice, and the human psyche. Tone: Suspenseful and atmospheric, often with a dark or gritty tone. Style: Tightly plotted, with clues and red herrings that keep readers guessing.
Science Fiction Plot: Often involves futuristic or speculative elements, such as space travel, aliens, or advanced technology. Theme: Exploration, innovation, and the impact of technology on society. Tone: Can be serious or lighthearted, depending on the focus of the story. Style: Imaginative and creative, with an emphasis on world-building and scientific accuracy.
Fantasy Plot: Often involves a magical or supernatural world, with mythical creatures and/or magical powers. Theme: Good versus evil, heroism, and the power of imagination. Tone: Can be dark or lighthearted, depending on the focus of the story. Style: Richly detailed and descriptive, with an emphasis on world-building and creating a sense of wonder.
Historical Fiction Plot: Set in a specific time period in history, often with real historical figures and events. Theme: The human experience and the impact of history on individuals and society. Tone: Often serious and thought-provoking, with an emphasis on authenticity. Style: Meticulously researched and detailed, with an emphasis on historical accuracy and atmosphere.
Thriller Plot: Typically involves high stakes, danger, and tension, with a focus on action and suspense. Theme: Danger, survival, and morality. Tone: Tense and exciting, with a sense of urgency and danger. Style: Fast-paced and plot-driven, with a focus on action and suspense.
Horror Plot: Focuses on creating a sense of fear, dread, or terror in the reader. Theme: Fear, darkness, and the unknown. Tone: Dark and ominous, with elements of terror and suspense. Style: Often graphic and unsettling, with a focus on atmospheric setting and vivid descriptions of gore or violence.
Young Adult (YA) Plot: Typically features teenage protagonists dealing with coming-of-age issues, such as identity, relationships, and personal growth. Theme: Identity, belonging, and the transition to adulthood. Tone: Often earnest and emotional, with a focus on relatable characters and experiences. Style: Accessible and engaging, with a focus on character development and relatable themes.
Literary Fiction Plot: Emphasizes character development and exploration of ideas, often without a clear plot-driven structure. Theme: Human experience, social issues, and the complexities of life. Tone: Serious and contemplative, with an emphasis on emotional depth and complexity. Style: Often stylistically experimental or unconventional, with a focus on character psychology and introspection.
Comedy Plot: Emphasizes humor and satire, often with a focus on exaggerated characters and situations. Theme: Laughter, joy, and the absurdity of life. Tone: Light and comedic, with an emphasis on humor and wit. Style: Often fast-paced and filled with witty banter and humorous observations.
Western Plot: Set in the American West during the 19th century, often with a focus on cowboys, outlaws, and frontier life. Theme: Courage, survival, and rugged individualism. Tone: Rustic and tough, with an emphasis on adventure and action. Style: Often descriptive and atmospheric, with a focus on the unique landscape and culture of the American West.
Dystopian Plot: Set in a society or world that has become dark, oppressive, or dysfunctional, often as a result of a catastrophic event. Theme: Freedom, rebellion, and the dangers of totalitarianism. Tone: Bleak and pessimistic, with an emphasis on the dangers of conformity and control. Style: Often atmospheric and descriptive, with a focus on world-building and the exploration of dystopian themes.
Sub-Genre:
As a writer, you've probably heard of sub-genres before. They're like categories or subcategories within a broader genre, based on specific themes, settings, plot elements, or writing style. These sub-genres help to further define and categorize works of literature within a broader genre, making it easier for readers to find books that align with their interests.
For example, in the broad genre of science fiction, there are many different sub-genres like cyberpunk, space opera, hard science fiction, and more. Each sub-genre has its own unique characteristics and themes that differentiate it from other types of science fiction. Likewise, in the genre of mystery, there are sub-genres like cozy mysteries, police procedurals, and psychological thrillers, each with its distinct elements and themes.
Romance
Historical romance: These stories are set in the past and often explore themes of social norms and historical events. They can be sweeping epics or more intimate love stories, and the writing style can be more formal or descriptive.
Contemporary romance: Set in the present day, these stories often explore modern relationships, dating, and career aspirations. They can be light and funny or emotional and dramatic, with a more conversational and informal writing style.
Paranormal romance: These stories feature supernatural elements like vampires, werewolves, and witches. They can explore forbidden love, good versus evil, and the challenges of having supernatural abilities. The tone can be dark and moody or romantic and sexy, and the writing style often includes descriptive world-building.
Romantic suspense: Combining romance and suspense, these stories often involve a heroine in danger who is protected by a hero. They can be fast-paced and action-packed, with a tense and dramatic tone and a plot-driven writing style.
Inspirational romance: These stories often explore themes of faith, redemption, and personal growth. They can involve characters overcoming obstacles and finding hope in their beliefs, with an uplifting and hopeful tone and a focus on character development and inner dialogue.
Erotic romance: These stories feature explicit sexual content and explore themes of passion and desire. They can involve characters exploring their sexuality and forming intense emotional connections, with a sensual and steamy tone and a descriptive and graphic writing style.
LGBTQ+ romance: These stories feature same-sex or non-binary relationships and explore themes of identity, acceptance, and overcoming societal norms. They can be heartfelt and emotional, with a writing style that varies depending on the sub-genre (like historical, contemporary, or paranormal).
Western romance: These stories are set in the American West and often involve cowboys, ranchers, and outlaws. They can explore themes of rugged individualism, adventure, and romance, with a rugged and outdoorsy tone and a writing style that includes descriptive landscapes and dialect.
Fantasy romance: These stories combine elements of fantasy and romance and often involve mythical creatures, magic, and epic journeys. They can explore forbidden love, quests, and battles between good and evil, with a sweeping and grand tone and a writing style that includes descriptive world-building.
Multicultural romance: These stories feature characters from diverse cultural backgrounds and explore themes of identity, family, and tradition. They can involve characters navigating cultural differences and forming deep connections, with a sensitive and heartfelt tone and a writing style that varies depending on the sub-genre (like historical or contemporary).
Mystery
Cozy Mystery: Cozy mysteries are often set in small, quaint towns or villages, and feature an amateur sleuth who solves a murder or series of murders. The tone is light and often humorous, with a focus on character and relationships rather than graphic violence or sex.
Police Procedural: Police procedurals focus on the investigation process of a crime, and often feature a professional law enforcement detective as the main character. The plot is driven by the methods used to solve the crime, and the tone is often gritty and realistic.
Hard-Boiled Mystery: Hard-boiled mysteries feature tough, cynical detectives who operate outside of the law to solve crimes. The tone is dark and gritty, with a focus on violence and corruption.
Historical Mystery: Historical mysteries are set in the past and often feature famous historical figures or events as part of the plot. The tone is often atmospheric, with a focus on the historical setting and culture.
Amateur Sleuth: Amateur sleuth mysteries feature a non-professional detective as the main character, such as a journalist, librarian, or chef. The tone is often lighthearted and cozy, with a focus on the amateur detective's unique skills and abilities.
Legal Thriller: Legal thrillers often involve legal proceedings or courtroom drama as part of the plot. The main character is often a lawyer or judge, and the tone is often intense and suspenseful.
Noir: Noir mysteries are characterized by their dark and pessimistic tone, with flawed characters and morally ambiguous situations. The focus is on the psychological aspects of crime, rather than the procedural.
Romantic Suspense: Romantic suspense combines elements of both romance and mystery, with a focus on the relationship between the main characters as well as the suspenseful plot.
Whodunit: Whodunit mysteries are characterized by their focus on the puzzle-like aspect of solving a crime, with a twist ending revealing the identity of the culprit. The tone is often light and playful, with a focus on the clues and red herrings that lead up to the solution.
Science Fiction.
Cyberpunk: This sub-genre typically features a near-future, dystopian setting in which advanced technology has both empowered and oppressed society. The tone is often gritty and dark, with a focus on the impact of technology on human identity.
Space Opera: This sub-genre is characterized by grand-scale adventures and space battles set in a future where humanity has colonized the galaxy. The tone is often adventurous and heroic, with an emphasis on world-building and exploration.
Post-Apocalyptic: This sub-genre is set in a world after a major catastrophe or disaster, and focuses on the struggle for survival and rebuilding of society. The tone is often bleak and pessimistic, with themes of isolation, desperation, and survival.
Alternate History: This sub-genre explores what would happen if key historical events had played out differently, resulting in a different present-day world. The tone and themes can vary widely depending on the point of divergence in history.
Hard Science Fiction: This sub-genre emphasizes scientific accuracy and plausibility in its exploration of speculative concepts and technologies. The tone can vary, but often has a focus on problem-solving and logical deduction.
Time Travel: This sub-genre involves characters traveling through time to alter the course of history or prevent a catastrophic event. The tone can vary widely depending on the consequences of altering history.
Alien Invasion: This sub-genre typically features humans struggling to defend Earth from an alien invasion. The tone is often action-packed and suspenseful, with a focus on survival and overcoming seemingly insurmountable odds.
Steampunk: This sub-genre is set in a world where steam power is the dominant technology, often featuring Victorian-era settings and aesthetics. The tone is often adventurous and fantastical, with an emphasis on creativity and innovation.
Military Science Fiction: This sub-genre typically involves soldiers and military units in futuristic settings, often featuring advanced technology and alien races. The tone is often action-packed and focused on combat and strategy.
Biopunk: This sub-genre explores the implications of biotechnology and genetic engineering, often featuring genetic modification of organisms or humans. The tone can be dark and cautionary, with themes of ethics and control.
Cyberprep: This sub-genre is a hybrid of cyberpunk and preppy fashion, featuring high-tech and high-fashion elements in a futuristic setting. The tone can be lighthearted and satirical, with a focus on fashion and style.
Space Western: This sub-genre combines science fiction and Western themes, often featuring space cowboys and frontier settlements on distant planets. The tone is often adventurous and action-packed, with a focus on individualism and freedom.
Slipstream: This sub-genre blends elements of science fiction with surrealism, often featuring strange or unexplained phenomena. The tone can be dreamlike and ambiguous, with a focus on atmosphere and mood.
New Wave: This sub-genre emerged in the 1960s and 1970s, featuring experimental and avant-garde styles and themes. The tone can be unconventional and challenging, with a focus on literary techniques and subversion of traditional science fiction tropes.
Mundane Science Fiction: This sub-genre emphasizes realism and plausibility in its exploration of near-future technology and societal developments. The tone is often introspective and critical, with a focus on the impact of technology on everyday life.
Fantasy
High Fantasy/Epic Fantasy: This sub-genre is characterized by a richly developed fictional world, often with its own history, geography, and mythology. The plot often centers on a hero's journey or quest to save the world or defeat evil. The tone is often grand and epic, with a focus on magic, destiny, and larger-than-life conflicts.
Urban Fantasy: This sub-genre is set in a contemporary, urban setting, often featuring supernatural elements like vampires, werewolves, and witches. The tone can be dark and gritty, with a focus on action, suspense, and the clash between the supernatural and the mundane.
Historical Fantasy: This sub-genre is set in a historical period, often featuring elements of magic and the supernatural. The tone can be romantic and atmospheric, with a focus on historical accuracy as well as fantastical elements.
Fairy Tale Retellings: This sub-genre reimagines classic fairy tales with new twists and perspectives. The tone can range from whimsical to dark and brooding, with a focus on themes of transformation and the power of storytelling.
Mythic Fantasy: This sub-genre draws on elements of myth and folklore, often featuring gods, goddesses, and other supernatural beings. The tone can be mystical and spiritual, with a focus on themes of destiny, fate, and the search for meaning.
Dark Fantasy: This sub-genre often features supernatural or horror elements, and may have a bleak or nihilistic tone. The plot can involve antiheroes or morally ambiguous characters, and may explore themes of power, corruption, and redemption.
Portal Fantasy: This sub-genre involves characters who travel between different worlds or dimensions, often featuring a contrast between the magical and the mundane. The tone can be adventurous and whimsical, with a focus on exploration and discovery.
Sword and Sorcery: This sub-genre features heroes who are skilled with weapons and magic, often set in a medieval-inspired world. The tone can be action-packed and swashbuckling, with a focus on adventure, combat, and daring exploits.
Comic Fantasy: This sub-genre combines elements of fantasy and humor, often featuring absurd or satirical elements. The tone is often lighthearted and comedic, with a focus on wordplay, satire, and parody.
Paranormal Romance: This sub-genre combines elements of romance and fantasy, often featuring supernatural love interests like vampires or werewolves. The tone can be romantic and steamy, with a focus on passion, desire, and forbidden love.
Steampunk Fantasy: This sub-genre is set in a world where steam power and clockwork technology are the norm. The plot often involves a mix of adventure, science fiction, and fantasy elements. The tone is often gritty and industrial, and the style is characterized by a Victorian aesthetic and the use of intricate machinery.
Contemporary Fantasy: This sub-genre takes place in the present day and features magic and fantastical elements that coexist with the mundane world. The plot often involves characters discovering or coming to terms with their magical abilities. The tone is often lighthearted, and the style is characterized by blending magic and realism.
Magical Realism: This sub-genre blends elements of the fantastical with the ordinary, creating a world where magic is a natural part of everyday life. The plot often explores the intersection between the magical and the real, with characters struggling to make sense of their extraordinary experiences. The tone is often dreamlike, and the style is characterized by richly descriptive prose.
Historical Fiction.
Historical romance: Set in a specific historical period, the plot centers on a romantic relationship between characters. The theme may focus on societal expectations, class differences, or political intrigue. The tone is usually romantic, with elements of drama and tension. The style emphasizes historical accuracy and details, such as costumes, settings, and dialogue.
Alternate history: The plot imagines an alternate version of history, where events unfold differently from what actually happened. The theme may explore the consequences of different choices or highlight how different societies might have evolved. The tone can range from serious to playful, depending on the author's intent. The style often emphasizes world-building, creating a detailed and believable alternate reality.
Historical fantasy: Combining elements of historical fiction and fantasy, this subgenre often involves magical or supernatural elements. The plot may center on a quest or adventure set in a specific historical period, with magical or mythical creatures and events. The theme often explores the intersection of history and fantasy, highlighting how beliefs and legends shape society. The tone can be fantastical or historical, depending on the balance of elements. The style often emphasizes world-building, creating a fully realized alternate reality.
Historical mystery: Set in a specific historical period, the plot centers on a mystery that must be solved by the protagonist. The theme may explore social or political issues of the time, and the tone is often suspenseful and dramatic. The style often emphasizes historical accuracy, highlighting the details of daily life and societal norms of the period.
Historical adventure: The plot centers on a thrilling adventure set in a specific historical period, often involving exploration, battles, or other daring escapades. The theme may explore themes of heroism, duty, or sacrifice, and the tone is often action-packed and exciting. The style emphasizes historical accuracy, highlighting the details of weapons, clothing, and other cultural aspects of the period.
Historical drama: The plot centers on the emotional and personal struggles of characters living in a specific historical period. The theme may explore issues of social justice, morality, or individualism, and the tone is often serious and introspective. The style emphasizes historical accuracy, highlighting the details of the characters' lives and the period's cultural norms.
Biographical historical fiction: The plot is based on the life of a historical figure, often imagining details that are not known or not recorded. The theme may explore the motivations and struggles of the individual or highlight the cultural and political context of the time. The tone can be serious or light-hearted, depending on the focus of the story. The style emphasizes historical accuracy, often using primary sources to create a realistic portrayal of the individual's life and times.
Historical horror: Combining elements of horror and historical fiction, this subgenre often involves supernatural or mystical elements set in a specific historical period. The plot may center on a curse or a haunted location, with the theme often exploring how historical beliefs and legends shape modern fears. The tone is often eerie and unsettling, and the style emphasizes historical accuracy and the use of atmospheric details to create a sense of dread.
Historical romance mystery: This subgenre combines elements of historical romance and historical mystery, often involving a romantic relationship that is threatened or complicated by a mystery or crime. The theme may explore social or political issues of the time, and the tone is often suspenseful and romantic. The style emphasizes historical accuracy, highlighting the details of daily life and societal norms of the period.
War fiction: Set during a specific historical conflict, the plot centers on the experiences of soldiers, civilians, or others affected by the war. The theme may explore issues of sacrifice, duty, and morality, and the tone is often gritty and realistic. The style emphasizes historical accuracy, highlighting the details of weaponry, battles,
Thriller
Psychological thriller - The plot revolves around the mental and emotional states of the characters, often featuring unreliable narrators, unexpected plot twists, and intense psychological tension. Themes may include mental illness, trauma, and the dark side of human nature. The tone is usually suspenseful and ominous.
Crime thriller - These stories focus on a crime, often a murder, and the investigation that follows. The plot typically involves a detective or law enforcement officer trying to solve the crime and bring the perpetrator to justice. Themes may include corruption, justice, and morality. The tone can range from gritty and dark to fast-paced and action-packed.
Spy thriller - The plot involves espionage, secret agents, and international intrigue. The themes may include politics, espionage, and espionage. The tone is usually suspenseful and fast-paced, with high stakes and intense action scenes.
Legal thriller - These stories focus on lawyers and legal proceedings, often involving a courtroom drama. The plot typically involves a lawyer working to uncover the truth and bring justice to a case. Themes may include justice, ethics, and the law. The tone is usually suspenseful and dramatic.
Techno-thriller - This sub-genre combines elements of science fiction and thriller, often featuring technology as a major plot point. The plot typically involves a threat to society or the world that can only be resolved through the use of advanced technology. Themes may include artificial intelligence, cyber warfare, and technological advancement. The tone is usually fast-paced and action-packed.
Action thriller - These stories are heavy on action and may include elements of crime, espionage, or terrorism. The plot typically involves a protagonist fighting against a powerful antagonist or organization. Themes may include heroism, justice, and revenge. The tone is usually fast-paced and full of action scenes.
Historical thriller - The plot is set in a historical period and involves mystery, intrigue, and danger. Themes may include historical events, social issues, and politics. The tone is usually atmospheric and suspenseful.
Disaster thriller - The plot typically involves a natural disaster or catastrophic event, and the characters must fight to survive. Themes may include survival, human nature, and the fragility of society. The tone is usually tense and suspenseful.
Medical thriller - These stories involve medical professionals, diseases, and medical research. The plot typically involves a medical crisis that threatens the lives of many people. Themes may include medical ethics, science, and the nature of life and death. The tone can range from intense and suspenseful to thoughtful and introspective.
Horror thriller - This sub-genre combines elements of horror and thriller, often featuring supernatural or paranormal elements. The plot typically involves a protagonist facing off against a powerful and evil force. Themes may include fear, death, and the supernatural. The tone is usually dark and terrifying.
Horror
Supernatural horror - This sub-genre involves supernatural elements such as ghosts, demons, and witches. The plot typically revolves around an evil presence that haunts or possesses individuals or places. Themes often involve the struggle between good and evil, the afterlife, and the supernatural world. The tone can be eerie, unsettling, or frightening. The style can include vivid descriptions of supernatural events or paranormal activity.
Psychological horror - This sub-genre focuses on the psychological aspects of fear, anxiety, and mental breakdowns. The plot may involve a character's descent into madness, paranoia, or obsession. Themes can explore the limits of the human mind, the duality of human nature, and the fragility of sanity. The tone can be disturbing, disorienting, or unsettling. The style can include introspective narration, unreliable narrators, or surreal imagery.
Slasher horror - This sub-genre involves a serial killer or a group of killers who hunt down and murder their victims. The plot often revolves around a group of people who are trapped or isolated with the killer, such as a group of teenagers in a cabin in the woods. Themes can explore the fear of death, survival instincts, and the consequences of violence. The tone can be intense, gory, or suspenseful. The style can include graphic violence, jump scares, and tense chase scenes.
Gothic horror - This sub-genre is characterized by dark, atmospheric settings, such as abandoned castles, haunted mansions, and ancient ruins. The plot typically involves supernatural or mysterious occurrences, such as curses, ghosts, or ancient evils. Themes can explore the corruption of power, the dangers of obsession, and the struggle between rationality and superstition. The tone can be melancholic, oppressive, or ominous. The style can include ornate language, archaic settings, and romanticized descriptions.
Body horror - This sub-genre focuses on the physical horror of bodily transformation or mutilation. The plot may involve diseases, mutations, or body horror caused by technology. Themes can explore the limits of the human body, the dangers of scientific progress, and the horror of physical transformation. The tone can be grotesque, revolting, or terrifying. The style can include vivid descriptions of bodily horror, visceral imagery, and medical terminology.
Literary Fiction
Historical Literary Fiction: This sub-genre is characterized by a focus on historical events and figures, with an emphasis on the emotions and inner lives of the characters. The plot is often driven by the characters' personal struggles and relationships, rather than by external events. Themes in historical literary fiction often explore the impact of history on the individual and the human condition. The tone can be reflective, nostalgic, and introspective, and the style is often lyrical and descriptive.
Contemporary Literary Fiction: This sub-genre focuses on the present-day world, with a focus on realistic and complex characters and their relationships. The plot often centers around the characters' struggles with personal issues and societal problems, with an emphasis on character development and introspection. Themes can vary widely but often explore the human experience in contemporary society. The tone can be serious, contemplative, or satirical, and the style is often characterized by literary devices such as metaphor, symbolism, and stream of consciousness.
Experimental Literary Fiction: This sub-genre is characterized by an unconventional approach to narrative structure, language, and form. The plot can be non-linear or fragmented, and the themes may be abstract or philosophical. The tone and style can vary widely but often aim to challenge the reader's expectations and push the boundaries of traditional storytelling.
Multi-Cultural Literary Fiction: This sub-genre explores the experiences and perspectives of characters from diverse cultural backgrounds. The plot may focus on the challenges of living between cultures or on the intersection of different cultural identities. Themes often explore issues of identity, belonging, and cultural heritage. The tone can be serious, humorous, or satirical, and the style is often characterized by rich descriptions of cultural traditions and practices.
Metafiction: This sub-genre is characterized by a self-referential approach to storytelling, with the author drawing attention to the construction of the narrative itself. The plot may involve characters who are aware of their existence within a fictional world or who interact with the author. Themes often explore the nature of fiction, reality, and the relationship between author and reader. The tone and style can be playful, ironic, or philosophical.
Psychological Literary Fiction: This sub-genre focuses on the psychological development and inner lives of the characters. The plot may center around the characters' struggles with mental illness, trauma, or personal crises. Themes often explore the nature of the human mind and emotions, and the impact of past experiences on the present. The tone can be introspective, haunting, or disturbing, and the style is often characterized by vivid descriptions of the characters' psychological states.
Postmodern Literary Fiction: This sub-genre is characterized by a skeptical attitude toward grand narratives and an interest in the fragmentation and deconstruction of meaning. The plot may be non-linear or fragmented, and the themes may explore the breakdown of societal norms and values. The tone and style can be playful, ironic, or satirical, and the style often incorporates elements of popular culture and intertextuality.
Comedy
Romantic Comedy: A humorous story focused on a romantic relationship between the main characters. The plot often includes obstacles that the couple must overcome in order to be together. The tone is light-hearted and the style is witty and charming.
Satire: A story that uses humor to criticize social or political issues. The plot often involves exaggerated or absurd situations and characters. The theme is often social commentary or critique of certain practices. The tone can be biting or ironic, and the style is often sharp and clever.
Farce: A comedic story that relies heavily on physical humor, improbable situations, and mistaken identities. The plot is often fast-paced and chaotic, and the tone is over-the-top and exaggerated. The style is often slapstick and absurd.
Parody: A story that imitates the style or conventions of another work in order to make fun of it. The plot is often a tongue-in-cheek version of the original story, with exaggerated or nonsensical elements. The tone can be mocking or affectionate, and the style often mimics the original work.
Dark Comedy: A story that uses humor to address serious or taboo subjects, such as death, disease, or crime. The plot often involves characters in bleak or macabre situations, and the humor is often edgy and uncomfortable. The tone is often ironic or sardonic, and the style can be morbid or irreverent.
Comedy of Manners: A story that satirizes the social behavior and customs of a particular group or class of people. The plot often involves witty banter and subtle social cues, and the humor is often sophisticated and intellectual. The tone is often dry or understated, and the style is elegant and refined.
Comic Fantasy: A story that combines humor with elements of fantasy or science fiction. The plot often involves fantastical or absurd elements, and the humor can be whimsical or silly. The tone is often light-hearted and playful, and the style can be fanciful or imaginative.
Black Comedy: A story that uses humor to explore dark or taboo subjects, such as death, crime, or mental illness. The plot often involves characters in extreme or disturbing situations, and the humor is often irreverent or gallows. The tone can be bleak or nihilistic, and the style is often daring or provocative.
Absurdist Comedy: A story that uses humor to explore the meaninglessness or irrationality of human existence. The plot often involves surreal or absurd situations, and the humor can be nonsensical or absurd. The tone is often detached or alienated, and the style can be experimental or avant-garde.
Western
Classic Western: The plot usually revolves around a conflict between good and evil, often involving cowboys, Native Americans, and lawmen. The themes are typically centered around justice, honor, and self-reliance. The tone is often serious and gritty, and the style is straightforward and unadorned.
Western Romance: The plot revolves around a romantic relationship between two main characters set against the backdrop of the American West. The themes typically involve love, commitment, and the challenges of living in a rugged and unpredictable environment. The tone is often romantic and sentimental, and the style is descriptive and emotionally expressive.
Western Adventure: The plot involves an exciting and dangerous journey or quest undertaken by the main characters, often set in the wilderness or on the frontier. The themes are usually centered around courage, perseverance, and survival. The tone is often action-packed and suspenseful, and the style is fast-paced and visually descriptive.
Weird West: This sub-genre blends elements of Western fiction with supernatural or science-fiction elements, often set in an alternative or fantastical version of the American West. The themes typically involve the clash between the natural and the supernatural, as well as the exploration of the human psyche. The tone is often dark and unsettling, and the style is imaginative and evocative.
Western Noir: This sub-genre features the classic noir elements such as crime, corruption, and moral ambiguity, set in a Western setting. The themes often explore the dark side of human nature, including greed, violence, and betrayal. The tone is typically bleak and cynical, and the style is atmospheric and evocative.
Spaghetti Western: This sub-genre originated in Italy and is characterized by its stylized and exaggerated depictions of violence and action, often set in the American West. The themes typically involve revenge, justice, and survival, and the tone is often highly dramatic and operatic. The style is visually stunning, with striking landscapes, vivid colors, and innovative camera work.
Dystopian
Post-Apocalyptic Dystopia: In this sub-genre, the world as we know it has ended, and society has collapsed. The plot often centers around the characters' struggle for survival in a world where resources are scarce and danger lurks around every corner. Themes include the consequences of environmental disaster, the dangers of unchecked technology, and the importance of community in times of crisis. Tone is often bleak, but there can also be moments of hope and resilience. Style can be gritty and realistic or more imaginative and surreal.
Utopian/Dystopian Hybrid: This sub-genre features a world that appears to be a utopia on the surface but hides a darker side. The plot often revolves around a protagonist who uncovers the dark underbelly of the supposedly perfect society. Themes include the dangers of conformity, the corrupting influence of power, and the importance of individuality. Tone can be both optimistic and pessimistic, with a sense of tension and unease permeating the story. Style can be both realistic and fantastical.
Political Dystopia: In this sub-genre, the world is ruled by an oppressive government or dictator. The plot often revolves around a protagonist or group of protagonists who rebel against the ruling powers. Themes include the dangers of totalitarianism, the importance of personal freedom and democracy, and the corrupting influence of power. Tone can be dark and somber, with a sense of urgency and danger. Style can be both realistic and fantastical.
Technological Dystopia: This sub-genre features a world where technology has become a threat to humanity. The plot often centers around the unintended consequences of technological advancement and the struggle to regain control. Themes include the dangers of artificial intelligence, the loss of privacy, and the importance of human connection. Tone can be both pessimistic and optimistic, with a sense of wonder and awe mixed with fear and uncertainty. Style can be both realistic and fantastical.
Environmental Dystopia: In this sub-genre, the world is suffering from ecological collapse. The plot often centers around the struggle to survive in a world where natural resources are scarce and the environment is toxic. Themes include the consequences of climate change, the importance of sustainable living, and the dangers of greed and short-sightedness. Tone can be both somber and hopeful, with a sense of urgency and the need for action. Style can be both realistic and fantastical.
Medical Dystopia: In this sub-genre, society is threatened by a deadly disease or virus. The plot often revolves around the search for a cure or vaccine and the struggle to contain the outbreak. Themes include the dangers of biological warfare, the importance of medical research and innovation, and the importance of global cooperation in times of crisis. Tone can be both tense and suspenseful, with a sense of urgency and the need for quick action. Style can be both realistic and fantastical.
Cyberpunk: This sub-genre features a dystopian future where technology has become the dominant force in society. The plot often centers around characters who are marginalized or oppressed by the ruling powers and who use technology to fight back. Themes include the dangers of unchecked capitalism, the loss of privacy, and the importance of personal freedom. Tone is often dark and gritty, with a sense of danger and rebellion. Style can be both futuristic and retro.
Steampunk: This sub-genre features a dystopian world where technology has taken a different form, with steam-powered machines and Victorian-era aesthetics. The plot often revolves around characters who are struggling against a corrupt ruling class or using technology to achieve their goals. Themes include the dangers of industrialization, the importance of individuality and creativity, and the need for social reform. Tone can be both
Tropes
Let me break down the importance of tropes in storytelling for you. Tropes are literary or storytelling devices that are commonly used in a specific genre or type of story. They can help readers identify and understand the story's themes, providing them with a sense of familiarity and expectations about the plot and characters.
For instance, in fantasy and adventure stories, the "hero's journey" is a popular trope where the protagonist embarks on a quest, faces challenges, and eventually triumphs over adversity. When used effectively, tropes can create a sense of comfort and connection between the reader and the story, while also allowing authors to explore new ideas and variations on established themes.
Tropes can also be used to subvert or challenge reader expectations, which can create a sense of surprise or intrigue. For example, a romance story that plays with the "enemies to lovers" trope by having the two characters come from opposing sides of a political conflict can create a fresh and unexpected twist on a familiar theme.
Overall, despite sometimes being viewed as cliché or overused, tropes serve an important purpose in storytelling by helping readers engage with and understand the story. Plus, they offer authors a useful framework for exploring new ideas and themes.
Romance
Enemies to Lovers - two characters who start out as adversaries or even enemies, but eventually fall in love.
Friends to Lovers - two characters who have been friends for a long time, but eventually realize their feelings for each other go beyond friendship.
Second Chance Romance - two characters who have a history together, but for various reasons, didn't work out. They get a second chance at love.
Forbidden Love - two characters who are attracted to each other but are prevented from being together due to societal or cultural constraints, such as a workplace romance or a relationship between a boss and an employee.
Fake Relationship - two characters who enter into a fake relationship for various reasons, but eventually develop real feelings for each other.
Love Triangle - two characters who compete for the affection of a third character.
Billionaire Romance - a wealthy character falls in love with someone from a different social class, creating a conflict between money and love.
Small Town Romance - two characters fall in love in a close-knit community or small town setting.
Alpha Hero - a strong, dominant male character who falls in love with a strong, independent female character.
Marriage of Convenience - two characters agree to marry for practical reasons, such as financial stability or immigration purposes, but end up falling in love.
Single Parent Romance - a character falls in love with someone who already has a child, creating a family dynamic.
Time Travel Romance - a character travels through time and falls in love with someone from a different era.
Bodyguard Romance - a character falls in love with their bodyguard, creating a dynamic of danger and protection.
Sports Romance - two characters fall in love in the context of a sports team or competition.
Beauty and the Beast - a physically unattractive character falls in love with someone who sees beyond their appearance.
Amnesia Romance - a character loses their memory and falls in love with someone who helps them regain it.
Opposites Attract - two characters who are very different fall in love, creating a dynamic of contrast.
Office Romance - two characters fall in love in the context of a workplace or office setting.
Vacation Romance - two characters fall in love while on vacation, creating a dynamic of escape and adventure.
Royalty Romance - a character falls in love with someone from a royal or aristocratic family, creating a conflict between love and social status.
Mystery
Whodunit - the main focus of the story is to discover who committed a crime.
Detective Protagonist - a detective or investigator is the main character, who solves the mystery.
Amateur Sleuth - a non-professional character who is drawn into the mystery and works to solve it.
Closed Circle - a group of people is trapped in a confined space with a murderer, forcing them to solve the mystery before they become the next victim.
Cozy Mystery - a lighthearted and humorous mystery featuring an amateur sleuth in a small town setting.
Police Procedural - a detailed look at the inner workings of a police investigation, from collecting evidence to solving the crime.
Locked Room Mystery - a murder occurs in a room that appears to be locked from the inside, leaving investigators to solve how the killer could have escaped.
Serial Killer - a story centered around a killer who has committed multiple murders and is being pursued by law enforcement.
Noir - a dark and gritty mystery with a bleak outlook, often featuring an anti-hero protagonist.
Hard-boiled - similar to noir, featuring a tough, cynical protagonist who operates outside the law to solve the mystery.
Amateur Detective Team - a group of amateur sleuths work together to solve the mystery.
Red Herring - a misleading clue or character that is intended to distract the reader and throw them off the scent of the real culprit.
Femme Fatale - a mysterious and seductive woman who often plays a central role in the mystery.
Plant - a seemingly innocuous detail or character that is later revealed to be a crucial piece of evidence.
MacGuffin - an object or concept that drives the plot, but ultimately has little importance in the resolution of the mystery.
Culprit POV - the story is told from the perspective of the killer or the criminal, creating a unique twist on the traditional mystery formula.
Protagonist Framed - the main character is framed for a crime they did not commit, forcing them to clear their name and solve the mystery.
Covert Ops - a mystery that involves espionage or intelligence gathering.
Unreliable Narrator - the story is told from the perspective of a character who may not be telling the truth, creating uncertainty and confusion for the reader.
Supernatural Mystery - a mystery that involves supernatural or paranormal elements, such as ghosts, werewolves, or vampires.
Science Fiction
Space Opera - a story that takes place in a vast and complex universe with epic battles and larger-than-life characters.
Time Travel - the ability to travel through time, either to the past or the future.
Alien Invasion - a story that revolves around an extraterrestrial invasion of Earth.
Post-Apocalyptic - a story that takes place after a catastrophic event has destroyed civilization as we know it.
Cyberpunk - a subgenre of science fiction that features a dystopian future where advanced technology has led to a breakdown of society.
Artificial Intelligence - the creation of intelligent machines that can think and reason like humans.
Colonization - a story that explores the colonization of a new planet or the colonization of Earth by extraterrestrial beings.
Galactic Empire - a vast empire that spans across multiple planets and galaxies.
Genetic Engineering - the modification of DNA to create new forms of life or enhance existing ones.
Interstellar Travel - the ability to travel between star systems and explore the vastness of space.
Parallel Universes - the concept of multiple universes or realities existing simultaneously.
Cybernetics - the integration of machines and technology with the human body to enhance abilities or extend lifespan.
Post-Human - the evolution of humanity beyond its current form, either through technology or genetic modification.
Utopia/Dystopia - a society that is either a perfect utopia or a nightmarish dystopia.
Transhumanism - the belief in the ability of humans to evolve beyond their biological limitations.
Hard Science Fiction - a subgenre of science fiction that focuses on the scientific accuracy and realism of the story.
Soft Science Fiction - a subgenre of science fiction that focuses on the social, cultural, and philosophical aspects of the story.
Space Western - a story that combines elements of science fiction with the themes and tropes of a Western.
First Contact - a story that explores the initial meeting between humans and an extraterrestrial species.
Singularity - the point at which artificial intelligence becomes more advanced than human intelligence, leading to a transformation of society.
Fantasy
Epic Quest - a story that revolves around a hero or group of heroes on a perilous journey to achieve a great goal.
Magic - the use of supernatural forces to achieve extraordinary feats or solve problems.
Swords and Sorcery - a subgenre of fantasy that features action-packed adventures with battles and magic.
High Fantasy - a subgenre of fantasy that takes place in an alternate world with its own history, culture, and mythology.
Dark Fantasy - a subgenre of fantasy that incorporates horror elements and a darker tone.
Prophecy - a prediction or foretelling of future events that drives the plot.
Chosen One - a hero or heroine with a special destiny or purpose.
Magical Creatures - the inclusion of fantastical creatures such as dragons, unicorns, or griffins.
Medieval Setting - a story that takes place in a time period similar to the Middle Ages, with knights, castles, and kings.
Fairy Tales - the retelling or reimagining of classic fairy tales such as Cinderella, Snow White, or Beauty and the Beast.
Parallel Worlds - the concept of multiple worlds or dimensions existing simultaneously.
Coming-of-Age - a story that focuses on a character's growth and development as they transition from childhood to adulthood.
Hero's Journey - a story structure that follows a hero or heroine through a series of trials and challenges.
Mythology - the inclusion of gods and goddesses, myths, and legends from various cultures.
Quest Objects - a magical or mythical object that serves as the goal of the hero's journey.
Underworld - a mysterious and often dangerous realm that exists beneath the surface of the world.
Romance - a romantic subplot or love interest that drives the plot.
Time Travel - the ability to travel through time, either to the past or the future.
Folklore - the inclusion of traditional stories, beliefs, and customs of a particular culture.
Elemental Magic - the use of magic that is connected to the elements such as fire, water, earth, or air.
Historical Fiction
Time Period - a story that takes place in a specific historical time period, such as the Middle Ages, Renaissance, or Victorian era.
Historical Figures - the inclusion of real-life historical figures, such as kings, queens, politicians, or artists, as characters in the story.
Political Intrigue - a plot that involves political maneuvering, conspiracy, and power struggles.
War and Conflict - a story that focuses on a historical war or conflict and its impact on individuals or society.
Romance - a romantic subplot or love interest that is set against the backdrop of a historical event or time period.
Social Commentary - a story that explores social issues and injustices of a specific historical time period, such as class, gender, or race.
Court Intrigue - a plot that takes place in a royal court, with its politics, gossip, and drama.
Historical Mystery - a mystery story that takes place in a specific historical time period, often featuring real-life historical events or figures.
Historical Adventure - an adventure story that takes place in a specific historical time period, often featuring exploration, discovery, and danger.
Family Saga - a multi-generational story that spans a significant period of time and follows a family's history and relationships.
Historical Biographical Fiction - a fictionalized account of a real-life historical figure's life and experiences.
Secret Societies - a plot that involves secret organizations or societies, often with historical significance.
Historical Romance - a romantic story set in a specific historical time period, often with themes of social class, duty, and tradition.
Historical Fantasy - a blend of historical fiction and fantasy elements, such as magic, mythical creatures, or alternative history.
Historical Horror - a blend of historical fiction and horror elements, often exploring the darker aspects of a specific historical time period.
Time Travel - the ability to travel through time to experience different historical time periods.
Historical Crime - a crime story that takes place in a specific historical time period, often featuring real-life historical crimes or criminals.
Historical Epic - a grand, sweeping story that covers a significant period of time and multiple characters.
Historical Drama - a dramatic story that takes place in a specific historical time period, often featuring conflict, struggle, and personal growth.
Historical Fictionalization - a fictional story that takes place in a specific historical time period, often featuring real-life historical events or figures.
Thriller
High Stakes - a story where the protagonist is facing extreme danger or risk to their life or the lives of others.
Psychological Thriller - a story that focuses on the psychological and emotional state of the characters, often involving mind games and manipulation.
Serial Killer - a plot that involves a murderer who kills multiple victims over a period of time, often with a specific motive or pattern.
Conspiracy - a plot that involves a secret organization or group that is working against the protagonist and their goals.
Race Against Time - a story where the protagonist has a limited amount of time to achieve their goal before a catastrophic event occurs.
Action-Packed - a story with plenty of fast-paced action scenes, often featuring chases, fights, and explosions.
Law Enforcement - a plot that involves law enforcement agencies or officers investigating a crime or trying to stop a criminal.
Revenge - a plot that involves a character seeking revenge against those who have wronged them or their loved ones.
International Intrigue - a story that takes place across multiple countries and involves espionage, international conflicts, or political intrigue.
Kidnapping - a plot that involves the abduction of a character or characters, often for ransom or other nefarious purposes.
Spy Thriller - a story that features a spy or secret agent working to stop a dangerous threat to national security.
Cat-and-Mouse - a plot that involves a game of cat-and-mouse between the protagonist and their enemy, often with each trying to outsmart the other.
Betrayal - a plot that involves a character being betrayed by someone they thought they could trust.
Technological Threat - a story that involves a dangerous technological threat, such as a computer virus or rogue AI.
Locked Room Mystery - a mystery where the crime or danger takes place in a confined space, such as a locked room or an isolated location.
Political Thriller - a story that involves political power struggles, corruption, or conspiracies.
Survival - a story where the protagonist is fighting for survival in a dangerous or hostile environment.
Medical Thriller - a story that involves a medical mystery, such as a virus or disease outbreak, or a medical conspiracy.
Heist - a plot that involves a group of characters planning and executing a high-stakes theft or robbery.
Paranormal Thriller - a story that involves paranormal or supernatural elements, such as ghosts or psychic abilities, in a thriller setting.
Horror
Haunted House - a story that takes place in a house or building that is haunted by ghosts or other supernatural entities.
Supernatural Forces - a plot that involves supernatural entities or forces, such as demons, witches, or monsters.
Psychological Horror - a story that focuses on the mental and emotional state of the characters, often involving fears, phobias, or psychological trauma.
Body Horror - a plot that involves grotesque or horrifying physical transformations or deformities, often caused by disease or experimentation.
Gore - a story that involves graphic and bloody violence, often featuring mutilation or dismemberment.
Slasher - a plot that involves a killer who stalks and murders their victims, often with a signature weapon or method.
Survival Horror - a story where the characters are fighting for survival against a threat that is overwhelming and seemingly unstoppable.
Found Footage - a plot that involves footage or recordings of an event or situation, often presented as a documentary or amateur recording.
Creepy Children - a plot that involves creepy or malevolent children, often with supernatural abilities or knowledge.
Possession - a plot that involves a character being possessed by a demon or other supernatural entity.
Monster - a plot that involves a monstrous creature, often with a unique or terrifying design.
Ghost Story - a plot that involves ghosts or spirits, often seeking revenge or trying to communicate with the living.
Curses - a plot that involves a character or location being cursed, often with a deadly or horrific consequence.
Urban Legend - a plot that involves a well-known urban legend or myth, often with a dark or gruesome twist.
Religious Horror - a story that involves religious or cult themes, often with a sinister or demonic presence.
Vampires - a plot that involves vampires, often with unique or interesting twists on the classic vampire lore.
Demonic Possession - a plot that involves a character being possessed by a demon, often with terrifying consequences.
Body Snatchers - a plot that involves aliens or other entities that take over human bodies, often with the goal of domination or destruction.
Cult Horror - a story that involves a cult or secret society, often with dark or violent rituals.
Cosmic Horror - a story that involves vast, unknowable entities or forces that are beyond human comprehension.
Young Adult (YA)
Coming of age - a plot that focuses on a character's journey from adolescence to adulthood, often involving self-discovery and personal growth.
Love Triangle - a plot that involves a character choosing between two potential love interests, often causing conflict and tension.
High School Drama - a story that takes place in a high school setting, often involving cliques, popularity contests, and social hierarchies.
Dystopian - a plot that takes place in a futuristic or alternate world where society has become corrupted or oppressive.
Superpowers - a plot that involves characters with supernatural abilities, often exploring themes of responsibility and identity.
Forbidden Romance - a plot that involves characters who are not allowed to be together due to social, cultural, or familial reasons.
Identity Crisis - a plot that involves a character questioning their identity, often exploring themes of race, gender, or sexuality.
Fish out of Water - a plot that involves a character being placed in a new and unfamiliar environment, often leading to culture shock and personal growth.
Rebellion - a plot that involves characters fighting against authority or oppressive forces, often with themes of social justice and empowerment.
Time Travel - a plot that involves characters traveling through time, often exploring themes of consequences and destiny.
Survival - a plot that involves characters fighting for survival in a hostile environment or situation.
Fantasy - a plot that takes place in a fantastical world, often involving mythical creatures and magical powers.
Mystery - a plot that involves a character solving a puzzle or unraveling a mystery, often with a twist ending.
Apocalyptic - a plot that involves characters trying to survive in a world that has been destroyed by a catastrophic event, often exploring themes of hope and resilience.
Boarding School - a story that takes place in a boarding school setting, often involving themes of independence and friendship.
Road Trip - a plot that involves characters going on a journey, often exploring themes of self-discovery and adventure.
Sports - a story that involves characters participating in a sports team or competition, often exploring themes of teamwork and perseverance.
Rich vs. Poor - a plot that involves characters from different socioeconomic backgrounds, often exploring themes of inequality and privilege.
Friendship - a plot that explores the relationships and bonds between characters, often with themes of loyalty and trust.
Teenage Rebellion - a plot that involves characters rebelling against their parents or society, often exploring themes of independence and self-expression.
Literary Fiction
Character study - a plot that focuses on the inner workings of a character's psyche and emotions.
Family drama - a story that involves familial relationships, often exploring themes of love, loss, and identity.
Coming of age - a plot that focuses on a character's journey from adolescence to adulthood, often involving self-discovery and personal growth.
Memory and nostalgia - a plot that explores the past and memories, often with themes of loss, regret, and longing.
Art and creativity - a plot that explores the creative process and the artist's relationship with their art, often with themes of inspiration and obsession.
Existentialism - a plot that explores the meaning of life and existence, often with themes of identity and purpose.
Love and relationships - a plot that explores the complexities of romantic relationships and the human condition.
Social commentary - a plot that uses characters and their stories to comment on societal issues and concerns.
Loss and grief - a plot that explores the themes of loss and grief, often with themes of redemption and acceptance.
Mental health - a plot that explores the struggles and experiences of characters with mental health issues, often with themes of stigma and acceptance.
Nature and environment - a plot that explores the relationship between humans and nature, often with themes of conservation and preservation.
Historical fiction - a plot that takes place in a historical setting, often with themes of nostalgia and nostalgia.
Travel and adventure - a plot that involves characters traveling to new and unfamiliar places, often with themes of self-discovery and adventure.
Mystery - a plot that involves a character solving a puzzle or unraveling a mystery, often with a twist ending.
Philosophy - a plot that explores philosophical concepts and ideas, often with themes of morality and ethics.
Politics and power - a plot that explores the dynamics of power and politics, often with themes of corruption and morality.
Religion and spirituality - a plot that explores the themes of religion and spirituality, often with themes of faith and doubt.
Aging and mortality - a plot that explores the themes of aging and mortality, often with themes of acceptance and legacy.
Experimental fiction - a plot that plays with narrative structure, language, and form, often with themes of innovation and creativity.
Identity and culture - a plot that explores the themes of identity and culture, often with themes of belonging and alienation.
Comedy
Fish out of water - a plot that involves a character being thrust into an unfamiliar or absurd situation.
Screwball comedy - a plot that involves absurd or zany situations, often with fast-paced dialogue and physical humor.
Satire - a plot that uses humor to mock or criticize societal norms or institutions.
Parody - a plot that mimics or exaggerates the tropes and conventions of a particular genre or story.
Romantic comedy - a plot that involves a romantic relationship, often with humorous misunderstandings and obstacles.
Workplace comedy - a plot that takes place in a workplace setting, often with exaggerated or quirky characters and situations.
Farce - a plot that involves chaotic or ridiculous situations, often with mistaken identities and physical humor.
Slapstick - a plot that involves physical humor and exaggerated movements and actions.
Black comedy - a plot that uses humor to address dark or taboo subjects, often with themes of mortality and existentialism.
Situational comedy - a plot that involves humorous situations or misunderstandings.
Spoof - a plot that parodies a particular movie or TV show, often with exaggerated and absurd humor.
Gross-out comedy - a plot that involves bodily humor and gross or taboo subjects.
Buddy comedy - a plot that involves two characters with contrasting personalities who become friends, often with humorous results.
Surreal humor - a plot that involves absurd or dreamlike situations, often with a philosophical or satirical edge.
Comedic irony - a plot that uses irony to create humor, often with unexpected twists and turns.
Stand-up comedy - a plot that involves a comedian's experiences and observations, often with humorous anecdotes and jokes.
Comedic monologue - a plot that involves a character delivering a humorous speech or monologue, often with satire or parody.
Prankster comedy - a plot that involves practical jokes and humor at the expense of others.
Wit and banter - a plot that involves clever and witty dialogue, often with wordplay and sarcasm.
Running gags - a plot that involves recurring jokes or situations, often with escalating humor.
Western
Gunslinger - a plot that involves a skilled shooter or outlaw seeking redemption or justice.
Lawman - a plot that involves a law enforcement officer pursuing criminals and bringing them to justice.
Cattle drive - a plot that involves a group of cowboys driving a herd of cattle across long distances.
Revenge - a plot that involves a character seeking revenge against those who wronged them or their family.
Outlaw with a heart of gold - a plot that involves an outlaw with a moral code who takes on a noble cause.
Homesteader - a plot that involves a character settling and cultivating land in the frontier.
Duel - a plot that involves a one-on-one confrontation between two characters, often with guns or knives.
Train robbery - a plot that involves a group of bandits robbing a train of its cargo or passengers.
Gold rush - a plot that involves characters seeking wealth and fortune in the frontier, often through mining.
Indian wars - a plot that involves conflict between settlers and Native Americans, often with themes of racism and colonialism.
Saloon - a plot that involves characters gathering in a western-style bar, often with gambling and drinking.
Bounty hunter - a plot that involves a character pursuing and capturing fugitives for a reward.
Stagecoach - a plot that involves a group of characters traveling by stagecoach, often with danger and excitement along the way.
Showdown - a plot that involves a final confrontation between the hero and villain, often with high stakes.
Frontier justice - a plot that involves characters taking the law into their own hands, often with themes of vigilante justice.
Lone wanderer - a plot that involves a character traveling alone through the frontier, often with themes of isolation and survival.
Land conflict - a plot that involves characters fighting for ownership or control of land in the frontier.
Old west town - a plot that involves a character navigating life in a wild and lawless western town.
Rancher - a plot that involves a character managing a large ranch, often with themes of family and legacy.
Horseback chase - a plot that involves a chase scene on horseback, often with themes of pursuit and escape.
Dystopian.
Totalitarian government - a plot that involves a government or ruling power that has complete control over society and its citizens.
Oppressive society - a plot that involves a society that enforces strict rules and regulations on its citizens, often with extreme punishments for disobedience.
Rebel uprising - a plot that involves a group of rebels or revolutionaries who rise up against the ruling power.
Propaganda - a plot that involves the use of media and messaging to manipulate and control the population.
Social hierarchy - a plot that involves a society divided into social classes or castes, often with those at the bottom suffering the most.
Surveillance state - a plot that involves constant surveillance and monitoring of citizens by the ruling power.
Lack of personal freedom - a plot that involves citizens having limited or no personal freedoms, often with restrictions on speech, movement, and expression.
Environmental disaster - a plot that involves a society struggling to survive in the aftermath of an environmental catastrophe.
Post-apocalyptic world - a plot that involves a society trying to survive after a global disaster, such as a nuclear war or pandemic.
Dystopian love story - a plot that involves a romance set in a dystopian world, often with themes of forbidden love and societal restrictions.
Totalitarian leader - a plot that involves a single leader who holds absolute power over society.
Brainwashing - a plot that involves the use of psychological manipulation to control the population.
Genetic engineering - a plot that involves the manipulation of genetics and biology to create a new type of human or animal.
Rebellion leader - a plot that involves a charismatic leader who inspires and leads the rebellion against the ruling power.
Resistance movement - a plot that involves a group of individuals fighting against the ruling power, often through acts of sabotage and rebellion.
Corrupt government - a plot that involves a government that is corrupt and self-serving, often at the expense of the citizens.
Apocalyptic event - a plot that involves a catastrophic event that threatens the survival of humanity.
Oppressive technology - a plot that involves the use of advanced technology to control and manipulate citizens.
Civil war - a plot that involves a society torn apart by a conflict between factions or groups.
Protagonist as symbol of hope - a plot that involves a protagonist who becomes a symbol of hope for the oppressed and downtrodden citizens.
While I've only listed 20 common tropes found in these genres, there are actually many more out there waiting for you to discover! A quick Google search can help you track down all sorts of interesting and unique tropes to use in your writing.
Target Audience
It's important to understand who your book's target audience is, as it allows you to write a book that connects with them on a deeper level. Your target audience is the group of people who are most likely to enjoy your book, find it valuable, and recommend it to others. By writing with your target audience in mind, you can ensure that your book is relevant to their interests, speaks to their needs, and is more likely to be successful. After all, when you connect with your readers, you create a powerful bond that can make them lifelong fans of your work.
If you've already decided on your genres, sub-genres, and tropes, finding your target audience is a breeze. All you have to do is a quick Google search and voila! However, to help you out, I can provide you with some general information on target audiences. Do keep in mind that this information is not set in stone, as everyone's interests differ. For instance, plenty women enjoy thrillers, action stories, or horror. Nonetheless, this outline can serve as a starting point for your research.
Young Adult:
Genres: Fantasy, dystopian, contemporary, romance
Tropes: Coming-of-age, love triangles, chosen one, forbidden love, adventure
Themes: Identity, self-discovery, social justice, belonging, family, friendship, first love, mental health
Needs: Relatable characters, emotional resonance, accessible language, diverse representation, empowerment
Adult:
Genres: Mystery, thriller, romance, historical fiction, literary fiction
Tropes: Second chance at love, redemption, suspense, revenge, secrets and lies, unreliable narrators, twists and turns, complex relationships
Themes: Love and relationships, societal issues, personal growth, identity, history, culture, family dynamics, Love and loss
Needs: Engaging plot, well-developed characters, nuanced themes, evocative language, diverse representation
Middle-grade:
Genres: Adventure, fantasy, science fiction, historical fiction, humor, contemporary
Tropes: Overcoming obstacles, friendship, finding one's place, underdogs, magic
Themes: Family, friendship, self-discovery, perseverance, identity, problem-solving, Self-acceptance, courage, teamwork
Needs: Engaging plot, relatable characters, age-appropriate language, adventure and humor, positive messaging
Children:
Genres: Picture books, early readers, chapter books
Tropes: Animals as main characters, imaginative worlds, humor, adventure, family relationships, lessons learned
Themes: Family, friendship, growing up, learning new things, self-expression, empathy, problem-solving, diversity, kindness
Needs: Simple language, colorful illustrations, engaging storytelling, relatable characters, age-appropriate messaging
Women:
Genres: Romance, mystery, historical fiction, women's fiction, contemporary fiction, literary fiction
Tropes: Second chance at love, forbidden love, strong female lead, enemies-to-lovers, happily-ever-after, family secrets
Themes: Love and relationships, family, personal growth, empowerment, sisterhood, identity
Needs: Emotional resonance, well-rounded characters, diverse representation, nuanced themes, satisfying endings
Men:
Genres: Thriller, science fiction, fantasy, action/adventure, historical fiction
Tropes: Action-packed, gritty, hero's journey, good vs. evil, moral dilemmas, Tough-guy heroes, high stakes, intricate plots, historical accuracy
Themes: Honor, justice, redemption, brotherhood, duty, perseverance
Needs: Engaging plot, well-researched historical details, realistic action, diverse representation, nuanced themes
LGBTQ+:
Genres: LGBTQ+ romance, coming-of-age, drama, contemporary fiction, young adult, literary fiction, speculative fiction
Tropes: Coming out, forbidden love, self-acceptance, exploring sexuality, found family, overcoming prejudice, love conquers all
Themes: Identity, discrimination, love and relationships, acceptance, self-discovery, community
Needs: Authentic representation, diverse characters and experiences, nuanced portrayal of LGBTQ+ issues, positive messaging, happy endings
Seniors:
Genres: Historical fiction, literary fiction, memoir, mystery, romance
Tropes: Second chance at love, reflection on past mistakes, family drama, secrets and lies
Themes: Aging, family, legacy, life lessons, reflection, personal growth.
Needs: Thoughtful themes, well-rounded characters, evocative language, diverse representation, positive messaging
Note: "Nuanced" means that something is complex and has many different parts or aspects that make it unique. It's not just one simple thing, but has layers and details that make it more interesting and complicated. For example, a nuanced character in a book might have both good and bad qualities, and their personality and behavior might change depending on the situation they're in.
Here are some example's of nuanced themes:
Love and loss: exploring the complex emotions surrounding love and loss, such as grief, regret, and nostalgia.
Identity and belonging: examining the struggle to find one's place in the world and how our sense of self is shaped by our experiences and relationships.
Power and corruption: exploring the abuse of power and how it can corrupt individuals and institutions.
Morality and ethics: examining the gray areas of morality and the difficult choices we face when navigating right and wrong.
Mental health: exploring the complexities of mental health and how it impacts individuals and their relationships.
Social justice: examining issues of inequality, discrimination, and systemic oppression, and the need for change.
Cultural differences: exploring the nuances of different cultures and the challenges and benefits of navigating those differences.
Nature and the environment: examining the relationship between humans and nature, and the impact of human behavior on the environment.
Family and relationships: exploring the complexities of family dynamics and relationships, including love, loyalty, and betrayal.
Aging and mortality: examining the process of aging and the impact of mortality on individuals and their loved ones.
Starting to plot your novel is an exciting step, and choosing your genre, trope, and target audience are vital for laying the groundwork of your story. But it's important not to overlook other essential elements that can elevate your story to the next level. For example, have you thought about how you want your readers to feel when they read your book, or what you want them to learn? These questions can help you create a more impactful and meaningful story that resonates with your readers.
As an author, you likely have a specific purpose in mind when crafting your story. Whether you aim to entertain, convey a message, or educate your readers, it's important to consider the intended impact on your audience. To achieve your creative goals, you'll need to pay attention to key elements like plot, characters, setting, and themes, and ensure they work cohesively to create an engaging and immersive experience.
For readers, understanding the author's intent can enhance their appreciation of the story and lead to a more fulfilling reading experience. By recognizing the impact and meaning behind the words on the page, you can fully immerse yourself in the story and gain a deeper understanding of the author's message. So whether you're a writer or a reader, don't forget to consider the impact of your words and how they can connect with your audience.
Authors can convey various messages, lessons, and ideas through fictional writing. Here are a few examples:
Moral lessons: Fictional stories often have a moral lesson or message that the author wants to convey to the reader. The story may illustrate the consequences of certain actions or behaviors, and the characters may learn a valuable lesson by the end of the story.
Social commentary: Fictional stories can also be used to comment on social issues such as inequality, discrimination, or injustice. By using characters and situations that are relatable to readers, authors can help readers better understand and empathize with these issues.
Emotional connections: Through fictional writing, authors can help readers connect emotionally with the characters and situations in the story. This can help readers develop greater empathy and understanding of others in real life.
Imagination and creativity: Fictional writing can inspire readers to use their imagination and think creatively. Through vivid descriptions and imaginative storytelling, authors can transport readers to new and exciting worlds.
Personal growth: Fictional writing can also help readers learn more about themselves and their own values and beliefs. By exploring different characters and situations, readers can gain new perspectives and insights that can help them grow and develop as individuals.
I understand that all of this might sound a bit overwhelming and challenging, but please don't worry! If you're writing solely for the purpose of entertaining your readers and don't have any specific message to convey, you can simply skip this part when creating your novel outline. Don't feel obligated to include elements that you're not comfortable with, and focus on creating a story that you enjoy telling.
By the way, I'd like to share with you some examples of popular stories and their authors that effectively convey certain messages or teach valuable lessons through their fictional writing:
"To Kill a Mockingbird" by Harper Lee - This story teaches the importance of empathy, justice, and standing up for what is right.
"1984" by George Orwell - This dystopian novel warns about the dangers of totalitarianism and the importance of preserving individual freedom.
"The Handmaid's Tale" by Margaret Atwood - This dystopian novel warns about the dangers of patriarchal oppression and the importance of women's rights.
"The Lord of the Rings" by J.R.R. Tolkien - This epic fantasy novel teaches the importance of courage, loyalty, and sacrifice in the face of great evil.
"The Great Gatsby" by F. Scott Fitzgerald - This story critiques the superficiality and moral decay of the wealthy during the Roaring Twenties.
"Animal Farm" by George Orwell - This allegorical novel satirizes the rise of Soviet communism and warns about the dangers of political corruption and propaganda.
"Brave New World" by Aldous Huxley - This dystopian novel warns about the dangers of technological advancement and the dehumanization of society.
"The Catcher in the Rye" by J.D. Salinger - This story explores the themes of alienation, identity, and the struggle to find meaning in a world that can often seem cold and indifferent.
"The Color Purple" by Alice Walker - This story explores themes of race, gender, and the struggle for personal autonomy and self-determination in a society that seeks to deny these things.
"The Hunger Games" by Suzanne Collins - This dystopian novel critiques the excesses of consumer culture and warns about the dangers of totalitarianism and oppression.
Plot
Great job! We've completed the first part of outlining a basic novel. Now, let's move on to plotting. But wait a minute! Before you start plotting, there's some information we need first - your intended word count. This may sound like a small detail, but it's actually quite important. Knowing the total word count of your story can affect many things. For instance, publishers often have guidelines for the length of novels they will accept, so if your manuscript is too long or too short, it may be rejected. Additionally, readers may have certain expectations for the length of a novel in a specific genre, and if your book is significantly shorter or longer than expected, it may not be well-received. Lastly, the word count can influence the pacing and structure of your novel, with longer novels potentially allowing for more complex plot and character development, but requiring more attention to pacing and structure to avoid losing the reader's interest.
You might be thinking, "Hey, Taytjie, what if I want to post a web novel with over 1000 chapters? Do I have to plot everything in advance?" Well, my answer is no! However, I do recommend thinking of a web novel as a series of books, each with its own volume, rather than a single, massive work. So when plotting your web novel, it's best to approach each volume individually. This will make it easier to organize your ideas and create a cohesive story that engages your readers. Each 'Arc' of your web novel can be an individual volume of around 10 to 30 chapters or more, it's up to your preference.
Let me offer you a general guideline for word counts, but keep in mind that variations may exist based on factors such as sub-genre, target audience, and publishing goals. If traditional publishing is what you're aiming for, then different publishers may have different expectations. However, it's worth noting that while you don't have to stick to these word counts, readers typically expect them in the genres I've discussed in this post. Ultimately, what matters most is that your story is engaging and well-crafted, and if you achieve that, your readers will be hooked no matter the word count.
Romance: 50,000 to 90,000 words
Mystery: 70,000 to 100,000 words
Science fiction: 80,000 to 120,000 words
Fantasy: 80,000 to 120,000 words
Historical fiction: 80,000 to 120,000 words
Thriller: 80,000 to 100,000 words
Horror: 70,000 to 100,000 words
Young adult: 50,000 to 80,000 words
Literary fiction: 80,000 to 120,000 words
Comedy: 70,000 to 100,000 words
Western: 50,000 to 80,000 words
Dystopian: 80,000 to 120,000 words
You might be wondering why we're discussing word count under the 'plot' section instead of the 'book information' section. Well, it's because knowing your intended word count will help you figure out how many chapters your story will have. This, in turn, will affect your plot, as it gives you an idea of how much time you have to tell your story and how much you'll need to stretch it out.
Now it's time to decide on the number of chapters and the length of each chapter for your novel. To determine the chapter length, think about how many words you want to include in each chapter and use that to calculate the total number of chapters required to reach your desired word count for the whole story.
After figuring out the number of chapters, it's time to work on the plot. Don't worry, it doesn't have to be a lengthy essay, just a brief two-sentence summary will do. The main thing is to have a clear idea of what your story will be about.
Here's an example:
In a world of magic and intrigue, a young wizard falls in love with a powerful sorceress from a rival clan. Together, they must navigate the dangerous politics of their respective societies while discovering the true depth of their feelings for each other.
Alright, great job so far! Now let's dig a little deeper and focus on the beginning, middle, and end of your story. What's going to happen at the start to draw your readers in? What twists and turns will take place in the middle? And finally, how do you want it all to wrap up in the end?
Start: The story begins in a magical world filled with warring clans and powerful sorcerers. Our protagonist, a young wizard, is training at the academy of his clan when he meets a beautiful sorceress from a rival clan. Despite the tensions between their clans, they are drawn to each other and begin to secretly meet.
Middle: As their relationship deepens, our young couple finds themselves caught up in the dangerous politics of their respective societies. They struggle to keep their love a secret, while also trying to navigate the treacherous waters of their clans' rivalries. Along the way, they uncover a plot by a dark force that threatens both their clans and must work together to stop it.
End: In the climax of the story, our young wizard and sorceress face their greatest challenge yet. They must put aside their differences and unite their clans to defeat the dark force that threatens them all. Through their bravery and dedication, they prove that love can conquer even the most formidable foes. In the end, our young couple is able to come together openly and publicly, ushering in a new era of peace and prosperity for their people.
Congratulations, we've made progress! Now it's time to take our plot and start breaking it down into individual chapters. Think about the key events that need to happen in each chapter to move the story forward and write them down.
Chapter 1: Our young wizard protagonist meets the powerful sorceress from a rival clan and is immediately drawn to her.
Chapter 2: Our couple shares their first magical moment together, but the looming threat of their clans' rivalry casts a shadow over their happiness.
Chapter 3: Our wizard protagonist confides in his best friend about his feelings for the sorceress, but is warned about the dangers of falling in love with someone from a rival clan.
Chapter 4: The sorceress reveals that she feels the same way, and the couple begins to meet in secret.
Chapter 5: The first major conflict arises when our wizard protagonist's clan discovers his relationship with the sorceress and forbids him from seeing her.
Chapter 6: The sorceress' clan also discovers their relationship and the two clans begin to escalate their hostility towards each other.
Chapter 7: The couple's secret meetings become riskier as they try to find a way to be together without causing a war between their clans.
Chapter 8: A powerful sorcerer from our wizard protagonist's clan threatens the couple and warns them to end their relationship.
Chapter 9: Our protagonist turns to an older, wiser wizard for advice on how to navigate the dangerous politics of their clans.
Chapter 10: Our couple is caught in a dangerous ambush by members of the sorceress' clan who disapprove of their relationship.
Chapter 11: The sorceress' clan accuses our wizard protagonist of using dark magic to seduce her and threatens to retaliate.
Chapter 12: The couple decides to seek refuge in a neutral territory and try to find a way to resolve the conflict peacefully.
Chapter 13: Our protagonist discovers a sinister plot by a dark force that threatens both clans and realizes that they must work together to stop it.
Chapter 14: The couple's efforts to bring their clans together are met with resistance and suspicion from both sides.
Chapter 15: Our wizard protagonist and the sorceress embark on a dangerous mission to uncover the dark force's plans.
Chapter 16: The couple faces their greatest challenge yet as they confront the dark force and its powerful minions.
Chapter 17: Our couple must fight for their lives as they face overwhelming odds, but their love gives them the strength to prevail.
Chapter 18: The couple is hailed as heroes for saving their clans from the dark force, but their victory comes at a great cost.
Chapter 19: Our couple is finally able to publicly declare their love for each other, and their clans agree to a truce.
Chapter 20: The novel ends with our couple looking forward to a future together, as they embark on a new journey filled with hope and promise.
Great job! Now, for the final step: take each chapter and create a bullet-pointed outline of what you want to happen in it. This will help make your life easier when you begin writing the actual story because you'll already know what you need to write, and you just need to turn it into beautiful prose. But, Yes there is a but, If you just like to let the creative juices flow and don't want to write so rigidly, like I do, skip it. I personally just write the one or two sentences for my chapter when I build an outline, and then I just go for it.
Chapter One: A Meeting of Hearts
The chapter opens with our young wizard protagonist, whose name is Aaron, attending his morning training session at the wizard academy. During a break, Aaron wanders off into the forest for some quiet reflection and stumbles upon a clearing filled with glowing mushrooms. As he investigates the mushrooms, Aaron is startled by a rustling in the nearby bushes and turns to see a young woman emerge. The young woman introduces herself as Lyra, a powerful sorceress from a rival clan. Despite the tensions between their clans, Aaron and Lyra are immediately drawn to each other and begin to chat. Aaron discovers that Lyra is at the academy to research a powerful spell that could help her clan in their ongoing conflict with Aaron's clan. Aaron offers to help Lyra with her research, and they agree to meet secretly to work on the spell together. As Aaron leaves the clearing, he realizes that he is falling for Lyra and wonders how he will be able to reconcile his feelings with his loyalty to his clan. The chapter ends with Aaron returning to the academy, his thoughts consumed by thoughts of Lyra and the dangerous path they are embarking on.
By the way, in case you were wondering, the story we've been working on is a fantasy romance. Once you've completed outlining each chapter, congratulations, you've successfully outlined your novel! Now, let's move on to the next step: creating characters. You might be wondering why I saved this for after the plot section instead of before, but everyone has their own approach. Personally, I like to create my characters as I'm outlining my novel and really flesh them out while writing my first draft. Then, I use my second draft to make sure that the characters remain consistent throughout the book.
Characters
We've made it to the last section of our basic outline! As a writer, I prefer to develop my characters alongside my plot rather than before it. I start with some basic character details and adjust them as needed to fit the story. Sometimes, characters I initially thought were essential end up being cut, while others I created on a whim end up becoming integral to the plot. For example, in my current work in progress, I created a childhood friend of the main character on a whim, but he ended up becoming an antagonist who will go through a redemption arc and a friends-to-enemies-to-friends trope.
When it comes to creating your characters, there are some essential details you'll want to have nailed down. But don't worry, it's not necessary to have everything figured out until you finish your first draft. Just make sure you have all the important information for your main characters sorted out by the time you start working on your second draft. It's crucial to make sure your characters remain consistent throughout the story and that their actions and thoughts align with their established traits. After all, you don't want to project your own desires onto them - that's not good writing.
When it comes to creating your characters, there are some basic details you'll want to include, like their name and a brief history that matches their personality. For example, it might not make sense for a character with a tragic past to be overly optimistic and carefree all the time, not unless they're pretending.
List a few key traits that define your character's personality, such as being gruff yet secretly caring or sarcastic and cold. You don't need to create a whole resume, just a few words will do. As you write, you might find yourself adding more details to your character's personality, habits, or preferences, so make sure to jot them down.
Another important aspect is their appearance. Decide on this early on and make sure to note it down. You don't want to have to search through all your chapters to remember what your own character looks like! These are the basics, but there are three more things I want to mention that can help flesh out your character even more.
Outer conflict
Outer conflict is basically the challenges and hurdles that a character faces in their environment. It plays a significant role in the story as it generates suspense and propels the plot forward. The external obstacles that a character can encounter are diverse and varied, like dealing with natural disasters, social norms, cultural differences, achieving goals, or fighting against an adversary.
Moreover, the outer conflict can help to shape a character's personality and traits. As the character copes with and conquers obstacles, readers get to know their strengths, weaknesses, and motivations. This allows readers to form a deeper connection with the character and become more invested in their journey.
Furthermore, external conflicts can also symbolize inner turmoil. The external obstacles that a character faces can be a representation of the internal struggles they are going through, like battling fears or doubts. This creates a powerful emotional impact on readers and helps to convey crucial themes and messages.
Here are twenty examples of outer conflict:
A character struggling to survive in a post-apocalyptic world.
A character facing a physical illness or disability that limits their abilities.
A character fighting for justice against a corrupt system or organization.
A character facing discrimination or prejudice based on their race, gender, or other identity.
A character trying to escape a dangerous situation or person.
A character facing environmental or natural disasters.
A character navigating a war or political conflict.
A character struggling with addiction or substance abuse.
A character facing financial ruin or bankruptcy.
A character dealing with the aftermath of a traumatic event.
A character struggling to balance their personal and professional lives.
A character facing a difficult decision that could have major consequences.
A character in a survival situation in the wilderness or at sea.
A character trying to break free from a toxic relationship.
A character dealing with the consequences of a mistake or poor decision.
A character facing a physical or mental challenge or disability.
A character struggling to protect their family or loved ones from harm.
A character trying to survive in a hostile or unfamiliar environment.
A character dealing with the loss of a loved one or grieving.
A character facing betrayal or deception from someone they trust.
Inner Conflict
Inner conflict is a crucial element of a story that delves into the psychological and emotional struggles that a character experiences. It's the battle between their desires and their values, their fears and aspirations, or what they want versus what they know is right. This struggle is what creates tension, complexity, and depth in a character, making them more relatable and interesting to readers. By exploring the character's inner conflict, readers gain insights into their motives, thoughts, and emotions, allowing for character development and growth.
Take J.D. Salinger's "The Catcher in the Rye" for instance, where Holden Caulfield grapples with an inner conflict of wanting to preserve the innocence of childhood and yet desiring to mature and grow up. This conflict leads to his erratic behavior and search for meaning and purpose.
Similarly, in F. Scott Fitzgerald's "The Great Gatsby," Jay Gatsby faces an inner conflict of wanting to win back his lost love, Daisy, while also grappling with the fact that she is married to someone else. This inner conflict ultimately leads to his downfall and tragic end.
As demonstrated in these examples, inner conflict drives the plot, develops characters, and adds depth to their motivations and struggles.
Here are 20 examples of inner conflict:
Fear of failure
Insecurity
Lack of self-confidence
Difficulty making decisions
Guilt over past actions
Jealousy or envy
Grief over loss or trauma
Difficulty with vulnerability or trust
Struggle with addiction or temptation
Confusion over personal identity or purpose
Struggle with one's own morality or ethics
Difficulty with forgiveness or letting go
Shame over past actions or experiences
Struggle with self-acceptance or self-love
Difficulty with emotional intimacy or connection
Conflict with personal beliefs or values
Struggle with one's own mortality or purpose in life
Difficulty with facing the truth or reality of a situation
Struggle with balancing personal desires with the needs of others
Conflict between personal ambition and loyalty to others.
As a writer, it's important to understand how to weave outer and inner conflict together to create a compelling and multidimensional character in your story. Outer conflict provides the external challenges and obstacles that the character must face and overcome, driving the plot forward. On the other hand, inner conflict gives readers a window into the character's thoughts, feelings, and motivations.
The two types of conflict can also inform and influence each other. Inner conflict can affect how a character responds to outer conflict, and vice versa. For instance, if a character is struggling with self-doubt, this may make it harder for them to face a physical challenge presented as an outer conflict. Similarly, if a character is facing an outer conflict like a life-threatening situation, this may trigger an inner conflict related to their deepest fears and desires. The interplay between inner and outer conflict can lead to character growth, as the character learns to face their fears, confront their weaknesses, and achieve their goals.
By using both types of conflict effectively, you can create a character that is not only relatable and interesting, but also one that readers can root for as they navigate the challenges of your story.
Here is a list of 28 ways outer and inner conflict can interplay with each other:
A character with a fear of failure (inner conflict) must overcome obstacles to achieve their goal (outer conflict).
A character struggling with addiction (inner conflict) must face consequences of their behavior that endanger their loved ones (outer conflict).
A character dealing with trust issues (inner conflict) must work with a partner they don't trust (outer conflict).
A character struggling with guilt (inner conflict) must clear their name and prove their innocence (outer conflict).
A character struggling with self-doubt (inner conflict) must take on a leadership role to save their community (outer conflict).
A character who is closed-off emotionally (inner conflict) must learn to trust and open up to their love interest (outer conflict).
A character with a tendency to control others (inner conflict) must learn to work in a team and share responsibility (outer conflict).
A character struggling with their identity (inner conflict) must navigate a world that doesn't accept their identity (outer conflict).
A character dealing with trauma (inner conflict) must confront the source of their trauma to overcome it (outer conflict).
A character struggling with commitment issues (inner conflict) must make a difficult decision that affects their relationship (outer conflict).
A character with a lack of self-worth (inner conflict) must prove to themselves and others that they are capable (outer conflict).
A character struggling with loss (inner conflict) must learn to move on and find purpose in life again (outer conflict).
A character with a need for control (inner conflict) must learn to let go and trust others (outer conflict).
A character dealing with past mistakes (inner conflict) must confront those they have wronged and seek redemption (outer conflict).
A character struggling with their beliefs (inner conflict) must stand up for what they believe in despite opposition (outer conflict).
A character who is closed off from the world (inner conflict) must open up and make new connections to achieve their goal (outer conflict).
A character struggling with a lack of direction (inner conflict) must find purpose in their life and pursue it (outer conflict).
A character with a history of abuse (inner conflict) must confront their abuser to achieve closure (outer conflict).
A character struggling with their sexuality (inner conflict) must come out and face the social consequences of their identity (outer conflict).
A character with a need for revenge (inner conflict) must overcome their desire for revenge to achieve a greater goal (outer conflict).
A character struggling with their family history (inner conflict) must confront the past to move forward (outer conflict).
A character with a fear of the unknown (inner conflict) must step out of their comfort zone to achieve their goal (outer conflict).
A character struggling with their past (inner conflict) must come to terms with it in order to move forward (outer conflict).
A character with a lack of trust in others (inner conflict) must work with a team to achieve their goal (outer conflict).
A character struggling with their identity (inner conflict) must confront the expectations of others to find their true self (outer conflict).
A character with a tendency to self-sabotage (inner conflict) must overcome their negative patterns to achieve success (outer conflict).
A character struggling with mental illness (inner conflict) must overcome the stigma associated with their illness (outer conflict).
A character with a need for control (inner conflict) must learn to accept and adapt to unforeseen circumstances (outer conflict).
Character Growth
As a story progresses, the characters within it can undergo a significant transformation that we refer to as character growth. This growth can manifest itself in various ways, including changes in beliefs, values, behaviors, or relationships.
By portraying a character's growth, a writer can create a sense of depth and nuance that makes them more relatable and interesting to the reader. Furthermore, character growth is instrumental in driving the plot forward, as the changes experienced by the character often create new conflicts and challenges that must be addressed.
Witnessing a character's growth can be satisfying to the reader, providing them with a sense of catharsis as they watch the character overcome their obstacles and achieve their goals.
Character growth is crucial to the success of a story, and as a writer, it's important to ensure that your main characters evolve and change over the course of the narrative. People naturally experience growth and change in real life, whether it's positive or negative, as they navigate through life's challenges. The same principle applies to your characters.
When you're editing your second or third draft, take a close look at your characters and ensure that their development is evident. Keeping your characters stagnant and unchanged throughout the story isn't realistic and can hinder your reader's connection with them. By allowing your characters to evolve, you create a more relatable and believable story, one that resonates with readers and keeps them engaged until the end.
Here are some examples of good character growth in stories:
Katniss Everdeen in "The Hunger Games" by Suzanne Collins learns to trust others and become a leader.
Elizabeth Bennet in "Pride and Prejudice" by Jane Austen learns to let go of her prejudices and pride and become more empathetic towards others.
Harry Potter in "Harry Potter" series by J.K. Rowling learns to face his fears and take responsibility for his actions.
Frodo Baggins in "The Lord of the Rings" by J.R.R. Tolkien learns to sacrifice his own desires for the greater good.
Elinor Dashwood in "Sense and Sensibility" by Jane Austen learns to express her emotions and become more open.
Holden Caulfield in "The Catcher in the Rye" by J.D. Salinger learns to let go of his cynicism and find a sense of hope.
Ponyboy Curtis in "The Outsiders" by S.E. Hinton learns to appreciate the value of family and friends.
Scout Finch in "To Kill a Mockingbird" by Harper Lee learns to see the world from other people's perspectives and become more tolerant.
Andy Dufresne in "The Shawshank Redemption" by Stephen King learns to never give up hope and find redemption.
Hester Prynne in "The Scarlet Letter" by Nathaniel Hawthorne learns to stand up for herself and live on her own terms.
Jean Valjean in "Les Misérables" by Victor Hugo learns to find forgiveness and redemption through selflessness.
Atticus Finch in "To Kill a Mockingbird" by Harper Lee learns to fight for justice and become a role model for his children.
Bilbo Baggins in "The Hobbit" by J.R.R. Tolkien learns to step out of his comfort zone and embrace adventure.
Sydney Carton in "A Tale of Two Cities" by Charles Dickens learns to find a sense of purpose and redemption through self-sacrifice.
John Proctor in "The Crucible" by Arthur Miller learns to stand up for his beliefs and fight for what is right.
Scarlett O'Hara in "Gone with the Wind" by Margaret Mitchell learns to become more self-reliant and resourceful.
Charles Ryder in "Brideshead Revisited" by Evelyn Waugh learns to find a sense of meaning and purpose in life.
Captain Ahab in "Moby-Dick" by Herman Melville learns to confront his own obsession and find a sense of closure.
Marianne Dashwood in "Sense and Sensibility" by Jane Austen learns to find a balance between emotional and rational thinking.
Scout in "Go Set a Watchman" by Harper Lee learns to see her father, Atticus Finch, as a human being and understand his flaws.
Great news, you made it to the end of the basic novel outline! This is all you need to get started on writing your novel, and I'm excited for you to begin. Let's quickly recap what you'll need for your outline: a genre and sub-genre, a trope, a target audience, a word count, a chapter count, a two-sentence plot description, a more detailed plot description that covers the beginning, middle, and end of your story, and a chapter-by-chapter outline. For your characters, you'll need to include their names, brief histories, physical descriptions, personalities, outer conflicts, inner conflicts, and character growth. Once you have all of this information, you'll be ready to start writing your novel. Congratulations again, and happy writing!
Next up we'll be going into a bit more detail that focuses on world-building for fantasy or science fiction stories, anything that requires deeper world-building than a romance or regular modern paranormal fiction.
Tumblr media
Going on from here, I won't be as detailed with explanations, what I'll be providing is mostly just information you need to get and it doesn't involve much hard research.
Races
Physical Traits:
Physical traits can play a huge role in creating unique and memorable fantasy races. By giving a race its own set of distinctive physical features, an author can make it stand out from other races and help it come to life within the story.
But physical traits aren't just about making a race look cool or interesting - they can also inform other aspects of a race's culture and history, making the story even more immersive and engaging. For example, a race with wings might have a rich history of flight, while a race with a natural resistance to fire might have developed unique technologies or traditions to harness that ability.
Religion:
Have you ever thought about the role of religion in a fantasy world? In many cases, it can provide a sense of depth and purpose to a race's way of life. Religion can shape everything from their beliefs and values to their traditions and customs, and even affect their interactions with other races and their environment.
By incorporating religion into your world-building, you can create a rich tapestry of different beliefs and practices that can help to shape the personalities of your characters. Whether it's through the way they approach challenges or the values they hold dear, religion can be a powerful tool for creating a unique and engaging fantasy race.
Here are something to think on while creating religions:
Deities and Mythology A. Different gods and goddesses B. Creation myths and legends C. Supernatural forces and entities
Religious Institutions A. Temples, shrines, and other holy sites B. Religious leaders and hierarchies C. Religious ceremonies and rituals
Beliefs and Values A. Moral and ethical codes B. Attitudes towards magic and other supernatural elements C. Relationship between religion and politics, culture, and society
Religious Conflict and Cooperation A. Religious differences and conflicts B. Religious tolerance and cooperation C. How religion impacts relationships and diplomacy between different societies
Culture:
Do you love exploring imaginary worlds filled with magic and wonder? If so, you'll know that culture plays a huge role in bringing these fantastic places to life. In a fantasy world, culture encompasses everything from shared beliefs and customs to art and social practices. By creating unique and vibrant cultures for each race and society, we can make these worlds feel alive and believable.
To craft a compelling culture for a fantasy world, we need to take into account many factors, such as the geography and climate of the world, the history and mythology of its inhabitants, and their level of technology. For example, if a society lives in a cold, mountainous region, they might have adapted their clothing and transportation to suit their environment.
In a well-crafted fantasy world, each race and society should have its own distinct culture that enriches the story and makes it more immersive. From the way they view concepts like honor and loyalty to the way they celebrate holidays and mark significant life events
Things to think on while creating cultures:
Beliefs and Values A. Religious and spiritual beliefs B. Moral and ethical values C. Attitudes towards magic and other supernatural elements
Social Structure A. Different classes and social groups B. Power dynamics and hierarchies C. Customs and traditions related to marriage, family, and social interaction
Art and Aesthetics A. Literature, music, and art B. Fashion and clothing styles C. Architectural and design styles
Technology and Industry A. Tools and weapons B. Transportation and communication C. Economic systems and trade
Language:
Language plays a crucial role in creating immersive and believable worlds. Language shapes the way people interact with each other and their environment, and can reflect the history, mythology, and values of a particular race or society.
In a well-crafted fantasy world, each race or society should have its own unique language or languages. This adds depth and complexity to the world, with the creation of new words, phrases, and even alphabets to reflect each race's unique linguistic characteristics.
Language can also be used to explore themes and ideas central to the story. For instance, the language used by those in power may reflect the power dynamic and make it difficult for the commoners to understand. In addition, language can create a sense of mystery and otherness. A completely invented language can make a fantasy race feel alien and distinct.
Furthermore, language can be used as a storytelling device, with characters translating between languages or struggling to communicate with other races. This can create tension, conflict, and opportunities for characters to learn about different cultures and deepen their understanding of the world around them.
Keep in mind that not every fantasy world or story needs detailed languages. If you prefer not to include them, that's okay too! However, if you're interested in exploring languages in your story, here are some factors to consider.
Language Families A. Different language families and their characteristics B. Historical and cultural factors influencing language development C. How languages relate to one another
Written and Spoken Languages A. Different writing systems and their evolution B. Spoken language and dialects C. How language shapes communication and relationships
Language Acquisition and Learning A. How characters learn new languages B. Cultural attitudes towards language learning C. The role of language in education and society
Translation and Interpretation A. How characters translate and interpret languages B. The challenges of language barriers C. The importance of accurate translation in diplomacy and trade
Magic
Having mystical abilities such as magic, mana, or superpowers can add excitement and intrigue to your story, but it's important to be mindful of how you use them. Many writers fall into the trap of creating limitless magical powers for their characters, which can make the story feel unrealistic and unsatisfying. To avoid this, it's helpful to answer a few questions about your magic system.
First, how does it work? It's important to understand the ins and outs of your magic system so that you can write your characters using it realistically. Knowing the mechanics of your magic system will prevent you from simply having your character magically power up in a crucial moment to get out of a tough situation.
Second, who can have it? Is there a criteria for who can use the magic or powers? Understanding why certain characters have magical abilities will prevent you from creating random characters that have the ability, and will also give your readers more information about your characters.
Third, what are the rules and limitations? Are there rules in your world about how the magic system should and should not be used? Are there physical limitations to what your characters can do? Setting rules and limitations will stop you from overpowering your character and will add conflict and tension to your story.
Additionally, it's important to consider how the general population feels about magic. Are there people who are against it, who hunt or experiment on those who possess it? Are magical individuals adored or seen as gods? Understanding how your world views magic will add depth and complexity to your story and create opportunities for conflict and tension. By considering these factors, you can create a well-rounded and engaging magic system that adds to the richness of your fantasy world. Here is a summery and some additional facts to think on when creating a magic system:
Types of Magic A. Elemental magic B. Divine magic C. Necromancy and dark magic D. Witchcraft and sorcery
Magic Mechanics A. How magic works in the world B. Limits and drawbacks to using magic C. How magic can be learned or inherited D. How magic can be controlled or regulated
Magic Users A. Different types of magic users B. Training and education for magic users C. Magic user communities and organizations
Magic in Society A. How magic impacts society and culture B. Magic in law and politics C. Magic in economics and trade
Magic in Conflict and Cooperation A. How magic can cause conflicts and tensions B. How magic can be used for diplomacy and alliances C. How magic can be used to resolve conflicts
History
Incorporating a world history into your story is an excellent way to add depth and richness to your world-building. By establishing a history, you can develop your world's cultures and religions, and intertwine it with your plot for added complexity. However, it's not necessary to have a history for the entire world's creation - just a basic overview of the setting where your story takes place is sufficient.
Another helpful aspect to include in your world-building is myths, lore, and major events that have shaped festivals or important days in your world. Additionally, highlighting significant historical figures can also provide valuable context for your story.
While it's not essential to introduce this information at the beginning of your story, it's a good idea to flesh out these details during revisions to ensure a cohesive and well-rounded world. This can help maintain consistency throughout your story and enhance the overall reading experience for your audience.
If you are creating an entire world history. Here are some things to think on:
Creation Myth and Cosmology A. Explanation of the world's creation myth B. Introduction of the cosmology of the world
Early Civilizations and Kingdoms A. The rise of early civilizations and kingdoms B. Development of early cultures and their impact on the world
Major Historical Events A. Wars and conflicts B. Great discoveries and inventions C. Natural disasters and calamities
Key Figures in History A. Heroes and heroines B. Villains and antagonists C. Leaders and rulers
Religion and Spirituality A. Explanation of the major religions and spiritual beliefs in the world B. Impact of religion and spirituality on world events and culture
Technology and Advancements A. Advancements in science and technology B. Development of new magic and spells
Current State of the World A. The current political and social situation in the world B. Ongoing conflicts and challenges C. Future possibilities for the world
Geography
Understanding the visual aspects of your story's setting is a valuable tool for crafting a rich and immersive world. By knowing the geography, you can better visualize how your characters will interact with their surroundings, what they'll wear, and what they'll eat. It can also play a major role in shaping the culture of the people inhabiting your world.
The geography of your world can even influence the physical characteristics of certain races, like those living near a volcano who may have tough, scaly skin to resist heat. Some key factors to consider when developing the geography of your world include the landscape, climate, weather patterns, natural resources, and the types of food available to your characters. These details can all work together to bring your world to life and make it feel like a fully-realized place with a unique identity.
Things to think on while creating your world geography:
Physical Features A. Landforms such as mountains, forests, and rivers B. Climate and weather patterns C. Natural resources and their distribution
Political Boundaries A. Different regions and territories B. Borders, boundaries, and conflicts C. How politics and culture influence geography
Cultural Landscapes A. Architecture and building styles B. Cultural and religious sites C. Impact of culture and history on the physical landscape
Mystical and Supernatural Features A. Magic and other supernatural elements B. Divine or cursed locations C. How these features shape the world
Politics
In the world of writing, it's easy to think that politics don't matter, especially when you're starting out. However, this is far from the truth. As you craft your story, there will come a point where your character will need to make a decision that affects the people around them. When others either agree or disagree with that decision, you're entering the realm of politics. In its simplest form, politics is all about how groups of people work together to make decisions and get things done. This can involve everything from choosing leaders and making laws to deciding how to use resources. In a fantasy world, politics can take on a different flavor. Different races and groups of creatures might be vying for control of territory or trying to gain power or fight for their rights.
The Players A. Different races and societies B. Leaders and powerful figures C. Factions, alliances, and conflicts
The Systems A. Government and governance B. Laws and regulations C. Use of magic and supernatural powers
The Issues A. Resource allocation B. Territorial disputes C. Power struggles and control
There are a lot of different factors that can affect politics in your fantasy world, and it's important to consider how your characters and societies will respond to them. Whether they're fighting for their rights, negotiating deals, or making compromises, the decisions they make will shape the world you're creating. So take some time to think about these things and how they'll impact your story
Technology
It's important to consider the level of advancement in your fantasy world. For example, if you're writing an old world fantasy kingdom, but there is technology present, your readers will likely be curious about where it came from, how it was developed, and who created it. Make sure to address these questions in your world-building
Here are some things to think on while working on technology for your world:
Types of Technology A. Explanation of various types of technology in the world B. Magic and technology: their relationship and interaction
Evolution of Technology A. The history of technology in the world B. Key figures and events that drove technological progress
The Creation and Distribution of Technology A. Who creates technology in the world B. How technology is distributed throughout the world C. Economic and social factors that impact technology development
The Impacts of Technology A. Positive and negative impacts of technology on society and culture B. Environmental impacts of technology
Limitations of Technology A. Constraints on technology development B. Limitations on the use of technology
Future of Technology A. Speculation on the future of technology in the world B. Potential implications for the world and its inhabitants
That's it! We are done! Cheers everyone! Great job on completing your detailed outline! Here's a recap of all the elements you should include: First, choose your genre, trope, target audience, and set a word and chapter count. Define your plot in 2-3 sentences, then expand it and break it down into beginning, middle, and end. Then create a chapter-by-chapter outline. For your characters, give them names, a brief history, physical descriptions, personality traits, conflicts, and character growth.
When it comes to world building, describe the geography and how it affects culture, politics, and history. Provide an overview of the various cultures, their practices and beliefs, and how they impact character interactions. Explain the political landscape, the systems, structures, and how they affect characters. Develop the world's history, including key events and figures that shaped it and how it affects the current state of the world.
Include an overview of the magical and technological systems in the world, how they interact, and their limitations and implications. Discuss the various religions, their beliefs and practices, and how they impact characters. Provide an overview of the languages spoken in the world and how they affect interactions between characters. Lastly, describe the various creatures and races in the world, their physical characteristics, cultural practices, and how they interact with each other and with humans.
For convenience, here is a scrivener template created with this style in mind and all the research is included in the template's resource folder. It's free, so don't stress and Download. Note that this is a google drive link. Simply Download and import into scrivener as a template.
Looking forward to seeing you again in the future! If you love fantasy, check out my free novel! HERE.
132 notes · View notes
wastelesscrafts · 2 years
Note
I have a gardening tip for your followers! I love to garden but it is so expensive to get started. I repurpose old boxes and disposable/fast food cups as planters (just poke holes in the bottom for drainage and set them on top of a towel) and I made a small watering can out of a bottle with holes poked in the top. It works great because I don't need a massive watering can in my apartment. Gardening at home can be super cheap and easy!
Tumblr media
[ID: a cardboard box that has been turned into a planter containing soil and seedlings. A plastic water bottle stands beside it and has holes poked in the top to serve as a watering can.]
Gardening and makeshift planters
Thank you for the tip! Gardening can seem quite daunting if you've never done it before, so asks like these are nice ways to show people it doesn't have to be all that complicated.
I wholeheartedly support DIY containers! Is that a cardboard box in your picture? Doesn't it get soggy? Or did you put in some kind of lining? Love your bottle watering can!
Gardening options:
Most people imagine a vegetable plot with annual plants and crop rotations when they think about gardening. This type of garden definitely has its merits, but it's not the only option. A garden can be as complex or as simple and as big or as small as you choose to make it.
Tumblr media
[ID: a white bowl filled with small woodland strawberries. The bowl sits on a gray stone pathway next to a patch of wild strawberry plants.]
Backyard:
If you've got the luxury of having a garden in which you can do whatever you want without landlords watching over your shoulder, you're super lucky! There's so much good you could do!
Your garden can be a massive boon to your local biodiversity and wildlife. Even just planting native wildflowers or adding some wildlife garden elements will help. Make sure to look up local resources when planning a garden like this!
Your garden can also help to make your surroundings more comfortable. For example, trees and bushes will cool down their surroundings and can improve air quality. Gardening can even be used as a tool for carbon sequestration. And who doesn't like watching flowers bloom?
You could also try your hand at growing your own food. You could start a plot with kitchen herbs, grow a few vegetables or edible flowers, put in a few fruit bushes, and trade excesses with friends. Don't be fooled by Pinterest though, your chances of being able to live off your own produce are minimal.
Combine these different functions, if you can. For example: I've planted a wild strawberry patch in my garden. It functions as a ground cover and keeps my soil moist, provides me with the occasional snack, offers pollen to bees, and whatever berries I don't pick serve as food for the wildlife in my garden.
Keep things safe and easy:
Start out small! Don't get overwhelmed.
Figure out how much sun your plot gets before planting anything.
Use perennial plants instead of annuals if you have limited energy.
Trade seeds and seedlings with fellow gardeners, or learn how to propagate plants to keep costs down.
Look into lasagna gardening if you're unable to dig, or raised beds if you struggle with mobility.
Mulch your plots to save on water and weeding time.
Use localised information when planning your garden.
Avoid pesticides, especially if you plan to eat what you're growing.
Get your tetanus shots up to date, watch out for ticks, leave wild animals alone, and be careful if you have allergies.
Don't eat plants unless you're a 110% certain of what they are. Foraging can be fun, but you really don't want to mistake lilly of the valley for wild garlic.
Be mindful of your neighbours and housemates. Living near an allergen sucks, and certain plants can be dangerous to small children and pets.
Mint. Don't do it. It's a trap. It'll take over both your garden and your nightmares. Put it in a container if you really want to grow some.
If you've got a lot of space, you could look into permaculture or agroforestry.
Community plot:
Don't have a yard? Check if your neighbourhood has a community garden, or start one yourself. Shared gardens are a great way to get to know your neighbours.
Container garden:
If you don't have a lot of space, you could try container gardening. You can use pretty much anything to grow plants in as long as it's water tight, non-toxic, has drainage holes at the bottom, and is large enough for the type of plant you want to put in it. If you lack surface space, vertical gardens are also an option.
Note that container plants need more frequent watering and rely on you for nutrients.
The size of your garden project won't effect just how meaningful it can be. A native plant on a balcony can be an important spot for local birds or butterflies. The flowers in your vertical wall garden might be the only available pollen source in your neighbourhood. That potted basil on your window sill will give you a well-deserved sense of pride over keeping it alive every time you pick a few leaves for your pasta.
420 notes · View notes
a-cloud-for-dreams · 5 months
Text
Ok so I've mentioned this a bunch of times on my blog by now but I've been trying to speedrun all of the Choices books and I'm so glad I am because there are some underrated gems out there! I'm almost done with TC&TF Book 1 and that book had a ton of love interests so I was inspired to make a top ten list to organize my thoughts. This post will be under development as I play more books or change my mind lol
Top Ten Books/Series
Bloodbound Series - This book is literally one of the best series PB has ever put out. To be fair, it should be under Blades and TC&TF, I would argue that these three books deserve top place. But it would be harder to combine my Bloodbound explanation with the other two fantasy books so here you go. Contrary to most, I did like the first book, wasn't my favorite, but it was a good intro to the series. I like that the world slowly grew as we learned more about vampires and it felt complete and like it had something to say. Thank @gaiuskamilah for my further obsession with the series lol
Blades of Light and Shadow Book 1/The Crown and the Flame Book 1 - I couldn't choose but they're both AMAZING BOOKS ugh I can't say enough good things about them. The choices actually matter and the plot was so good. Every chapter had a purpose and the conclusion felt so satisfying. The scoring system and skills for both books was super cool, we need more books like them <33
Crimes of Passion Series - Definitely a Top Tier MC!!! I liked the mystery (Book 2's reveal wasn't great but the chaotic Thorne siblings make up for it) and Trystan is the best single LI we've had in a while, their dynamic with Rose was *chef's kiss*
Perfect Match Series - I LOVED this series and our friend group/love interests so much. They all felt like unique people with their own experiences and the plot was so amazingly intense. The finale of Book 1 was UNMATCHED we won't ever live to experience something that iconic ever again smh. It took a while for the plot to kick in, which is why it's lower on the list
The Elementalists - I'm a sucker for elemental magic systems/magic schools, and I love our friend group/family so much. Atlas is the coolest twin, and the whole sun/moon dynamic was fun! Being a powerful Sun-Att boosted my ego astronomically. I wish we got another book to see our mom more though
It Lives in the Woods - I like that the premise was relatively simple, along with the game mechanics. Your actions had real consequences and it was more immersive. The flash-forward in the last chapter was super sweet too and I like that the anthology was interconnected. This series also gave us an amazing friend group and set of LIs so I'm thankful <3
Open Heart Book 1 - Simply iconic, grounded in reality, and actually put together imao. It was one of the peaks of our fandom. This book is super nostalgic for me because I'm interested in the medical field, and it's the whole reason I'm posting Choices content here in the first place
Ride or Die - I adore this book. It felt complete on its own EVEN IF IT DESERVED A SEQUEL *side-eyeing PB* and it's a great coming-of-age story with a realistic teen MC. The ending was bittersweet and you felt changed by the experience playing the book
Nightbound - I liked the vibes and the idea more than the execution if that makes sense? I love the idea of Lamrian and how the MC is half-fae and super powerful, but the book didn't have enough time to showcase the supernatural world compared to Bloodbound, which focused on vampire lore. I can probably make a whole separate post on this but yea
The Royal Romance/The Royal Heir - I think, again, I like the vibes of the series more than the flawed execution, but because it went on for so long I kinda of got attached to the characters (mind you I didn't play or finish any of the books) but it's super fluffy and sweet and iconic for Choices history so here <3 a lot of the books like ROE, TRM, and TC&TF are interconnected so it's part of the foundation for the PB Choices Multiverse :) to be fair, it looks like they did a somewhat decent job writing the conflicts for each book?
I have a feeling when I finish Endless Summer, this list is gonna change...
EDIT: I totally forgot about The Heist: Monaco, but it was amazing! TRR/TH should be bumped down to honorable mention, I'll change it at some point-
Honorable Mentions
A Courtesan of Rome - The book took awhile for me to get through but my MC is legendary and carried the book so it's up here lol. I also liked that it felt like a historically accurate book?
Platinum - Cool commentary on the darker sides of fame and the music >>>
Veil of Secrets - The plot was interesting, one of my fave mystery books they've written! Also the characters >>>
Mother of the Year - Wholesome and felt finished, def one of the best single books. Also the antagonists were properly despicable so...good writing
Wake the Dead - It wasn't perfect, but I love zombie apocalypse stories and the idea of rebuilding our camp was so cool so idc how flawed it is <3
Foreign Affairs - The ending was rushed and the premise should have been rewritten but more on that on a later date. It was still fun for me to play
Desire and Decorum - I finished book 1 and I really liked it! it's basically the Choices version of Bridgerton, not historically accurate but super entertaining. The vibes and the LIs were amazing
Kindred - Pacing issues but still entertaining, I love the witch lore that they had in the book and the focus on building both platonic and romantic relationships so I'm not complaining
Top Ten Love Interests In No Particular Order
Trystan Thorne
Bryce Lahela
Kamilah Sayeed
Damien Nazario
Kaine Bell
Raleigh Carrera
Aerin Valleros
Jax Matsuo
Colt Kaneko
F!Hayden Young
Honorable Mentions (Again, No Particular Order)
Drake Walker (listen LISTEN I don't like that he sidelined other LIs, and I absolutely HATE how his character was a total contradiction, it was executed poorly, but I like the idea of his route if that makes sense. Some of the banter was cute and I love the whole grumpy x sunshine trope. I'm pretty sure he took a bullet for me lol)
Raydan Lykel (Solely because I haven't finished the series yet)
Mal Volari (He would have been in Top Ten but I had to bump him down because his Book 2 Route isn't working)
Tyril Starfury
Nia Ellarious
Prince Hamid
Tatum Mendoza
All of the Nightbound Love Interests are amazing I just couldn't fit them on the list
Gaius Augustine
Alana Kusuma
Rainier (Kindred)
Thomas Mendez
Flynn O'Malley
Olivia Nevrakis (she had so much potential omg)
Robin Flores and Sofia Russo (in my world, they're LIs just shush)
26 notes · View notes
checkoutmybookshelf · 3 months
Text
So Apparently Travelogues Are Back?
Tumblr media
Ok, so saying "The best part of this book was watching Kordas sort the logistics of moving fifteen thousand of people across a hostile wilderness" is not a great sell of this book, but it is HONEST. The worldbuilding, characters, and monsters are excellent, but TBH, what made my brain go *happy chemicals* was the logistics. Your girl likes a good travelogue, and that travel writing aspect is a LOT of why Throne of Jade is my favorite Temeraire novel and it's why I thoroughly enjoyed this book. So let's talk Into the West.
This is your usual SPOILER WARNING for spoilers for this book and the previous one below the break.
So, having murdered the crap out of the emperor and watched an earth elemental basically enact the lava portion of the dinosaur section of Fantasia on the former capital, Kordas and the Valdemarans regroup on the banks of Crescent Lake. Some choose to return to the remains of the empire, but for everyone else, it's time to get moving. Crescent Lake can't support all of them, so they have to take their barges and head downriver to find a new home.
And as anyone who has ever done a group project in school knows, trying to wrangle 4-7 people is a goddamn nightmare; Kordas has to wrangle FIFTEEN THOUSAND. In barges. With bare minimum resources. In unknown, hostile territory. If I was lukewarm on The Plan in Beyond, I was fully here to watch how the pulled it off in this book, because just the starting point was already feeling overwhelming and nigh impossible.
Then we get to add, at various points in the journey, the following fuckery:
various lords and factions among the Valdemarans getting shitty and either being firmly called on the carpet or cut loose (but people always had a choice whether to go with their lords or stay with Kordas, so there was no screwing the peasants because a noble had a hissy fit, which I appreciate)
Wyrsa (for those of you who know, you KNOW, and I won't ruin that for those of you who are reading Valdemar chronologically rather than in publication order)
A giant bear-lizard hybrid monster that was the result of rogue magic
Giant-ass mage-created "terror birds" with wings and four legs
A very angry forest
A Boar of Unusual Size (can we make BOUS happen? Is that cool, Princess Bride fans?)
A river monster and a rogue pig that upsets the balance between the river and forest monsters
And that's just the stuff that actively tries to murder the Valdemarans. There are also issues with supply and demand, morale, the *SUPER TOO LIGHTLY SKATED OVER* mage conspiracy in the book that has been leveraging foreseers and empaths to influence Kordas's choices throughout. And no, the "you asked for help and we're what you got" DOES NOT MAKE IT OK. Especially not when the conversation gets wiped from Kordas's head afterward. This was skated over way too quickly, and the ETHICS of this would make Herald Thalia lose her goddamn mind.
We also get a bit of a subplot with Delia being assigned to a forward scout group and learning her own value...but she gets assigned to the scout post at least 50% to get her and her crush away from Kordas, so I was still not loving this.
What I do love is the Hawkbrothers, and we finally get them in this book. The Tayledras are wonderful, enigmatic, playful people and their vales are just stunning. I have never not loved me a Hawkbrother, and the hertasi are also just darling. This also sets up the long-term relationship between Valdemar and the Tayledras, which comes up from time to time throughout the life of the kingdom.
So overall, I think that Into the West is the best of the Founding of Valdemar books. It's never not gripping, the mix of character and plot is exactly on point, and if the book is a little too aggressive about people "being useful," well, they're in a survival situation and frankly it could have been a lot worse. Plus, we're basically in the Pelagirs, so when stuff gets weird, it gets REALLY weird. And really weird is often very fun. So I do recommend this book.
12 notes · View notes
dballzposting · 1 month
Note
i feel inclined to add on to that ask abt movies (cuz i love watching movies).
Trunks to me speaks to me as a person who at one point expected the stuff he watches to change him a little. To help him think in a different perspective and challenge his preconceptions or. SOMETHING. hes the kind of guy to try to watch movies like 2001 space odyssey but by the end of it, just looks up the ending explained. he has to try to get anything out of it. I don't think he liked trainspotting. I don't think he knew what to make of The Shining. Trunks would almost certainly try to not get bored at the beginning of Pulp Fiction (the bulk of that movie is talking). But he'll still go see movies in theaters or watch whatever he's got laying around in the house though.
He thinks he's watching movies to gain something but tbh ? Trunks has been watching movies all his life, and it might just feel rly weird to suddenly. not to. If that makes grammatical sense. I think it just gets too quiet in his house. His mom's always working on something in her lab, vegeta's always in his training room, etc etc. so he puts em on to chill. Even if he doesn't really get them sometimes. Bulma seems like the type to do the same thing while she works, maybe he gets it from her.
That's probably why watching movies with goten is so interesting though. He can really get to the core of what it's trying to say, engage with the story and themes on a meaningful level and come up with his OWN well constructed analysis with an infectious enthusiasm reminiscent of the way Gohan talks about entomology.
And Goten, country bumpkin that he is, probably hasn't even seen more than MAX 30 movies in his life (ever) besides whatever soaps his mom leaves on. he's glad trunks invites him over to watch this stuff. At the end of analyzing whatever film they saw I think he'd be like Waow. That was so cool Trunks thank you for showing me this :-) can I borrow this dvd and never give it back and Trunks will be like yeah man thats cool I'm glad you liked it so much. I have a bunch more laying around it's whatever. (He found a lot of these movies in this "guest" room he's never really been inside of. It still has a lot of stuff from before he was born.)
I think that's so interesting.. that Trunks is familiar with the elements present in film but because it's familiar, it's harder to parse how or why these elements are meshed together to make the whole. he's just "watching" them without really thinking about anything and as such, doesn't gain anything.
But because Goten isn't accustomed to watching movies all the time, he can look with unclouded eyes. Not just watching, but observing and taking all of it in.
Its the difference between hearing and listening if that makes sense.
(One last tidbit which isn't super important. I mentioned earlier a guest room. It was yamcha's. When he moved out, he didn't really take a lot of things with him, choosing to leave some of his clothes and most of his movies behind. Bulma probably told him that he could just leave his stuff there in case he ever wanted to visit. The only movie he bothered to take with him was Caddyshack. For some reason. Why)
peace 🌷
I mean this as a kindly reminder and I'm saying this to everyone: you can always make your own post / reblog the post in question in order to add on to it. You can get your name out there. Look alive... It's showtime. I mean I will always faithfully post asks (I cannot guarantee in a timely manner) but never forget your options there.
(For instance perhaps posting your own words on your own post stands to grant them more respect, rather than forcing them through the filter of somebody else's input in order to be posted - as is the reality of sending asks. I can tell when someone really cares, and I appreciate that, and I try to be faithful to that, but I also like to babble. Maybe some posts ought to be stand-alone?)
(Gotta raise my glass to this though becasue i found out today [I would have found out a week ago if I had bothered to check my email] that I may or may not be helping my school start a film club so TBH i gotta appreciate this ..... and I gotta respect the grinde.... It's funny thouhg because you know I actually hate watching movies. When the time comes I ought to come back to you and the other user for recommendations. Well anyway back to the ask)
OK Well this is some real shit you just said. I fully agree. It coheres with what was already said although with some extra sensitivity ...
Reposting this segment for a TL;DR becasue I thought it was an elegant conclusion:
Trunks is familiar with the elements present in film but because it's familiar, it's harder to parse how or why these elements are meshed together to make the whole. he's just "watching" them without really thinking about anything and as such, doesn't gain anything. But because Goten isn't accustomed to watching movies all the time, he can look with unclouded eyes.
I mean really it all comes down to Trunks being a Modern CityBoy; he's used to background noise, he's used to mindless entertainment. Goten doesn't have things in his life that are meant to be taken for granted, though, so that just makes him overall more attentive and appreciative.
That's the greater discussion here ... A veiled call for action for us all to try to look with fresh eyes upon our own lives ....
Really, If Trunks isn't taking to the creative storytelling aspect of it, he should at least take a shining to the technological artistry. Maybe he doesn't care why or when, but he does know HOW they do what they do. That'd be swagg. But then he'd have to do research on something that isn't Minecraft related. Sighhhh
BTW Thanjk you for addsing that Caddyshack bit in there for me. Mondo appreciated <3
8 notes · View notes
hamliet · 2 years
Text
The Masterpiece That Is Queer as Folk
Well, right before a reboot is set to come out, I finally got around to watching a show I first heard about (albeit without knowing the name) when it came out while I was like, eight years old. I then got in huge trouble for even mentioning to my parents that a friend had told me about a show with two boys french-kissing in a shower (okay, eight would’ve been way too young to see it, but still, fundie Christian memories ✨). 
And, I fell hard for this story. I genuinely think this is one of my favorite stories ever, definitely favorite TV show, with writing to parallel MXTX’s levels of wringing the most potential out of every little detail. The writing is of a consistently high quality throughout its five seasons, without a single weak season (although there was the occasional weaker plotline), which is something I don’t think I can say for pretty much any other completed TV series I’ve seen. I love, love, love this story, and those of you know have been following me for awhile know how rarely I say that. 
Tumblr media
It’s explicit, often gratuitously so, but honestly that’s part of its charm and message: it’s loud and unashamed of itself, even when that makes it crass. It’s tired of being shut up inside a closet and it’s going to make it your problem if you choose to watch (and in doing so, mimic the journeys of its characters learning to feel and love and grow into human beings without apologies). 
Brian, Justin, Hunter, Ben, Michael, Debbie, Emmett, Ted--they were all fantastic characters with complexity to boot. It seemed like many of them could be stereotypes--particularly Brian or Emmett--but to call them stereotypes is blatantly wrong. There was just so much intricate complexity woven into each character’s psyche. If anything, it seemed almost like taking back the stereotypes by infusing them with humanity (one of the major themes: learning how to be human). It was existentialist, philosophical at parts, and genuinely moving.  
Tumblr media
Brian could be seen as a stereotypical promiscuous gay man, but he is really a wounded child. Melanie can seem like a typical “butch” lesbian, but she has the arguably biggest and most sentimental heart in the series. Debbie is the voice of reason and moral compass, but also can get too caught up in her beliefs that she is a good person and hurt those around her. Ted seemed like a typical “loser” character whom I actually struggled to like through the first two and a half seasons... before his descent into addiction, which felt like one of the most humanizing portrayals of addiction I’ve seen. Ben and Hunter are both HIV positive, and neither of them are characterized by their illness or have their arcs primarily be about suffering and death porn. 
Admittedly, some parts haven’t aged super well. but without some of those elements (namely, the age difference between Justin and Brian), I’m not sure the story could have pulled itself off with the same poignant psychological insight, the same provocative themes, and the same character depth. So, that one I’m giving a pass on a literary perspective. Other parts that didn’t age super well are that really aren’t any trans or bisexual (although it seems like Hunter is bisexual, though the idea is never really labeled) or nonbinary characters, plus almost everyone is very white. It’s a very outdated understanding of sexuality in some ways (although in other aspects, the show is quite forward-thinking in others--for example, it says “acab” before it was cool).
So let’s break down Hamliet’s thoughts on different themes, motifs, plotlines, and symbolism. I’m going to start with Justin and Brian’s relationship, because it really did form the beating heart of the show in encapsulating, without fail, the main themes of each and every season.
Brian and Justin: Being Human Means Growing and Grieving (Season One)
Brian: Look, I don't believe in love. I believe in fucking. It's honest, it's efficient. You get in and out with a maximum of pleasure, and a minimum of bullshit. Love is something that straight people tell themselves they're in, so they can get laid. Then they end up hurting each other, because it was all based on lies to begin with. If that's what you want, then go and find yourself a pretty little girl, and get married.
Justin: That's not what I want. I want you.
Came in skeptical about this relationship, left convinced. 
Through season one, Justin and Brian’s issues build into the tragic finale through the themes of growth and loss that run through each episode of the entire season. Growth is what makes us human, but growing, living, always ends in death eventually.
At first glance, Brian seems to be the character who goes after everything he wants... but he actually is running away from what he wants. Justin is the one who actually goes after what he wants: he is super clingy to start with, to the point where it’s a bit cringe--but also, surprisingly earnest and honest. 
Tumblr media
Brian has the opposite problem to Justin’s clinginess: he’s dead inside and pushing everyone away from him. Brian acts like he owes nothing to anybody and desperately has sex with every man he can, and makes a “big spectacle of everything” (as Debbie tells him), all in a childish attempt to feel something, anything at all. He wants to be human. He wants to be alive. But he doesn’t feel like he’s either of these things. His refusal to grow up is not so much a rejection of maturity so much as it is a rejection of his life in general: how can you grow, when you were never alive in the first place? 
Justin’s clinginess, while initially a flaw, is actually what makes the relationship perfect: Brian would never grow if he was not relentlessly pursued by someone who also asked things of him (Lindsay and Michael, while great friends, rarely ask things of Brian, while Justin does). Justin's childlike faith in humanity in some ways (and, admittedly less-charmingly, black and white way of thinking) helps Brian experience those things for the first time. The irony of course is that Justin seems like he wants to grow up--have sex, move out of his home, getting a fake ID--while Brian claims he wants to stay young, yet before Justin avoids anything actually innocent. When he finally starts opening up to Justin and his innocence, he’s confronted with what he’s been avoiding the entire season: grief. 
Brian needs to grieve his own nightmare childhood and his own issues, or else he can’t ever grow or feel human. 
To be human is to accept loss, accept that you aren’t superman, that you can’t control things. Literally the entire season is about the writers handing Brian challenge to grieve after challenge to grieve and him denying it until it smashes into the head of innocence (Justin). 
Firstly, Brian is tasked with whether or not to pull the plug on Ted when he’s in a coma, a choice that he thankfully doesn’t have to make when Ted wakes up. Then, Brian’s father tells him he’s dying and Brian finally tells him he’s gay (with horrifying results). His father dies (symbolic again of one symbol of his nightmare childhood passing away), and Brian doesn’t cry, which everyone points out is odd. Brian also ruins his relationship with Michael, and refuses to grieve it, pretending it’s all fine. While they do reconcile, Justin and Michael do more work to bring them back together than Brian does (speaking of, the scene where everyone leaves in disgust, telling Brian off for his cruelty at Michael’s birthday party, but Justin tells Brian “someone’s gotta help you clean this mess” was clearly a double-meaning and a genuinely heartwarming moment). Then, Brian struggles with signing away his parental rights to Gus to help Melanie and Lindsay, and does so in a bold moment without much grief. Brian treats Justin terribly on and off, but doesn’t grieve it because he tells himself that’s just who he is. 
However, Justin in season one, despite being a portrayal of innocence, also treats other people pretty poorly. (Brian is largely the exception.) His father is the worst, but Justin is also a brat with an immature understanding of love and people. He does his best to alienate his mother early on. He antagonizes people when he doesn’t have to in order to show off and prove he deserves to exist (like outside of Babylon when he tells everyone he gave Chris Hobbs a handjob, a moment where Brian warns him directly that he’s now “made a real enemy”). Justin’s brattiness is clearly coming from a place of pain and repression, so to be clear there is no moral equivalence there: he only humiliates Chris because Chris has been humiliating him throughout the series.
Tumblr media
Justin also tries to convince Brian not to sign away his parental rights at first, which hurts Melanie and Lindsay, because Justin projects his own parental issues onto the situation without considering that Brian is not his father and the people involved are so different the two situations shouldn’t be compared. Plus, if anything, Justin puts too much responsibility on others, and is challenged to accept that he cannot control other people and how they feel or act towards him (Daphne falling for him, Brian, trying to win his father’s approval by considering business school despite his father’s hatred of him, etc.) This idea of putting too much responsibility on others is childish and normal for someone his age, and makes Justin and Brian very similar while also having contrasting ways of handling their relationships (clinging vs pushing away). 
This all culminates in the finale where Chris tries to murder Justin right when he and Brian seem to finally be happy at Justin’s prom. It’s only then, when Brian sits bloodied in a hospital waiting room, that we see him finally give in, grieve, cry, in the same place he and Justin named his son in the first episode. 
Tumblr media
Justin’s lost a sense of innocence. Brian realizes that he is not the island he pretends to be, and that being human hurts. 
Justin and Brian: Being Human Means Accepting the Worst of Yourself (Season Two)
Michael to Brian: I think you're afraid to let anyone know you love them. That you have feelings. That you're human like the rest of us.
Throughout the second season, Brian hides the best parts of himself (literally not allowing anyone to know that he visits Justin every single night he’s in the hospital). Brian also self-sabotages himself by demanding Justin hide the best parts of himself (loving Brian) with their semi-open arrangement that fails epically, and Justin leaves him. But part of the reason is fails is also that Justin starts becoming more like Brian, even imitating Brian in word and action when he sleeps with a virgin, and... big surprise, neither of them like Justin becoming more like Brian. Justin doesn't want to be Brian, and Brian doesn't want to be Brian either.
Tumblr media
Despite Brian’s narcissistic persona, the dude basically embodies the concept of “methinks thou doth protest too much.” See: him pissing on art of himself as a hero. After, Justin demands a real apology for that--directly telling Brian that his vague “sorry” isn’t good enough, and Brian gives i. A few episodes later, this scene then repeats after Justin starts his affair with Ethan with almost the exact same dialogue, but this time Justin is the one giving a vague apology, and Brian isn’t strong enough to ask for a specific apology. 
Justin: I’m sorry. 
Brian: For what?
Justin: You know what for. 
The point is again that Justin is becoming more like Brian, and it’s not a good thing.
As long as Brian hides the best parts of himself, their relationship is doomed. It’s not a coincidence that after the first time Justin tops him, after Brian literally lets Justin inside, Brian immediately panics and starts causing problems. Brian doesn’t acknowledge Justin’s birthday besides literally hiring him a hustler to symbolize how he’s pushing Justin into another person’s arms (Ethan). To highlight this, we have Ben and Michael’s birthday celebration as a foil, where Ben is upset over his declining health and behaves terribly. However, Ben apologizes, and Michael tells him a major theme:
Ben: There’s no excuse for it. There’s no excuse at all.
Michael: Sure there is. You’re human. 
The point is that Brian and Justin are human too, as much as Brian tries to deny his own humanity. Human beings make mistakes. And that becomes a major motif of the third season.
Justin and Brian: Being Human Means Accepting the Best of Yourself (Season Three) 
When we see Justin and Brian in the opening of season 3, Brian is still so defensive over Justin despite Justin publicly humiliating and leaving Brian that Brian punches his best friend, Michael, for suggesting that he shouldn’t have saved Justin’s life. This again ties into Brian’s self-hatred: he expects Justin to leave him, even feels he should. But Brian finds it easier to fight someone else on Justin’s behalf than to fight himself to keep Justin; numerous characters comment that Justin left because Brian didn’t fight for him, and they’re right. 
Brian and Justin are still stuck on each other, and shown through their indulgence of illusions (fantasy vs reality is another motif throughout every season). Brian literally hires a hooker to dress up as Justin, and Justin focuses on Ethan who is whom Justin thinks he wants Brian to be, only to discover that Ethan is Justin at his worst: brought to life by art, yes, but a cheater, and a liar. 
As viewers, we recognize issues all along: for example, during a sex scene, Ethan directly tells Justin “don’t be nervous;” this stands in sharp contrast with Brian, who had previously told Justin that he was clearly “terrified” when they first got together. Brian acknowledges Justin’s fears; Ethan pretends they don’t exist. Ethan wants an illusion; Brian wants the real thing. 
We also see the “real you” aspect of Brian and Justin’s relationship foiled with Ben and Michael’s struggle over Ben’s HIV. Michael almost wishes he has HIV to relate to Ben more, and this plotline climaxes in Michael holding a needle to his arm, contemplating giving himself it to be more like Ben, and this line:
Ben: I don’t want you to be like me!
There are other relationships in the show, even nonromantic ones, that emphasize that Brian can’t accept the best of himself. Brian refuses to accept any thanks for saving Ted’s ass, because he’s still denying the best parts of himself. Both our good and bad traits make us human: Brian needs to accept the best of himself, and Justin needs to accept the worst. 
Brian and Justin finally face each other while having sex with other people in Babylon’s backroom, but lock eyes and it’s clear who they wish they were with. They have to accept themselves at their best and at their worst to be able to accept each other at their best and worst.  
Fortunately, that’s precisely what happens. When Justin decides to win Brian back by interning at his company, he gives him a sincere compliment that Brian can only smile at (ie, Justin confronting Brian with the best of Brian’s traits):
Justin: I've already learned more than I would in an entire semester of school... Which says a lot about you, actually.
Brian: About me?
Justin: Yeah. They say the tone of the workplace is established from the top. So it's a great compliment to you that you have such a dedicated and hardworking staff. 
And Justin is then able to show Brian that yeah, he knows Brian’s worst traits. And even with his worst self, he still thinks Brian’s best traits make him worth it, and that Brian can actually become better, grow. 
Justin: If you had any brains at all you would never have let me leave. You would've told me I was making the biggest mistake of my life. That I would live to regret it. That what you gave me was worth a thousand--a million times more than anything he had to offer. You would have told me that you loved me, and that you would go on loving me even after I was gone. 
Brian then confronts Justin on his worst traits:
Brian: That is so like you! You don't hear what you want, so you leave! Try standing up for yourself for a change! 
Aaand then Justin is able to admit his best traits:
Justin: I decided you should take me back... even though I’ve made a few mistakes, I think you’d be making an even bigger one not to give me a second chance. 
In other words, when they get back together, they’re able to see each other as fully human. 
Tumblr media
When they get back together, Justin and Brian are able to pretty much save the world by stopping Stockwell. Debbie outright states the season’s main theme after Brian gets fired for sabotaging Stockwell (such a smallscale Trump it’s almost eerie):
Debbie: it's your innate goodness. 
Brian: *laughs* 
Debbie: we all know good from evil and you’re no different. 
Again, the “you’re no different” line emphasizes that Brian is human despite his denials thereof, and being human is not just about fucking and being selfish--it’s about love and community and a long arc towards justice. And then Brian finally becomes the hero Justin and Michael have always believed him to be and gives up literally everything he owns--everything except the people who love him, honestly--to stop Stockwell. Not only that, but no one except his closest friends will ever know he is the one who saved the town. 
Tumblr media
The idea of accepting the worst/best of yourself is also foiled in the finale when Ted reunites with Blake. Ted cared for Blake because Blake brought out the best in Ted--his generosity and kindness and belief in goodness of humanity--but was destroyed by the worst (Blake’s addiction). At the rehab where he once dropped Blake off, Ted finds himself a patient, and Blake as his counselor--showing Ted that there is a future, that the best in you is never dead no matter how far you’ve sunken. You can always find it again. 
Justin and Brian: Being Human Means Accepting Help (Season 4) 
Season 4 at its core is about learning to be weak and ask for help. Ted needs help finding a job. Ben needs help processing rejection of his manuscript. Brian needs help keeping his apartment. But none of them want to feel pitied, and so they flounder. 
One of the ways people can need others is to need others to forgive them. Obviously we have Blake and Ted, Ted and... everyone after his addiction, Debbie forgiving herself for the way she treats Vic, and Brian and Justin forgiving each other and therefore forgiving themselves. 
Tumblr media
Obviously this was first set up in Season 3, when Brian forgave Justin for leaving him, but it’s further expanded on by repeating a lot of season two’s elements... in a way that doesn’t feel repetitive but instead shines a light on just how much growth the characters have undergone.
Justin’s brief foray into vigilantism is clearly paralleled with his foray into gogo dancing in season 2: both Brian warns him about, but Justin insists he can take care of himself only to get way in over his head. With gogo dancing, the boss sexually assaulted him; with the vigilantes, Justin ends up realizing that Cody is not that different than Chris Hobbs--he’s cruel, he’s hateful, he’s violent, and he only wants to use Justin for his own pride. But instead of how Justin allowed his guilt over needing Brian’s help for school to drive them apart after the gogo incident, this time Justin allows himself to get closer to Brian after realizing Brian was right. Justin also doesn’t forgive Chris Hobbs (nor really should he), but he does realize the pointlessness of revenge. 
Tumblr media
Brian then needs help but resorts to I can take care of myself when he’s diagnosed with testicular cancer. He lashes out at Justin and refuses to tell Justin what’s really going on. Brian’s lashing out becomes particularly cruel where he essentially tries to force Justin to leave him... only for Michael to show how much he’s grown by intervening and mediating. When Brian comes home sick to find Justin cooking soup for him, Brian falls to the floor and is literally struggling to get up from a fetal position (hello, obvious symbolism):
Brian: I’m all right! 
Justin: You're not all right.
Brian: Then why are you asking me?
Justin: So I can tell you what a motherfucking piece of shit you are for not telling me! For shutting me out! For thinking that you could handle this on your own! And most of all for thinking that I would leave you! Why would you think that? 'Cause you had a ball removed? 'Cause you're no longer perfect? Well, believe me, Mr. Kinney, that is the least of your imperfections! And if I wanted to leave you, I've had plenty of better reasons.
Brian: Well, maybe you should have.
Even though it’s framed as an argument, it’s actually Brian finally opening up. The look on Justin’s face when he realizes that Brian has finally told him the truth that he’s not been able to admit the entire series--that Brian hates himself, that he thinks he doesn’t deserve any love--was stunning. He said some pretty cruel things to Justin, yet Justin forgave him. Sometimes, that’s the best help someone can give--even the only help. 
Brian and Justin: Being Human Means You Can’t Control Others (Season Five)
Brian: My mother was a frigid bitch. My father was an abusive drunk. They had a hateful marriage, which is probably why I am unwilling or unable to form a committed long-term relationship of my own. The fact that I drink like a fish, abuse drugs, and have more or less redefined promiscuity doesn't help... much. As a result, I've lost the two people in my life that mean most to me.
Season 5 is all about everything changing and the resistance people have to change, but that doesn't mean the love that grounds it goes away. Melanie and Lindsay break up for a bit, Debbie leaves the diner only for a copycat to take over, Babylon changes when Brian buys it... and then when it explodes. 
Season 5 really explores the limits of change and what can and cannot change. Brian in particular has always used being gay as an excuse for why he doesn’t feel human, when his issues are far more complex than that. His being gay won’t change and shouldn’t (despite what the homophobes scream out their cars in certain gutwrenching scenes), but his attitude towards himself and others and towards his own sexuality can and should and does. 
Despite not feeling human and supposedly being very “live and let live,” Brian is actually something of a control freak, as becomes increasingly obvious in season 5. He lashes out at Michael for marrying Ben and setting up house, at Ted for pursuing a monogamous long-term relationship, at Justin for wanting commitment. Everyone moves on, but Brian is terrified of losing the only ways he feels alive... and he’s still stuck in a childish, egocentric mindset that he controls the world. (Justin has his own issues with control this season; namely around his mother’s new relationship, Michael and Ben struggle regarding Hunter leaving, etc). 
Brian: Before you and your husband tied the noose around your necks he was perfectly happy! But now, he's a defector, just like the rest of you!
Michael: He was never perfectly happy! Waiting for years for you to say "I love you, you're the only one I want."
Brian: That's *not* who I am!
Not only that, but there’s certainly irony in Brian claiming he “accepts” (his term) Michael’s choice for domestic life, but he clearly does not. The concept of “home”, which has been a motif for Brian and Justin’s relationship since the very first episode where Justin points out he’s not able to go home and hence he stays with Brian, and how Brian negotiates their semi-open relationship in season two with the idea that he wants to “come home to” Justin, comes up again in this same scene where Brian confronts Michael and blames him for Justin moving out:
Michael regarding his house with Ben: It's a home!
Brian: It's a farce! It's a freak show!
Michael: ... (Justin) didn't leave because of (me). He left because of you. Who wouldn't?
Again, there’s irony here. The “farce” and “freak show” are comments Lindsay’s parents have lobbed at her marriage to Mel throughout the show. Yes, Brian, resident gay stud of Pittsburgh, has some serious internalized issues that brush up against homophobia and that just boil down to the same issues driving many of the show’s antagonists: control. Wanting to be God, not human. 
Tumblr media
Brian needs to accept the limits of being a human being. You cannot control others. When you love them--to truly love someone--you don’t even try. You give them free will. You love them. You support them. I’m sure you can see the parallels between the general portrayal of the Prop 14 supporters who are using religion throughout the season to try to control others and claim it’s love when it’s blasphemy to call that love. 
As usual, Debbie is the voice of decency, not only by yelling at the religious protester “JESUS THINKS YOU STINK!” but also by saying to Brian:
Debbie: your problem is he left you. He left you, and he moved on. Only he didn't. You and he just made different choices, that's all. Doesn't mean that you don't still love each other.
Everything reaches a head when Babylon--symbolic of not just the gay community in QAF, but of Brian’s entire life--literally explodes. That scene is horrifying, disorienting, brilliantly shot and nauseating (like, I almost threw up, and it’s not gory at all--it’s just devastating, and the pure emotion hit me like a sack of bricks). 
Tumblr media
Justin and Brian choose not to control each other, which is actually a sign of love. About the finale, it has its own section below. 
The High Cost of Living
Justin: time will inevitably leave its mark... we should accept our mortality with dignity.
One of the things about growing, and growing up, is that you inch closer to death. There is no growing up without wrestling with mortality. 
Tumblr media
Brian in particular is called out by the narrative constantly. By episode 4, Ted forces Brian to be his power of attorney, to make the final decision whether he should live or die, because Brian needs to make the same damn choice. It’s the central choice Brian will have to make in the series: does he want to live? Because if he wants to live, he has to grow. And the rest of the remaining five seasons constantly ask Brian to think about what that means, holding his feet to the fire and forcing him to grow. 
The concept of aging is brought up in terms of this as well. From the start, Brian is terrified of turning 30 (oh boy, I feel ya there, Brian). He’s even suicidal at the thought, because he can’t fathom being older which has dual meaning for his character: firstly, that he’s stuck in adolescence emotionally, and secondly that he’s afraid to take charge of his own life. If he does, he’ll have to take responsibility for things. Being forced to take responsibility for not just Gus, but Justin, Lindsay, Michael, and other moments... it was good. Being young isn’t demonized either: in some ways, Brian being with Justin is a symbolic (literary please I’m not talking real life problematic elements) way of Justin meeting Brian at that age emotionally, and them growing together. Debbie even says that they are “pretty evenly matched” maturity-wise. It’s also a real-world psychological fact that people who experience trauma as children can become emotionally “stuck” at that age, unable to move past it. 
All of this ties into the PTSD motif with both Brian and Justin suffering from the disorder post-Chris’s attack. PTSD can make you feel like you’re not really living, which the show displays. A psychiatrist tells Brian:
It's like a fairy tale, Rapunzul or Hansel and Gretl, but the cage is his mind, and it's up to you, the handsome prince, to release it. 
This applies to more than just Justin’s repressed memories of the attack; it applies to their entire relationship over the course of the show. They have to escape their cages of trauma and terrible coping mechanisms in order to fully, truly live. Justin is as much the handsome prince to Brian’s trapped Rapunzel as Brian is a prince rescuing Justin--for the entire show. 
In season 3, Justin even directly tells Brian that the latest comic based on Brian is about: "It's about thawing his cold heart, bringing him back to life. It's about their love. It's about commitment." Those elements give life. 
Season 4 is where the motif of life and death really picks up again, when Vic dies and Brian is diagnosed with testicular cancer. Brian contemplates letting himself go out in a blaze of glory, young and handsome, but in the end goes through with the treatment (which involves removing a testicle) after spending time with Lindsay and his son Gus, with Michael, and with Justin telling him that he loves him again. 
The finale of Season 4 has Brian breaking his collarbone and still insisting on finishing the bike ride. Brian is literally in front of a graveyard on the path when Michael shows up next to him and insists that if he’s going to do this, they’re going to do it together. They come to the finish line hours after everyone else has finished, and Brian, in agony, decides he’s close and enough and wants to stop. 
But then he sees Justin waiting for him over the finish line, along with Debbie who loves him like a mother, and Ben (Michael’s newlywed husband) and Hunter. And he’s motivated to push forward and finish well, despite the pain because the people who love him want him to live. 
The Scarf and Art as Life
That bloodstained scarf Brian buys himself for his thirtieth birthday becomes a beautiful symbol of not just Brian and Justin’s relationship, but Brian’s life, which is forever tied to Justin. Brian at first buys the expensive scarf to indulge himself (as he starts the series doing in spades), then uses the scarf to get off and simultaneously flirt with dying via autoerotic asphyxiation, and then finally uses the scarf to dance with Justin. But the scarf becomes soaked with Justin’s blood after Chris’s attack, and yet Brian continues to wear it. 
Tumblr media
He can’t take it off, because it’s their lives in a symbol. When Justin starts to remember what happened, he uncovers the scarf on Brian. When they make love for the first time after the attack, the camera focuses on the scarf lying beneath their feet. 
Justin’s life is his art, which Brian directly says in the first season, and which Debbie emphasizes by telling Justin as he wrestles with whether or not to go to Dartmouth for business like his father wants or to pursue his art (his own life):
Debbie: you don't have the power to get [your parents] back together. But you do have the power to fuck up your own life. So make sure you think twice before you do it.
Chris’s attack almost steals Justin’s life and his art (literally, though the damage to his brain and hand) from him. When Justin struggles with his recovery and considers dropping out of art school and Brian buys him a computer so he can do digital art, he reacts angrily:
Justin: You can tell everyone you fixed Little Justin's problems? Well, you can't fix this. No one can.
In season 2, Brian pissing on Justin and Michael’s comic is really symbolic not just of the injustice he did to Michael and Justin’s lives, but also symbolic of how he feels about himself (as Debbie says, they literally based the hero on Brian, because “you’re their hero”).
At the end of the series, when Justin goes to New York to pursue his art fulltime, it’s symbolic of him being fully alive--and symbolic of Brian being so as well. Why? Because Brian’s life is tied to Justin’s, forever and always. If Justin lives freely and succeeds, then Brian will as well. Brian telling Justin to go was him choosing to live fully and freely for the first time. 
Religion, Fathers, Mothers, and Sons
Justin: I've caused them enough pain.
Brian: It's bullshit. They cause their own pain just like everyone else.
There are so many parental relationships in the series, and they span from the horrific to the beautiful. Debbie is the mom I want to be, and good religious rep... in contrast to, say, Brian’s family, which is horrifying. I mean, Brian’s dad legit telling his son “it should be you who’s dying” when Brian tries to finally tell him he’s gay after his father’s terminal diagnosis was a moment I audibly gasped in horror. 
Brian’s mother, however, while horrifically homophobic, cold, and emotionally and verbally abusive, was still very humanized in that it’s clear she has no one to love her and be kind to her. Brian’s kindness is to not take her faith from her. I also liked the priest character, because he was upfront that he never taught anything but God’s love, and God was whom he answered to. He also pointed out to Brian that he has someone he can always count on and have around: God. For Brian, that person is Justin (the religious motif is emphasized also by the fact that Justin tells Daphne “I met God” after meeting Brian the first time, and by the scene in the final season when Brian prays with Debbie for Michael to survive his injuries--although, as both say, they aren’t asking God so much as they’re “telling” (which btw is actually biblical lol). But the point is that Brian then goes and tells Justin the truth finally: that he loves him). 
Debbie moms everyone in the group, and helps Jennifer learn to be a better mom to Justin as well. But Debbie can herself grow as well: she projects her fears and trauma over Vic’s illness onto Ben and Michael, and allows her own insecurities to ruin her relationship with her brother. 
Tumblr media
Justin’s father is terrible, but Jennifer is instead well-intentioned and flawed, fairly complex. She at first blames Brian for Justin’s injury, and Brian ironically chooses to believe her (that it’s his fault) over Justin (who directly says “it’s not your fault” multiple times while embracing him). Again, this is symbolic of Brian’s childishness (believing a parent over an equal), but what helps is how Jennifer grows and apologizes to Brian, asking him to help Justin instead. By showing Brian that growing doesn’t always mean turning into a miserable, angry bastard, Jennifer actually gives Brian a good example of how to stop being an asshole. 
Parents can grow, because parents are human.
Injustice
Ben: Your children lead privileged lives, and you dare to laugh at my son's misfortune.
By the end of season one, the relationships we’ve been following all reach significant moments: Blake runs away from rehab and thereby from Ted, and he has to face that he cannot save Blake. Michael moves to Portland with David, taking a risk that ultimately doesn’t work out. And Brian finally makes a good choice, coming to Justin’s prom. The couple that made the best decision for each other in that episode? They’re the ones that end up in the worst tragedy, when Chris attacks Justin. It’s wrong, it’s infuriating, and it’s devastating.
Tumblr media
It’s also unfair in another element: the narrative has been challenging Brian to grieve, but Justin being the one actually to almost die seems horrifically wrong--and that’s the point, and what makes it powerful. Justin did nothing wrong insofar as learning to grieve goes, but he pays the price. In this, the show calls out a double standard in society, shows us how unfair it is. The innocent, the childlike sunshine, pays the price for society’s bigotry, for adults inability to healthy process emotions, for all of it--burdens they should never take on. 
The motif of injustice comes up again and again throughout the show: Lindsay’s parents paying for her sister’s three weddings yet calling Lindsay’s marriage to Melanie not “real.” Hunter being targeted at school for having HIV after being abused physically, mentally, and sexually his entire life, the pursuit of justice for the murder of Jason Kemp, Michael and Ben not being able to legally marry, the issues around adoption... we also never really find out who attacked Babylon. These plotlines are seldom resolved with feel-good bows (with the exception of Jason Kemp’s murder), because there’s still work to be done in the world. 
Love: An Unconstrained Risk
One of the main symbolic messages of the show, especially when taken in the context in which it was made (early 2000s, before same-sex marriage was legal in any state in the USA), is that love can’t be easily defined or put into a box, but love is powerful and life-giving. The fact that most of the romantic relationships in the show were, obviously, queer, highlights this. The romances also weren’t limited by age--we have younger, older, and elderly people falling in love--or by health. 
Whether or not legal marriage was allowed, the love and commitment Melanie and Lindsay have is real. Ditto for Ben and Michael. Despite the weird, even creepy on the outset age differences between Emmett and George (and to a lesser degree Justin and Brian), both of these relationships ended up being really beautiful. Love isn’t even defined by time or broken by death: it goes on and on. That’s one of the main messages of the ending--that time and space have little say in the love Brian and Justin have for each other. Love will not, cannot be constrained by forces manmade or intrinsic to the universe. (That said, I still would have liked to see them actually get married, because there was foreshadowing for it... but the ending is well-written.) 
Love also comes with risks, which itself is a theme that ties in with the concept of being in the present moment (another theme). Marriage is a risk for Lindsay and Melanie, Ben and Michael, Brian and Justin, Debbie and Horvath--and not choosing to marry is a risk as well in the latter two cases. Moving to Oregon with David only for it not to work out for Michael was a risk, as was choosing to love Ben despite the fact that people were warning him about Ben’s HIV positivity. Vic moving out with Rodney was a risk. Tucker and Jennifer was a risk. Ted falling for Blake was a risk that seemed to not pay off, but then later did. 
Tumblr media
There is no love without risk, and the tides may not run smoothly, but it doesn’t make it any less real and eternal. This applies to an extent to self-love as well. Drew coming out, Melanie and Lindsay giving themselves permission to get married, Brian really only learning to love himself through loving and caring for Justin.  
The idea of love as a risk is honestly most fully embodied in Michael’s character as well, particularly in the motif of fantasy vs reality. Michael’s major issue early on was his unrequited love for Brian, which made him leaving with David a good choice for his character... even if it was obvious the relationship was doomed. Why? Because David clearly loved the idea of Michael more than Michael himself, and Michael loved the idea of David and the white picket-fence life (which he genuinely wants and does get) more than the reality of who David was. With Ben as a husband and Hunter as their son, it was hard, riskier than staying in reveries. 
The Finale
Which is again why the finale works from a literary perspective even if my taste is to like things neatly wrapped up. Instead of marrying, they commit to loving each other without full guarantees, because they both still have a little more growing up to do (honestly, QAF is a bildungsroman). Brian’s finally saying the words “I love you” was progress; the proposal was less so because it was made out of fear, out of I can’t risk losing you, rather than a full maturation. But you have to risk in love. I honestly think the implication is that Brian and Justin will end up together for real, probably married, since it’s still abundantly clear that what they want is each other, and they are forever each other’s life; we don’t necessarily need to have it spoonfed to us to see the narrative implication.
I mean, really. The narrative showed us at the start of season five that Brian made room for Justin to move in even while not expecting him to come back from LA (showing a part of him does know they’ll be together), called out the fact that Brian didn’t return the rings, they promised to visit, and how. many. times. did the series have Brian fantasize about going to New York for some fancy life, while Justin’s fantasies were always about ending up married with the love of his life? It’s pretty clear their goals do align--there’s just still more growing to do first. Yes, no future is guaranteed, but the hint at an off-screen happily-ever-after so blatant I’d barely call it a hint. We even have, back in season 4, Vic’s post-death pseudo-spiritual visit to Brian’s dream, where he tells Brian he was lucky to get four more years after his almost-death, but “you’ll have a lot more than that.”
Also again, season 4′s finale can be seen as symbolic of where it’ll end up. Michael and Brian move towards the finish line, Brian, because he’s crippled in pain and literally broken, is running hours later than everyone else. But with Michael pushing him towards the finish line--where Michael’s husband and son wait alongside Brian’s partner in Justin... well, it’s clear they’re still pushing towards that line by the end. 
Tumblr media
And finally, all the foreshadowing of an off-screen married happily-ever-after ending for Brian and Justin in season 5: Justin going to LA and coming back, despite Brian thinking he won’t. Hunter leaving, and then returning. (Let love go, and it’ll come back.) Someone remarks that it is “magical thinking” that Melanie and Lindsay would get back together, and Emmett responds “Well, you never know.” Lo and behold, they do get back together, despite reaching the lowest of the low in their relationship and doing things to each other that could honestly be seen as unforgivable. Blake and Ted reunite at last, because it had always been “right person, wrong time” for them, and it was finally time. I kind of don’t think the main relationship of the entire series is supposed to be the exception. 
Being Yourself
Michael: ...being different is what makes us all the same. It's what makes us family.
Of course, another main theme throughout the show was that of being yourself. It’s pretty expected for a queer show, but QAF gives it a unique twist in how it emphasizes this (not just in season 3). But starting in season one, Brian tells Justin he’ll go on to meet lots of other guys, and Justin replies that he doesn’t want other guys: he wants Brian. The rest of the show is precisely about Justin discovering what that means. The end is Justin still wants Brian, but he doesn’t want Brian to deny himself completely--that’s actually Justin showing that he really loves and wants Brian as he is. 
But, the show also emphasizes that no person is an island. People do need each other, and the things we do with our lives do affect others. See again: Brian choosing to go through with his cancer treatment for the sake of his loved ones, Hunter desperately needing Ben and Michael as his parents, and how when the community bands together, they’re really able to accomplish the unbelievable, even the miraculous (taking down Stockwell, rebuilding Babylon). 
Stuff I Didn’t Love
The season 3 plotline with Brian’s nephew accusing him falsely was a retread and not a good idea: the idea that kids often lie about that is just not particularly helpful (because it’s not true), and the plotline/challenge for Brian’s character was done much better with the sexual harassment suit from Kip in season one. 
The season 4-5 plotline of Lindsay cheating on Melanie and the ensuing custody battle was another retread of Melanie cheating in season one and while it did ultimately not ruin their characters (which it could have done; to their credit the writers made it work), it wasn’t exactly the best choice of writing either. 
Emmett and Ted had no chemistry so I could never buy them as anything more than filling space, which I think was the point in the end, but for a few episodes it seemed to be taken too seriously as something to root for when it... wasn’t. 
Overall Impression
I’m drawn to stories about existentialism, stories that explore nuance and empathy, stories with themes like what it means to be human, stories that aren’t sanitized for the sake of a moral message (biggest fear for any reboot right here). Maybe it’s again the fundie upbringing, but I constantly feel like I have to earn the right to exist and struggle with accepting both the best and worst aspects of myself, and media that explores questions more so than hammers a message appeals to me (because I actually feel like the messages of these media pieces comes across stronger). Queer as Folk is all of those things, plus some really tight writing and excellent symbolism for any literature nerd to salivate over (most shows never use symbolism anymore! Never!) 
In some ways, certain aspects make it very much a product of its time, but in other ways, it’s timeless. It’s really an artistic masterpiece that reminded me of what I love about humanity and life itself, that makes absolutely no apologies for its stance on love as something powerful (another thing missing in modern media: the concept that love wins), that doesn’t give us simple answers for what it means to recover from trauma as individuals and as a society, that doesn’t write literally any single character off as a one-note person who can never change while at the same time acknowledging how hard, long, and winding changing is, and what can and cannot change in a human. 
On a personal note, realizing, after I’d finished the show, its connection to a genuinely traumatic childhood moment that actually, years later, helped me escape me a cult adds another piece of sentimental value. And @our-mathematical-universe​, you were right when you nagged me to watch this over the past few years. 
10/10 
340 notes · View notes
watchmenanon · 1 year
Text
Exclusive: Noah Schnapp, Gaten Matarazzo, Caleb Mclaughlin & Sadie Sink Spill Stranger Things 3 Secrets
Tumblr media
Classic, gory, fun, sad, bigger – those are just some of the words used by the young cast to sum up “Stranger Things 3” on Jimmy Fallon’s “The Tonight Show”.
The last time we left Hawkins, it was set in late 1984 and things have somewhat become normal once again. Well, as normal as it gets considering there are killer creatures from the Upside Down that can access our world.
When “Stranger Things 3” premieres on Netflix, the storyline will fast-forward to July 1985. There are new villains and a whole new threat . Having said that, the biggest obstacle that the group of wannabe Goonies are facing aren’t just Demogorgons but something more unnerving – puberty.
As producer Shawn Levy points out, “Our tagline is that ‘One summer can change everything’, but the reality is that growing up doesn’t happen at a constant or consistent speed. People develop in very different ways and at different rates“. To echo SFX, while some might be content playing “Dungeons & Dragons”, others are starting to feel that the kiddy stuff are well behind them.
As part of their Asia promo tour, Hype got the chance to sit down with Noah Schnapp (Will Byers), Gaten Matarazzo (Dustin Henderson), Caleb Mclaughlin (Lucas Sinclair), and Sadie Sink (Maxine “Max” Mayfield) to talk about the exciting Netflix series.
Prior to our roundtable interview, the cast of “Stranger Things 3” made an appearance at the Stranger Things Summer Festival event held at Akiba Square.
During the Q&A session, the young actors got to interact with popular Japanese celebrities Ms Yuko Oshima (former group member of girl band AKB48) and comedy duo Speed Wagon (Jun Itoda and Kazuhiro Ozawa). They were also gifted with custom traditional Japanese outfits called HAPPI.
Fans who attended the event got to experience zones and game stalls that were inspired by elements of Summer in 1985 Hawkins, Indiana, and more. We were geeking out real hard but our highlight was, of course, our exclusive interview with the quartet.
How is “Stranger Things 3” different from season 1 and 2? 
Caleb: It’s different from the last 2 seasons, which had like a fall-wintery vibe. This one is bright and fun. We see the kids hanging at the Starcourt Mall… It’s essentially the same formula but you can’t tell as a viewer because the storyline is different and there are new characters.
What were your first reactions when reading the script? 
Sadie: Usually before reading the script, we hear rumours about what’s going to happen. Especially if there’s something big like a death.
Do you just get your own parts? Or are everyone’s parts included in the script as well?
Sadie: Yeah, we get the full script. It helps us get into the characters.
Gaten: Some people choose not to read everybody’s parts. They just go into their scenes.
Sadie: It make sense too because how is your character supposed to know what is going on with other characters.
Caleb: Sometimes I do that. It helps because I’ll have a natural reaction to the situation, especially when everyone is back together.
What would you say is the biggest change about your characters compared to the last season?
Caleb: I feel like Lucas faces battles differently; in a more composed way.
Sadie: I think Max is now more established in Hawkins. She’s not the new girl anymore. She’s earned her place in the group. She’s not letting Billy push her around anymore. She’s also super confident and that’s why I was drawn to her.
I like that we’re getting to see some girl power through Max and Eleven’s friendship too.
Sadie: Yes, we get to see this strong female friendship when Max kind of takes Eleven under her wing and shows her what it means to be your own individual self and teaches her to have her own style. It’s cool to see Max become her role model in a way.
Of course me and Millie have a genuine relationship off screen as well so I think that chemistry really shows.
Gaten: I think it’s great that the girls aren’t necessarily just the girlfriends.
Sadie: Yeah, they have their own storyline. Max’s purpose wasn’t to be Lucas’ girlfriend. She has her own thing going on and she’s very independent.
What is the craziest rumour or fan theory you’ve heard about your characters?
Sadie: In the beginning, there were a lot of rumours floating around about Max before you’ve seen her on season 2. People were like, ‘who’s this red head chick’ joining the show. Many assumed that she was going to have superpowers like Eleven.
Caleb: Or that you were going to take Mike away.
Gaten: We’ve been there from the beginning. So there’s not much for them to speculate, caused they know the characters already. Coming in later in the show, I can imagine (it being harder for Sadie). Every new addition, fans are going to be skeptical about it.
Sadie: One of the weirdest thing I’ve heard someone say was like ‘Oh, the character is supposed to be tough. But she has red hair, she can’t be tough’. People say the weirdest things.
Eleven is the only one with powers. If you could possess one in real life or as your character, what would it be?
Sadie: I want to be able to teleport. Max will probably like invisibility so she can steal stuff.
Caleb: For Lucas, maybe like Hawkeye in Avengers or something. It’ll be cool to see him be a sharp shooter. Or like Green Arrow too.
Noah: I guess for me, I’ve always wanted to have invisibility cause then you’d get to do anything you wanted. It’d be so fun! Like maybe just walk up into the plane and skip all the queues.
Gaten: For me, I’d like to be a shape-shifter and change into different animals. For Dustin, I think he’d be really cool in manipulating technology. Say there’s a bad guy attacking with missiles, he could just reprogram them with his mind. If a car is coming towards him, he could just turn off the engine.
Noah, your character has gone through some pretty dark encounters. How do you detach once the director yells cut? What about the rest of you guys?
Noah: I separate the two things as much as I can. So usually, after an intense scene, when the director yells cut, I’m never really sad.
Sadie: You can just snap out of it?
Noah: It’s just two different worlds, you know.
Gaten: I think it’s good that you’re able to shed it so quickly cause there are so many performers that hold on to it. Especially when a character that deals so much as Will does.
Sadie: It depends on the scene too. If it’s really emotional, it’s harder.
Gaten: I feel like after those big emotional scenes, everyone is usually very quiet afterwards.
Do you have a favourite storyline for “Stranger Things 3”?
Caleb: I’d say that my favourite parts in this season are the last few episodes.
Before we end this session, can you leave us with a little tease ?
Noah: The ending is very sad.
Gaten: It’s an emotional season and there’s heartbreak.
Sadie: It’s very different from the season two ending. Tears will be shed.
Gaten: More than previous seasons, I feel.
Caleb: The first two seasons were very dark and eerie, while season three is more comical and light-hearted. It is still dark, but it’s different from what I was used to… There’s a really good cliffhanger too.
“Stranger Things 3” premieres on Netflix on 4th July 2019.
25 notes · View notes
varjopeura · 13 days
Note
15, 20, 33 and 56 for Tomu! :D
15. What battle in the campaign has been most memorable to your character?
There are many good ones to choose from, so let's go with a very recent one! The party had taken on a bounty hunting gig that lead them into a hidden laboratory complex of a lawless master mechanic. The place was brimming with traps and heavily armed minions, so a couple of the party members were already beat to shit at this point. They found a relatively safe hiding hole to rest for a while, but Tomu wanted to keep exploring while the rest of them were licking their wounds. There were fun little mechanical spiders here, and so many fun varieties of explosives, and she really wanted, no, needed to see everything right away! So she got turned invisible by the druid/warlock B'Tuin and went exploring ahead.
Only a couple rooms away from their resting place she found their mark, all alone and not noticing invisible Tomu sneaking around. This was just too good of a chance to pass up on - surely Tomu could take this villainous elder gnome down all by herself. So, with the element of surprise on her side, she tried to sneak up on the gnome and pour a magical sleep-inducing potion in his mouth... and failed miserably in doing this.
The alarmed gnome didn't attack Tomu right away, but went and hid into this big metal construct on legs that could move and fight on his behalf (fantasy mech suit! how cool is that!!) and only then attacked. The rest of the party heard the commotion and rushed to help Tomu, their short rest sadly interrupted.
The mech was a challenging opponent, and two out of five members of the party were not in great fighting condition to begin with, so they really had to use their brains with this one. So there was a lot of moving around the room while everyone was trying to find a safe place to stay in. There were bombs thrown about! And did I mention the Giant Mech we were fighting against! Everything here was just so so so inspiring for Tomu (and as a player it was a super fun battle). But yeah, what really made this one memorable over everything else was the fact that this one was 100% Tomu's fault. Her dear friends got into serious trouble just because she didn't want to hang around while they were catching their breath.
I think she might've learned something from this experience. (and she got to throw some cool ass bombs towards a giant robot, what's not to like)
20. What is the biggest mistake your character has ever made?
Oof. I'll tell you the tale of what happened to the temple town of Othe, because. Well. Even if it was an accident (and technically a group effort), the sheer magnitude of this one leaves no room for any other answer.
The party was searching for shattered fragments of a primordial titan to help B'Tuin in his research of them. And they found one, in an ancient underground ruin near the town of Othe. There was only a slight problem: the fragment, resembling a vaguely round blob of black stone, was seamlessly attached to a huge stone altar and thus impossible to move around.
The party tried a few different ways to remove the blob, none of them working. Then, in a random fit of inspiration, our cleric Musta tried to lick the stone (idk, must be a tabaxi thing) and immediately fell unconscious when every bit of moisture from her body was sucked into the stone through her tongue. The blob was thirsty.
While the rest of the group was working on getting Musta back up, Tomu tried out a couple of things with the blob. Spitting on it didn't have much of a reaction, apart from the wet mark disappearing into its mass in a split second. Maybe emptying her water skin into the blob would be a good start? So Tomu poured all of her drinking water onto it, all of it getting sucked in like she expected.
And suddenly the blob's thirst seemed to be quenched, and it came free from the altar with a soft little 'plop' sound. Tomu picked it up and handed it to visibly delighted B'Tuin. No one really paid mind to the small but deep hole left in the altar on the blob's place. Their job here was done, it was time to get back to Othe.
Their preparations for leaving were interrupted by the sound of rushing water. A few heartbeats after they heard it, the small hole in the altar started spouting water with impossible speed. And when I say impossible, I mean impossible: the room they were in was vast, more of a great hall than a room, and the cave system behind it even greater than that, and still, within minutes the water level was reaching their ankles, their shins, and kept rising fast.
So they ran. They climbed higher and higher in the tunnels, just barely keeping ahead of the all-consuming water masses rushing behind them. It was a narrow escape, but finally they got out of the caves and climbed to safety on a tall cliffside. Here out in the open, the water couldn't rise as fast, there was simply too much ground for it to cover.
But here's the thing about Othe. The town is built on a lake, on a series of small islands connected by bridges, and the lake is surrounded by hills and mountains on all sides. The place is essentially a bottom of a very big bowl. And there was a lot of water heading into that bowl.
There was really nothing the party could do at this point, as the water mass underneath them was roaring and snapping trees in half and moving boulders from their places. There were even giant sharks and various other sea creatures apparating seemingly out of nowhere into this great whirpool of death. They could only watch from afar, as the water on the lake surrounding Othe rose higher and higher, until nothing remained but the very tops of the town's tallest towers. The ancient town with all of its people was essentially wiped out of the map in less than an hour.
Tomu doesn't really like to think about this one. Unfortunately everyone else in the party is talking about it a lot, it really left a scar in everyone so it's not that easy to repress this one into oblivion. It might've been a complete accident, and someone else on the party would've certainly removed the blob if she hadn't, but. You can't really hide behind any excuse when you've drowned an entire city.
33. What person does your character admire most?
This is a tough one to think about! For the longest time in her backstory era there was such an easy and obvious answer to this: Augusterius Harha, her mentor AND best friend, and at least in Tomu's eyes, the most powerful person on this side of Imperium. And after that relationship and admiration came to a sudden and horrid stop, she's been quite wary of holding anyone in similarly high regard.
Her traveling party would be the most obvious choice, especially her new BFF Kato, our barbarian, whom she absolutely adores with every fibre of her being. She just gets kind of weird about "putting people to that kind of pedestal" (her words, not mine. it's like she sees admiration as something inherently hierarchical and thus not fit for equal partnerships).
But there was a wizard in Nicodranas, Yussa Errenis*, who was the employer of the party for a short while. This dude owned an entire city district! AND a cool super special magic tower in the middle of said district! This is something to be admired in Tomu's eyes, this is the level of power and fortune she wants to have when she grows up.
*it's fun to have a campaign set in Wildemount, we get to occasionally meet famous NPCs from the source material :3
56. When they were a child, what did your character want to be, or think they were going to be, when they grew up?
Tomu's parents were running a fairly successful general store, and Tomu was very much raised with the intention that she would one day take on the family business alongside her sister. She wanted nothing to do with this plan - the honorable profession of a trader was a Boring one! She wanted to have some action in her life! To see places! To see people who weren't here to buy turnips or knitting needles!
So she spent a lot of time dreaming about running away from home and joining a traveling circus or theatre troupe. She probably would've done it, too, if she wasn't suddenly swept away to a life of crime (and later, adventure) instead.
2 notes · View notes
subbyenbywitch · 1 year
Text
ships i ship the hardest
one of the things i've always loved about tumblr, and a big part of why i'm so happy to be back, is that (and yes i know i'm dating myself here) it feels like a spiritual successor to livejournal. and frankly, i fucking miss livejournal something fierce.
so it seems like a bit of a waste to just reblog stuff & write the same reviews of media i've been writing wherever my online presence has existed for the last half decade or so. it's about time i get into that really cringe bullshit that i always used to post on livejournal. and this seems like exactly the kind of thing I woulda posted on there back in the day.
cringe is dead, long live cringe.
now, just to set some limitations on myself so this post doesn't become totally unreasonable (just reasonably unreasonable), i'm going to make a genuine effort to limit myself to one entry per show/game/whatever (i fully reserve the right to just flagrantly ignore this limitation when i so choose). i will also mostly focus on couples rather than just putting all my favorite characters in a giant polycule. cool? cool.
(cw: some of these characters will have canon age gaps and/or are minors in some canons, just assume there's an element of au-ification or time skipping here. cool? cool.)
sontails
Tumblr media
my profile on every social media site used to include "and yet, be it cruel or comforting, this machine unerringly writes sontails angst & fluff. that's what it does." so, yeah.
i also happen to believe that they're in a big ol' gay polycule with shads & knux, and recently i've especially had QUITE A FEW THOUGHTS about shadtails (do i share that fic here? hmm. i'll think about it.)
Tumblr media Tumblr media
but yeah. for me, sontails has always been the central relationship of this franchise, even before I shipped it. i got super annoyed when the franchise did dumb shit like when sonic x gave chris almost exclusively emotional beats that should've gone to tails, or when sonic unleashed gave sonic a substitute sidekick (ok tbf i was already a shipper by the time i played unleashed), or just the games increasingly deemphasizing their relationship in general.
but, yeah. probably needless to say, this one is super important to me.
godzilla/mothra
godzilla is a bratty bottom, mothra smacks him around every now & then when he gets out of line. this is just canon.
riker/worf
Tumblr media Tumblr media Tumblr media
a lot of this is just the fact that frakes' charisma is totally off the charts, and riker is such an outspokenly openminded dude that you can kind of imagine that literally every single conversation he has with a sentient, physically compatible, appropriately-aged character has a non-zero chance of ending with them in bed. he's like a non-predatory kirk. just total throwback pulp-inspired sexually adventurous explorer dude.
and as worf is canonically his best friend, and we see several instances of them sharing a deep, emotional bond, it's kind of hard NOT to at least see possibilities for shipping here.
what really cemented this for me was when we got to season 2 in our most recent tng rewatch. this is a season that early on features riker being extremely excited to serve aboard a klingon ship as part of an officer exchange (to learn about his boyfriend's culture!), and closes with the scene i screencapped at the top of this entry of riker making worf his first officer during the wargames. also somewhere in there riker joins worf on the holodeck for his klingon calisthenics program. they just do everything together, it's so sweet.
also worf dating troi towards the end of tng & riker having clearly had a fling with dax in thomas riker's ds9 appearance really put the icing on this polycule. it's basically just canon. if picard season 3 doesn't give these two some good moments together it's gonna have some 'splainin' to do.
catdora
Tumblr media Tumblr media Tumblr media Tumblr media
yes, yes, i'm being boring and shipping a canon couple. here's the thing, though. i literally started watching this show because i knew the central protagonist & antagonist were canonically gay for each other and i'm sorry but i fucking love that shit.
every time catra captures or beats up adora i feel squirmy. and then catra shows up to princess prom in a messy tux and homoerotically/threateningly dances with adora culminating in dipping her??? and guys, my little gay heart can't take it. it's too yummy. HELP.
Tumblr media
but then season 5 happens and there's that agonizing apology AND THE RESCUE??? where a swordless adora nevertheless transforms into she-ra THROUGH SHEER FORCE OF GAY WILL & GAY ANGER to protect her kitten???? and i'm sorry, THIS IS EVERYTHING I'VE EVER WANTED OUT OF MAINSTREAM MEDIA, PUT THIS GAY STUFF DIRECTLY INTO MY VEINS.
so yeah i kinda ship them or whatever.
adiray
Tumblr media
yeah, yeah, i’m being boring and shipping another canon couple. but i'm sorry??? they're the first trans/nonbinary characters in the history of star trek??? and they're dating each other??? and they're part of a big queer chosen family???
also the episode where we first meet gray is just one of the best episodes of the whole damn franchise? the scene where all of tal's past hosts embrace adira is just so fucking wonderful. and then once gray is literally brought back from the dead he picks just the most epic, wonderful nurturing life direction.
i love these two so much and i want them to be so happy & safe. protecc at all costs!!
lumity
Tumblr media
i mean yeah again they're canon but fuck you i only recently started actually getting canon queer couples in shit i watch!!
but yeah seeing these two bring out the best in each other and just being absolute badasses whenever they're fighting to protect each other and also they're powerful witches, just, YEAH this shit rules. and they're so dang sweet.
flick/cj
Tumblr media
i'm not nearly as into cj as i am into my beautiful enby punk/goth lizard boy, but i gotta admit they're hella cute together and i want flick to have all the happiness their little gay scalie heart can contain!!!
karai/leo
Tumblr media
this is basically down to the fact that in literally every iteration of the two characters, karai bullies the fuck outta leo, and as someone who used to intensely relate to leo because he’s got “the good kid” syndrome something fierce, obviously i always enjoyed seeing her be all femdommy towards him.
nowadays, i tend to relate to donatello more than leo, but i still really enjoy every iteration of karai playing with her food with leo.
Tumblr media
also, honorable mention to karai & april from the 2012 cgi series. the episode where karai beats the shit outta april definitely made me feel feelings the first time i saw it. and every time karai defeats or captures her she always calls her “princess” & is all condescending in general, and it’s just, fuuuuuuuuck, it’s SO gay.
also also obviously i ship basically every combination of the four turtles. i mean, duh.
russian winter
i was shocked when rewatching babylon 5 a few years ago how upfront the show was about the relationship between commander susan ivanova & talia winters. in her last appearance on the show, talia slept with ivanova, and in a later episode when everyone on the crew has to tell a deep, personal secret ivanova says that she loved talia. considering we’re talking about the 90s here, that was pretty fucking explicit.
and yeah, there’s an unfinished fic sitting on one of my harddrives about ivanova rescuing her. maybe i’ll try to get back to that at some point, idk! i haven’t been writing much fic lately.
jake sisko/t’lir
Tumblr media
jake sisko/enby vulcan, jake sisko/enby vulcan, JAKE SISKO/ENBY VULCAN.
aragorn/legolas/gimli
it’s that thing where you take a very homosocial book and add expanded roles for some of its female characters to make it less homosocial but you change exactly nothing about how emotionally intimate the homosocial relationships are and also both gay people & people who are more conscious of the fact that gay people exist watch your movie, so like, yeah this is kinda inevitable?
gashir
i don’t even give a shit about bashir when he isn’t interacting with garak. he might as well be a non-character.
i fucking love garak he is such an amazing bratty dom. i love watching him play with his food (his food being bashir).
milippa
Tumblr media
i mean, burnham has more feelings about georgiou than she does about any of her actual on-screen romantic partners, whether it’s for her gentle mommy domme prime universe georgiou or her badass mean domme mirror universe georgiou. i like michael with book, don’t get me wrong, it’s just hard for me to get as excited for heterosexual relationships as i do for queer headcanons, especially when one of the two participants is a mommy domme.
jaydick
Tumblr media
i’m not super invested in this one, especially since it requires dick to be a service top and i think he’s at his most natural as a bottom, but yeah their dynamic has always been pretty charged to the point that the first gay fic i ever wrote was about these two.
12 notes · View notes
hi!! i was wondering how you made that cool profile thing you did for your invincible oc?? it looks super neat and i’m genuinely really curious bc i wanna do stuff like that meself cause i think it’d be really cool
Tumblr media
ahhh thank you so much, and thank you for the submission <33
i use canva!!
i’m generally pretty scared to touch photoshop cause it looks intimidating, but i really like using canva! it’s easy to navigate and use, you can download the app or use its website (although my go-to is definitely the website, i edit on my laptop cause my eyesight needs it)
disclaimer: canva has a canva pro option where you pay so you have access to all templates, pics, and other elements. but good news, even without canva pro, there’s already a lot of free stuff in it.
this post is long-ish so under cut is a breakdown of my process :3
so before i got to make these:
Tumblr media Tumblr media
i started out with this as my base/inspiration:
Tumblr media
the best thing about canva is that it has tons of templates. if you have something specific in mind you can freestyle it. and if you want inspiration, you can always search it up and canva will offer you tons of pre-made stuff to choose from.
Tumblr media
2. i mostly go for minimalistic templates for a clean look, especially if i’ll be including a lot of text in the edit. the size of the audora design moodboard thing earlier is 20x25 cm which was enough space for me, but you can always customize that to any size you need it to be.
Tumblr media
^^ for a specific size, click on ‘create a design’ then pick the plus sign that has 'custom size’
3. i start out with changing the fonts first. since i’m making character profiles, i wanted to incorporate their handwriting. i put 'handwriting’ in the font style search so i can pick styles that resembles it (i love that canva has a lot of aesthetic cursive styles <33)
Tumblr media
if you’re not sure on which fonts to use or which combinations look good, there are options under text that you can pick from
Tumblr media Tumblr media
and if you have a font you already like but want to modify it, go click on that text and pick 'effects’
the effects work best when the text is bold but it’s still good with unbolded text too. the effects i use the most are shadow and lift (shadow if the background is a solid color and lift if the background is a photo)
Tumblr media
4. to add little designs and details (like the blood splatter, circle, arrow, etc.), go to 'elements’. graphics portion is the one i use the most. but if you need photos or moving graphics, canva has those too! i promise they literally have everything
just drag the graphics to where you want to place it and resize it with how big or small you want it to be by pulling on one of those white circles around it.
Tumblr media
you can also change the colors of some stuff. just pick what you want to change, then the square that shows its color, and click the ’+’ thing - feel free to drag through it if you want to play with a shade or put the hex code
there are a few graphics that have a default color scheme tho, so there’s some stuff that you can’t change the colors
Tumblr media
5. now you’ll notice this from time to time (especially when you have a lot of stuff in a page) that when you move text boxes and details, there’s always those pink lines that show up. sometimes they even have certain measures that let you know the distance of certain items from each other
Tumblr media
^^ you can ignore them if you’re casually moving stuff but if you want items to be aligned or placed accordingly in the middle or have equal distances from each other, i recommend using it for basis so you don’t get lost (sometimes i get frustrated with using the mouse cause it moves a bit more than i want it so i use the arrow keys)
6. after having my texts and details, i move on with the photos. you can simply paste a photo as is, but if you want it to be inside a certain shape, put 'photo holder’ under element’s graphics.
Tumblr media Tumblr media
^^ you need to paste your photo on the page first. after pasting your photo, select which photo holder you want. now that both items are on your page, simply drag the photo inside the photo holder and it’ll be inside it (you can always crop the photo before dragging it inside the photo holder if you got to take out specific portions you don’t want to be included)
7. canva has multiple features that can help you a change your photos too! just pick the photo you want to alter and then click on 'edit image’
there are filters, a background remover (although sometimes it doesn’t totally take out the whole background but it’s a good 8/10 feature for me), and options for you to adjust brightness, contrast, and saturation
Tumblr media Tumblr media
notes:
def take time to check out canva’s walkthrough (is that what it’s called?? i’m not sure haha). i remember that canva showed the ropes on the basic stuff so first time users get a general feel of how stuff works.
check out the labels. i really like canva cause all the tools have its name listed below it so i know exactly what they’re for. and if they’re not written bellow, let your mouse kind of just hover on it and then the label will appear.
there’s no proper arrangement of what to do first and do last. if you wanna focus on the photos first, def go for it. if you wanna type the content before adding any design, add the text first.
when i finished making my first page for my oc’s profile, i roll on from there :3 i use similar font styles and color scheme on the following pages.
have fun!! experiment with styles you see on pre-made templates, take out stuff and slap on things you want, rearrange some things, change the colors. the more you experiment and explore the options, the more you’ll get the hang of canva <33
11 notes · View notes
into-the-elwoods · 1 year
Text
okay im doing it im organising (lying) my thoughts. witch house live from the witch house guy
it was Not witch house. there were some dreams in a witch house for sure but essentially all elements of lovecraft had been subtracted from it in its entirety. that’s okay, it was still fun, but it wasn’t witch house. there was a little bit of mathematics and discussions about another dimension but treated very much in the “otherworld” way. it wouldve been extremely cool to have this otherworld be an actual mathematical dimension in reality, but it’s only hinted at for the audience and the characters understand it as a limbo world. nice little bit of lovecraft underlying the whole thing you know? choosing to call it frank elwood has a terrible time to distinguish, courtesy of nik
the ghosts? i have very mixed feelings about them. my idea of ghosts and haunting is very specific and WAY more detached than the ghosts here. grief and the inability to move on was super cool, grief is one of the main things involved in my witch house, but i think it could’ve been done a little better? epperly is a little too human. siblings is fun and i really love exploring that dynamic, and as a motivation....after thinking about it a bit i think it can work, i think that a mythos story driven by that overwhelming love rather than knowledge could be neat. walter was still a little bit of a freak so i give the siblings thing a pass. i NEED a witch house adaptation where he is so fucked up though. the movie is in my head i swear and he gets Worse as he gets less sleep and falls deeper into that obsession. elwood mentions in the text that there’s incidents with other students and i want to see that side of walter. the greying with stress was there though which win! sidetracked anyways
keziah my love. your design was so cool. it almost seemed a little out of place sometimes? but it was still so awesome. and fucking irish brown jenkin. help me
the house was cool but a bit lackluster becuase. no angles :( which kind of defeats the purpose of it being in the title of the thing to me. however the sore on the ceiling? ohh. ohhhhhh. the house has leprosy. this house is alive. and i wish they’d done something a little more with that.
WIN OF FRANK! WIN OF FRANK! WIN OF FRANK! he was so. auauauua. theres no words here im just rotating him sorry. both frank has an awful time and original witch house are set up so well for the cycle to continue through him (walter wants epperly back, frank wants walter back) & that’s another important thing to me about witch house. the cycles
they got addiction and obsession! they got it! not in the way that i envisioned and not to the extreme that i envisioned but they have the themes that howie was sleeping on and i appreciate that
also win of trans metaphor <3 transes your walter. irishes him too actually!
im sure ill think of something more to say. but for now it boils down to that wasnt witch house but it was fun and i will watch it again because content! i went in going “well whatever it is its going to be more lovecraft than stuart gordon’s” and then i was wrong which was a lil disappointing but i still had a fun time even if i was going “what the hell is going on” sometimes. i will be honest having elwood makes up for a lot of sins <3  blorbo from my short story finally has a screen iteration 
13 notes · View notes
timeskip · 10 months
Note
i love your ocs and wanna know more here's some more, 2, 9, 23
2.) if you gave an in depth description of your story to someone who was not all the way paying attention, what would their takeaway be?
"Gods in that universe are kind of like humans" maybe JGDLKLKGJDS
9.) if your story got a video game adaptation/spin off, what would it be like? if your project is already a video game, do this for a novelization.
A VIDEO GAME WOULD BE REALLY COOL ACTUALLY. I imagine it would be a visual novel because I actually started writing a vn spinoff I think it would be hard to turn the story, which is kind of disjointed and character centric, bouncing around whichever character is important at the moment, into anything OTHER than a visual novel... A spinoff with fighting elements based on god powers would be super fun though.
BUT THE VISUAL NOVEL SPINOFF I STARTED IS FUN!!! I called it something like "Dinner With a God" and the basic premise is that the player is a human character who ends up, through some event or another, having dinner with a Literal, Actual God, getting to choose which of my OCs at the start. They get to ask the god various questions, learning more about their backstories and secrets... and I was considering making there be routes, like a friendship route, a romance route, and an enemy route, but idk if I'm dedicated enough for that much work. I think most of the work would be for writing, because I could just make static sprites with different expressions and there would be maybe one single area change (the place you have dinner -> where the god takes you afterwards) so that's... like. two backgrounds. Maybe a few more if there's a new location per god. But idk if I'll ever finish writing even one route!!! I got the most progress on Tempest's, and even then it feels short and inconclusive so far :P But it's definitely doable if I put my mind to it!!!
23.) describe how everyones character gets butchered once in the public eye?
THIS IS A FUN EXERCISE
Ry: Gets hit with the "dumbass" beam. He's himbo-ified. Not a single ounce of nuance, they will treat him like he doesn't literally have a super intense interest in science and is very booksmart (while also being a little dumb in other ways)
Tempest: Cold and mean unnecessarily... People will look at them and ignore their healing. Or, slightly less bad, turn them into a crybaby for the ways they break down during their healing.
Storm: Honestly how would they. How could I possibly predict it. Maybe they'd latch onto them being seen as evil by other characters and go "yeah they're Actually Evil And Cruel"
Araceli: Mom friend alert!!! I also like thinking about her caring for others, but boiling her down misses the Nuances of why she cares about people like a mom. They will absolutely not care about the nuances.
Caelestis: Probably focusing on his mood swings and the times he's literally at his worst. Again with the "ignoring healing"... ACTUALLY WAIT THEY ALSO MIGHT JUST BOIL HIM DOWN TO HIS ROMANCE WITH STORM. They're going to make him the gayboy character :/
Topaz: Teehee girlboss who kills people and is brutal and has always been hiding her true feelings under a mask. Like yes! To a degree that's true! But I just know people will take it too far. Let Topaz be cringefail and pathetic too.
4 notes · View notes
valiant-if · 2 years
Note
31 and 32! 31 just felt appropriate haha
Hi, anon! Thanks for the ask!
31 - What superpower would you choose for them and what would they choose for themselves? If they have one would they choose something else?
CAIT - I don't know that CAIT needs a superpower, and I don't think she would want one either. She's already pretty phenomenal.
Anton - Anton would probably choose something like invulnerability or flight—something that would give him better ability to help people in a very Superman sense. I can't say that I would choose a superpower for Anton at all because, as I said in another post, he's got a bit of a savior complex. He really just needs to learn that he can't always help everyone, and giving him a superpower would not help that.
Switch - She'd be a good choice for invulnerability or superhuman durability of some kind to add to her natural-fighter insticts. That is also what she would choose for herself.
Zero - She would pick something fun for herself, like shapeshifting or super speed. But she'd be a really good pick for some kind of tech-based superpower, like technopathy.
Path - He would pick something like invincibility or immortality for himself, but what he really needs is superhuman empathy or something, because this boy's problem is that he can be pretty remorseless in the way that he deals with people.
Kiran - They would pick something like superhuman intelligence, but, similar to Path, she could do with some superhuman empathy. Kiran understands emotions on an intellectual level, but they don't on an emotional one. Being able to actually understand people and put himself in their shoes would be very beneficial.
Yulia - Yulia would pick literally anything that woud make it easier for her to do her job. Superhuman intelligence or telekinesis would be good choices, as well as any superpower that would allow her to skip out on sleep so she could get more work done.
Hex - Hex would probably get the most use out of something like superhuman reflexes or durability, considering the kind of shit he gets into with his job. But he'd pick something fun and cool, like some kind of elemental manipulation. Pyrokinesis or something.
A2 - Honestly, she probably doesn't need superpowers because she's just enough of an asshole to be legitmately dangerous if she had any and felt so inclined to cause some trouble. But she'd pick for herself something like telepathy or superhuman intelligence, something that would make her unparalleled in her field of work.
32 - If they could change one thing about themselves what would it be?
CAIT - She would want to understand humans better.
Anton - ...have I mentioned his savior complex? He'd want whatever would make him better at helping people effectively. Don't get me wrong, though. Anton is a bleeding heart nice-guy when he has room to be, but sometimes helping people means doing something ruthless, like executing dangerous criminals. I guess, in that respect, I could narrow it down to this: He would want to be smarter, so that he can make better judgments about who to help and who to hurt.
Switch - She'd make herself more trusting. She knows she can be suspicious, bordering on paranoid, but it's very ingrained in her.
Zero - She'd want to stop caring about certain people in her life that she shouldn't care about. Namely a father who wasn't a good parent to her and isn't a very good person in general.
Path - Maybe this doesn't really count, but he would change things that happened to him in his youth. He's experienced some pretty severe trauma, and it's made him into a not-always-very-good person. He wishes he could go back and change what happened to his younger self.
Kiran - Kiran would say there's nothing about himself that he needs to change. But, between us, they could do with being more personable.
Yulia - She'd want to be less of a workaholic. As much as she loves work, she's not blind to the fact that she's missing out on a lot in life to do.
Hex - He wouldn't want to change anything. He's pretty happy with the person that he is now, and it took him a long time to get to that emotional place.
A2 - She wouldn't change anything, and she'd be a little overly-defensive if anyone asked her this question to her face. Between us, she could stand to be a lot nicer.
Thanks again for the ask! 😊
3 notes · View notes