#once all the parts are filled in i will edit parts rewrite some things and turn it into a fic that you can read over on ao3
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The Fated Apple: Part Three
Pairings: Loki x Reader
Warnings: Language
Summary: You have questions. Loki has feelings. You have questions about Loki’s feelings…
A/N: I am overwhelmed by everyone’s responses. Thank you again for reading, I’m having so much fun with this one. Part four was almost done but then I did some editing and rewrites to part three and it changed a few things. I’m hoping by tonight or tomorrow I will also have part four ready to go. Thank you all again! Enjoy your💚
Part One
Part Two
The following morning you go to breakfast in the main hall. You see Jane already sitting with the royal family and see and empty chair next to her. Once she sees you she waves you down.
“Y/n! Come sit!”, Jane says happily.
You smile and walk up to the empty chair. Before you sit you politely greet everyone at the table. Loki just gives you a slight nod. It’s almost like he’s refusing to look you in the eye.
“What are your plans today y/n? Thor is taking me to the observatory so Heimdall can show me a few constellations I have not seen yet.”
“I’m actually meeting a friend.”
She looks at you suspiciously, “a friend, who?”
You nod as you start filling your plate, “I met a wonderful lady yesterday. She taught me how to paint some flowers.”
Jane’s eyebrows raise, “you?…you painted something?”
You roll your eyes, “I didn’t say it was a great painting. But it was peaceful and she was very nice and easy to talk to. I enjoyed my time with her very much.”
Unbeknownst to you, Loki was smiling into his goblet. He places it down after taking a long sip. “And what is this mystery lady teaching you today?”
You look over to Loki to respond but again he is not actually looking at you, “umm…I’m not sure actually. Maybe some more painting, I really had a great time yesterday.”
Loki takes note, nods and moves on with eating his meal.
“I’m glad you’re keeping busy. If you want to come with Thor and I to the observatory you’re more than welcome.”, Jane offers.
Once again, Loki listens closely but does not look toward you having your conversation with Jane. He doesn’t move his gaze off the plate in front of him.
You notice his body language and can’t help but feel he is purposefully trying to avoid your gaze. “Thanks but I’m looking forward to meeting up with Ana.”
Jane smiles.
So does Loki.
Frigga being Frigga is watching her son like a hawk. She has seen his every reaction to your conversation with Jane and knowing her son he is definitely up to something.
When you’re done with your breakfast you leave to make your way to meet Ana. When you get there you see her standing in the middle of the empty room.
Loki, disguised as Ana greets you, “hello y/n. How are you today?”
You smile at Ana, “I’m great thank you. How are you?”
Ana smiles, “I’m well. What would you like to do today?”
“I would like to paint again if you wouldn’t mind. I had such a great time yesterday.”
“Of course, anything in particular you would like to paint?”
You shake your head, you honestly had no idea. You never bothered painting at home so you never really thought about it.
Ana smiles brightly, “how about….Yddrasil?”
“Yddrasil, the world tree?”
“Yes. The great tree of life.”, she confirms.
“I’ve read about it, it’s the connection between all of the realms…Asgard…Midgard…Vanaheim…Jotunheim…Nilfheim…Muspelheim…Helheim and…umm…dang what was that last one? Don’t tell me! Don’t tell me!”
Loki is amused by your attempt to recall a history you had only learned of because of your visits to Asgard. He found it endearing that you would try to learn the history, you were under no obligation to but you clearly enjoyed learning new things. Something that you and Loki have in common.
“Sva….Svar…Svartalfheim!”
Ana giggles, “well done!”
Loki couldn’t help but feel a little pride, he was proud…of you.
You nod, “thank you my lady! So how do we paint this amazing tree?”
Ana smiles at you, “I’ll show you.”
*********************************************************
“Well? What do you think?”, you show Ana your attempt. It looked kind of like a tree. Definitely nothing like Yddrasil though.
Loki is trying his hardest not to laugh. He’s afraid if he starts he won’t be able to stop and it will break his illusion of Ana. So he collects himself and responds.
“It’s…definitely a tree…”
“It’s awful.”, you say with a bark of laughter.
“It’s not awful…it’s just not…”
“Oh come on! It looks like a child painted this.”
“Don’t insult children. It’s unbecoming of a future princess.”, Ana says jokingly.
You respond with a bark of laughter. “Yea sure a princess. I doubt that.”
“Why such doubt? The Norns have deemed your union so yes?”
You nod, “yes but…how can I spend eternity with someone I don’t even know.”
“Well. What do you wish to know about him?”
You take a second and think about her question and the answer is simple, “everything. I want to know what he likes to eat, what he likes to do during his spare time. What type of books he likes to read. I already know his favorite color, the man wears it enough.”
Loki almost lost himself to start defending his choice of color for his clothing but he caught himself before he can give himself away.
“I’m a sure you can learn all of those things by simply asking him yes?”
“Sure, if he would actually talk to me. I almost died of shock when he asked me about what I was going to be doing with you today. Keep in mind he won’t even look at me while he’s talking to me so..”
“Do you want him to talk more to you?”
You take a moment to answer and Loki isn’t sure why he’s nervous to hear what your answer is.
“I think so. I mean, from what everyone keeps telling me there’s no getting out of this so I might as well try right?”
Loki takes a deep breath, getting ready to be vulnerable for the first time in a very long time.
Ana takes your hand, “as long as I have been here Prince Loki has kept to himself. Usually skulking somewhere in the palace getting into mischief. But always alone. Whenever I would see him with his brother, Sif and the Warriors Three he always looked like he was looking for a way to escape. Usually to go find a book in the library or perhaps learn a new spell from the Queen. Besides her, I truly don’t believe he has had anyone in his life that understands him.”
“That’s so sad.”
Loki needs to reign in his emotions or you’re certainly going to figure out Ana is not who she says she is.
“Yes. That is really all I know about the prince and all of it I learned from afar.”
You nod, “Jane says I should try. Maybe he just hasn’t had anyone in his life that has actually tried for him.”
Loki looks deep into your eyes, “no. No I don’t believe anyone truly has.”
You and Ana lock eyes, the green in her eyes and the emotion behind them holding your gaze hostage. Why would someone who has never met Loki have such a strong emotion about him?
You got so lost in thought you don’t notice Frigga walking through the door.
“Here you are Lady y/n.”
You and Ana rise and both curtsy to the queen.
“And this is your friend, Ana? Is that right?”
Your brow furrows in confusion, “yes. I thought you two would have met since Ana uses this place so often.”
Frigga looks over at Ana again, “of course! Forgive me Lady Ana! There is so much going on lately I can’t keep my head on straight.”
Loki knew he was caught in that moment.
Fuck.
“It’s lovely to see you again your majesty.”
“Yes it is.” Frigga turns her attention back to you. “Lady y/n, I have the royal seamstress waiting for you in your chambers. I hope you are planning on extending your visit under the circumstances.”
Your eyes widen, “I hadn’t thought of that actually. I’ll have to figure out how to tell my job I’m not going to be back for a little while longer.”
“I believe Heimdall can help you with that. I will send word to him and he will let you know what he can arrange.”
You smile, “thank you my Queen.”
“Call me Frigga my dear. Now I hate to cut your visit short but Lady Tayla is waiting for you.”
“It’s ok I’m sure Ana is done being tortured by my art work for one day.”
Ana smiles at you, “we’ll practice more tomorrow.”
You nod and head out the door.
Loki, still in his illusion tries to make a swift exit himself. “Well your majesty, I must be off as well. It was an honor to see you again.”
Before he can step foot out the door, “a moment….Lady Ana….”
Shit.
Loki turns around, “yes, your majesty?”
Frigga walks closer, using her seidr to close the door and force Loki’s illusion to drop.
She looks at him with a disappointed stare, “Loki..explain yourself.”
“I truly did not mean to trick her mother. She stumbled across this room while I was getting ready to paint in peace. I had already cast the illusion so when someone came looking for me they wouldn’t know it was me.”
“Why didn’t you tell her the truth then? Why drag this out? To embarrass her?”
“No mother, I promise you that was not my intention.”
“Then what is you intention?”
“To get to know her. The real her.”
“You could’ve gotten to know her as yourself my son.”
He closes his eyes, “I know…I just…I was..”
“You were what?”
“I was afraid she wouldn’t want to get to know me. Yesterday when she walked in, I had a true conversation with her…I watched her learn and have fun while doing so…saw her smile. Mother it made me feel things I have told myself countless times I would never feel. And today? Today was…. wonderful.”
Frigga looks at Loki sadly.
“My son. You cannot continue this lie. I cannot allow you to deceive her so. You must tell her the truth. Tell her the way you told me, surely she will understand.”
“She will be angry with me for taking away her friend. Angry with me for deceiving her.”
“She might be angry at first yes but my son you cannot build the foundation of your relationship with a lie. She deserves better.”
Loki nods, “you’re right mother. I will tell her. Tomorrow when she comes here to meet with Ana.”
“Alright.” She pulls Loki into her arms for a tight hug. “I love you Loki.”
“I love you too mother.”
*********************************************************
Lady Tayla showed you a few designs she had in mind for gowns. You told her that you were only planning on staying for about 2 weeks. Even if you decide to try and work something out with Loki you still have responsibilities back on Earth.
For tonight’s feast Lady Tayla put you in a gown that was light and flowy. A pretty yellow this time with matching hair adornments and your makeup was done subtlety. Just the way you like it.
Jane walks into your room going on and on about what Heimdall showed her. You were happy your sister wasn’t so depressed about her relationship ending with Thor that she couldn’t enjoy the rest of her time here.
“Have you talked to Loki at all today?”, Jane asks you.
“Just this morning at breakfast.”
“Maybe he’ll talk to you tonight.”
“Or maybe he'll ignore me like he usually does.” You take a deep breath, “I don’t know Jane. I talked to Ana today and she made it seem like Loki is lonely, but from what I can tell it’s self inflicted.”
Jane nods, “well he is very different from Thor and everyone else. Maybe he just hasn’t found anyone he can truly connect with.”
“That’s what I was saying to Ana. Maybe I should..I don’t know…try just being his friend first and then…see where it goes?”
“Baby steps sis. There’s no need to rush things when realistically you have like 5,000 years.”
You nod knowing she’s right.
You both walk arm in arm to the feast hall where it is already loud from chatter and music. You and Jane spot Thor and Sif sitting with the Warriors Three.
“Hello everyone!”, Jane greets. You wave at the group.
“Ah Lady Jane, Lady y/n! Please, join us!”, Fandral requests boisterously.
You sit down next to Fandral while Jane sits next to Sif.
“So, Lady y/n. Tell us. How are things going with our gloomy second prince?”, Fandral asks clearly drunk.
“Um. Nothing new to report honestly. We haven’t spoken much since the ritual.”
“Ah yes, he does keep to himself doesn’t he? I am truly sorry the Norns chose someone so surly for you.”
“I don’t know if I would call Loki surly.”, your feeling of needing to defend Loki growing since your conversation with Ana.
“Oh? And how would you describe him then?”, Fandral asks.
You take a moment to think before you answer, “I’m not sure honestly, I don’t know him that well. A loner maybe?”
“A loner?”, Fandral asks confused.
“Yes, a person that prefers their own company.”, you explain.
“Yes, well that does sound like Loki. I on the other hand love company. Would you like to accompany me for a walk my lady?”, Fandral asks you.
“Um. Yea sure.”, he offers you his hand to help you stand and you both make your way to one of the balcony’s.
Loki sees you from afar and feels the hot feeling of jealousy rip through his body. He decides to follow you both outside, covering himself in an illusion obviously.
You lean against the banister when you and Fandral get outside. You’re taken aback by how beautiful the garden is at night you almost forget someone was there with you.
“It’s beautiful isn’t it?” Fandral asks.
You nod, “it really is.”
“Tell me my lady. What is it you plan on doing with your situation?”
“Well..I’m probably going to try and get to know Loki a little bit better before I make my decision.”
“Yes of course. I must say my lady you are…stunning.”
You step slightly away from Fandral, “thank you, that’s very kind.”
“You are most welcome. I doubt Loki will say such things to you.”
“I beg your pardon?”, feeling the irritation with this man rise and rise.
“I only mean that Loki does not say kind things to anyone. Well, maybe Frigga but honestly I have never seen or heard him pay a kind word to anyone else. You deserve someone who will treat you with care and kindness.”
Upon hearing Fandral, Loki decided he didn’t want to stay to hear the rest. He didn’t need to hear you say you knew how little affection he would show you as his wife. What a failure he would be. So before he could hear those words fall from your mouth he left.
“Fandral, I appreciate your concern and your advice but I think I’ll decide for myself what kind of person Loki is.”
“Then I wish you good luck my lady. You’re going to need it.” Fandral walks back into the feast, so drunk he can barely walk in a straight line.
“You know as drunk as he is. He’s right.”
You look over and see an older man staring out into the garden.
“I’m sorry. Who are you?”
“I am Lord Alarian. One of the Allfather’s high councilmen.”
“Well Lord Alarian, I hope you don’t take this the wrong way but I prefer to learn what type of person Loki is myself and to be honest I’m getting really sick of people trying to convince me he’s a bad one.”
You turn to leave but the councilman is quick to grab your wrist, “you know as well as I do this union is a mistake.”
You rip your arm from his grip, “I thought the Norns didn’t make mistakes.”
“Oh they make plenty of them. One of the biggest was bringing that boy into this world. Even with all of his flaws another realm was willing to give one of their daughters to him as a match. To make Asgard stronger. And then this damned ritual ruined it all.”
“Well I’m sorry I ruined your plans for world domination. Now if you don’t mind, I believe my sister and Prince Thor are expecting me.”
You don’t give the creep the opportunity to approach you again. You make a mad dash for your seat next to Jane but Loki stops you in your tracks.
“Had enough male suitors for the evening my lady?”
“Excuse me?”
“Oh you are excused indeed, it would be a terrible shame if I kept you from all of your admirers.”
“Spying on me were you?”, you ask. You grab your wrist, feeling a bit of discomfort from where the councilman grabbed you.
“Not spying…just…observing..”, Loki sees you grab at your wrist. “Are you alright?”
“I’m fine Loki. It’s not like you care for my wellbeing anyway.”, you immediately feel guilty after you said it. Here you are telling everyone that asks about your feelings towards Loki you want to give him a chance and get to know him but one of the few times you interact with him you say horrible things.
“I care if someone has hurt you, let me see.” He doesn’t give you the opportunity to deny him, he takes your hand in his and inspects your wrist.
It’s starting to swell slightly and you can already see the beginning of a bruise forming.
“Who did this? Was in Fandral? I’ll gut him like the pig he is.”
Loki turns to go and find Fandral but you stop him, “Fandral didn’t do this Loki. Don’t worry about it it’s fine.”
“It is not fine.”
“I just need to ice it. It will be better by morning.”
Loki looks down at you, your hand still in his. “Come.”
He gently pulls on your arm so you can walk with him out of the feast hall. He then leads you to a place you have never been before since your started visiting Asgard. His rooms.
He opens the doors and it is as grand as you thought it would be. Green and gold everywhere of course.
He takes you over to the massive sitting area and walks you over to his enormous couch. You sit down and he sits down next to you, your wrist still in his hand.
“Loki really I’m fine, all I need is some ice.”
You suddenly feel a cold sensation on your wrist. When you look down at it you see Loki’s hand has turned a beautiful shade of blue.
“Does that feel better?”, he asks softly.
You nod, “a little yea. Thank you.”
“You’re welcome.” He suddenly stands and walks over to a different room. When he comes back he has a small vial in his hand.
He sits next to you again and motions for you to give your hand back to him. He opens the vial and pours a drop of its contents on your wrist. He rubs it in gently, his hand turning blue again.
“That will help with the bruising. The cold will help with most of the pain and swelling, I cannot imagine you want me to hold on to your hand longer than what I already have.”, his skin starts to change and he releases your hand as soon as the icy blue was completely gone.
“Thank you. You didn’t have to.”
“Of course I did. The Goddess Idunn said it herself, you are mine to protect and care for. No matter what any of us feel about our situation, nothing will change that.”
You stare into each others eyes for a moment until Loki breaks the connection.
“Well, I imagine you want to get back to the feast. Your wrist should be completely healed by tomorrow morning, just in time for your painting lessons.”, he smiles. A genuine, adorably shy smile.
He knows he should come clean now but he is enjoying this moment of closeness with you. He doesn’t want to ruin it.
“I think I’ve plateaued when it comes to my artistic abilities.”, you laugh thinking about your time earlier with Ana.
Loki pats your knee, “don’t be too hard on yourself.”
You look at him again and you can’t help but stare in his eyes. They are so…green…they look so…familiar. Then it hits you…Ana has the same color eyes..
“What are your plans tomorrow?”, you ask him suddenly.
“Umm. Nothing of importance. A council meeting in the morning and then I will be available for the rest of the day.”
“You should come by Ana’s workshop after your meeting!”, you say excitedly. If your suspicions were correct, Ana and Loki being in the same room might clear up some things.
Loki feels sudden panic. He could always cast a double of himself but that type magic was incredibly draining. It seems like you were not going to take no for an answer and to be honest he wasn’t sure he even wanted to deny you. You looked so excited about the prospect of him meeting your new friend. He felt terrible that tomorrow he was going to take her away from you.
“I would like that very much.”, he smiles at you.
You can tell you caught him off guard and you can’t help but feel a little proud at yourself for throwing him off a little. You just had a feeling and you had to be sure before you go accusing him of anything.
“Are you going back to the feast?”, you ask him as you stand to leave.
He shakes his head, “no I think I will retire for the evening.”
He walks you to the door and instructs the guard on the other side to escort you back to the feast hall.
Before you leave, Loki takes your hand and gives you a light kiss on your knuckles. “Goodnight Lady y/n. I shall see you tomorrow.”
You nod, “tomorrow.”
You get back to the feast hall and Frigga immediately rushes over to you. “There you are! Your sister and I were about to send out a search party.”
“I’m sorry Frigga, Loki and I were talking. He’s going to come to Ana’s workshop with me tomorrow.”
Frigga’s eyebrows shot up, “is he now? Well that’s…exciting.”
You can tell from Frigga’s reaction that she wasn’t expecting that and you sense a bit of concern from her. Frigga unknowingly confirms your suspicion that something else was going on. But now you know the Queen knew what that something was.
“Is everything alright My Queen?”, you ask sweetly.
She nods and smiles, “yes dear, everything is fine. I’m happy you and Loki are going to be spending some time together.”
You nod, “may I ask you something Frigga?”
She smiles, “of course.”
“I had a slight incident with one of Odin’s councilmen, Lord Alarian. He said that Idunn’s ritual ruined a betrothal between Loki and a princess from another realm. Is that true?”
Frigga rolls her eyes, “that man will be the death of me. It is true and it is also not true. There were talks with Vanaheim about arranging a marriage between one of their princesses and Loki. It was meant to strengthen our already strong bond with that realm and…honestly, I did not want Loki to be alone any longer. His heritage has become a a bit of a roadblock for him.”
“Heritage?”
“You know Loki is adopted.”
You nod, “yes, but I don’t understand why that would cause issues. There are plenty of adopted children on Earth.”
“Loki is from the realm of Jotunheim, they are hated by most beings. Especially here on Asgard.”
“Oh. Is that why his hand turns blue?”
Frigga looks at you in shock, “he showed you his true form?”
“Not entirely, it was just his hand. When Lord Alarian approached me, he grabbed me by the wrist to stop me from leaving.” You lift your wrist to show Frigga your now healing wrist, still slightly red but the swelling was gone and the bruising that was developing had disappeared as well. “I don’t believe he did it on purpose but the swelling and the bruising started to develop quickly. Loki saw me on my way back into the feast hall, he saw my wrist and took me to his chambers to help. He used his hand to ice my wrist.”
Frigga smiles, “I’m sorry you were injured by that awful man but I must confess I am elated that Loki took care of you as any good mate should.”
“So no one else can turn blue here?”, you ask.
Frigga laughs, “not unless we have another hidden Jotun heir somewhere in Asgard, no. No one else can change to that form.”
You nod, another piece to the puzzle that is Loki. No wonder he feels so alone. He’s literally the only one of his kind here and on top of that he’s surrounded by people that hate his kind. Why wouldn’t he feel alone? Or want to be for that matter.
“Well, it is time for me to retire I believe. I hope You have a wonderful visit with Loki tomorrow. I just ask that you remain as open minded as you have been. Loki is a complex being and he sometimes makes rash decisions when he feels like he has no other options. He will make mistakes y/n, but with a little patience I promise you, the love and the devotion you will receive from him will be worth all of the trials you face.”
You smile at Frigga, “I will try Frigga, thank you for explaining those things to me.”
“Of course.”, she gives you one final smile and turns to leave with her ladies.
You watch her leave feeling a combination of comfort and confusion. Something is definitely going on and you were pretty sure Frigga knew what it was.
Tomorrow. You have a feeling everything will reveal itself tomorrow.
To be continued….
Tag List: Tagging works sometimes and then decides to not work other times. So I hope this works 😁
@mintfrostflower @lotrefcp @mostlymarvelgirl @tekutiger @missingdadneto @rcailleachcola @fire-in-her-veinz @glitterylokislut @yelkmelk @talesofadragon @multifandom-world8 @firedrakegirl @enchanteddreameruniverse @skittslackoffilter
#loki fanfiction#loki x reader#loki#loki fanfic#imagine loki#loki smut#loki imagine#loki fluff#mcu loki#jotun loki#thor and jane#eventual happy ending#eventual fluff#eventual smut#loki x reader smut#smut and fluff#tom hiddelston loki#enemies to lovers
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(new totk rewritten - super rough concept)
so this was a super rough sketch for retrieving the enigma stone of the zora- im currently redoing it since im not happy with this one-
but i have run into a bit of a problem; see the reason why theres monsters causing trouble everywhere is bc ganondorf is trying to keep the stones out of raurus hand(s) thus creating all those bosses to hopefully stop link from reaching them, or at least to slow you down BUT i cant seem to decide whether it makes more sense if the whole reason they are split up among the other regions is because the ancient .. 'sages' wanted to ALSO keep them away from rauru, or if they were instructed by him to do this and await his return (which would be a good reason why they are wearing that sonau helmet still .. if they werent completely in on it i doubt they would do it lol)
(the thought being, would rauru be more likely to not give the stones away at all or he was too afraid that gan could wake up earlier/break free and get his hands on them first- so he sends his trusty servants- sages out to construct big temples and await his return but to stop gan if he were to seek them out first ... also possibly so all the stones arent in one spot, since they, in my rewrite, are the highest concentrated version of spirit energy and would emit an extreme amount of energy likely to attract something... yeha its all based on luminous stoens containting spirit energy and that also powering the shiekah tech .. made a diagram (?) about it once actually, though some parts arent true anymore bc im omitting the whole dragon transform stuff)
(im also using this concept for the skyward sword comic btw, the mining of the timeshift stones being the reason the lanayru region becomes a desert bc the lands been robbed of life energy meant to go back into the system over time
edit: i mean this as in an environment was drastically altered from its natural state in an extremely short amount of time, which is generally a bad thing, not as in desert areas just being dead sand filled wastelands, theres plenty of life there if meant to be like that/given long enough time to adjust or turn into it)
while i want to make rauru a villain i also dont want him to be too overtly evil since ... thats kinda boring and just pushes that role onto someone else, im aiming for more nuance overall (which is also why gan isnt some goody two shoes perfectly fine with hyrule, like yeah .. the calamity was his doing still)- so im leaning more towards the latter- though perhaps the gerudo did so more with the intent to keep it away from rauru
(also, i am including mineru after all.. but only as a mummy like so (sorry) but her stone is gone when you reach it bc its been taken by the yiga- for which you have to tract them down and fight koga (and possibly supah/sooga) )
#ganondoodles#art#zelda#tloz#ganondoodles rewrites totk#loz#... is this normal amounts of thoughts about soemthing?#im gonna guess no
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Six Sentence Sunday
Happy Sunday everyone!! Thanks for the tags @blackberrysummerblog and @artsyunderstudy!!
This week I’ve done the big three: writing, editing, and ignoring my wips, with perhaps a bit more of the last one than I’d like. Most of my writing this week has been for an exchange fic for a different fandom, which I finally finished the rough draft of. Cue the celebration. However, even if I wanted to share anything from that, I can’t, it must remain hush-hush, but I am getting pretty excited to share it (and way more excited about receiving my own exchange fic back, this whole thing is very fun).
I’ve written less than 300 words on my COBB this week, and none of them are good, but I have gotten some editing done of Proof of Life. I can’t share any more snippets of the next chapter though because I’ve shared too much already. So instead, I figured I’d do a bit of a process post this time around, because I always love reading those. Check that out under the cut! (and i'm sorry this is long, i still have not learned brevity)
So my editing process isn’t too crazy, and is brought to you almost entirely by google docs comments. I also use the word ‘editing’ very loosely to encompass rewriting, revising, and proofreading. Sometimes editing means completely rewriting a scene/section, sometimes it just means switching around a couple of words or cleaning up a sentence.
Mostly, I try not to take everything so seriously, because I know that I could edit something forever and ever and never post it if I let myself get too carried away. So I try to keep everything pretty chill. So here’s my steps I go through for each chapter that I edit.
Step One: Reread the whole chapter. While I do this, I’ll leave comments on big picture things. “Maybe move this scene into the next chapter” or “The dialogue in this scene feels stilted” but I don’t add a lot of comments at this point. Once I’m done with this I’ll copy over any comments I had on the first draft or the beta reader copy over into the ‘draft two’ document.
Step Two: COMMENTS. Again, my fics are brought to you by google doc comments. I like to go through from the bottom up, reading scene by scene and leaving comments on pretty much every single sentence.
A lot of the time (read: most of the time) these are really vague like:
And sometimes these are more detailed like:
And occasionally these are compliments
Step Three: Once the whole chapter is filled with comments, I go through scene by scene (in whatever order speaks to me), and rewrite, edit, or fix sections. This part I find really fun, because I’m taking parts that aren’t good yet and I’m making them better. I love fixing things and getting rid of all the comments. It typically ends up being a lot of rewriting, but I always finish a scene feeling better about it then when I started.
For example, here’s the draft one vs. draft two version of a snippet from the first chapter of Proof of Life. This is one of the scenes I pretty much rewrote. Others look a lot more similar to their original versions.
Original:
Edited:
Step Four: Then before I post a chapter, I’ll read through the whole thing and sometimes find smaller bits to fix. Then I’ll run it through a grammar checker and ignore half of their suggestions in the name of ✨style ✨.
Overall, I feel like I have a pretty basic editing strategy and I’m really pleased with it. Even though sometimes I feel like more robust edits would make everything way better, it’s a good mix of fixing things but not spending too much time on it. I remember I spent like a month on editing the very first fic I posted at that was only 6k words. If I kept doing that for everything, I'd never post anything at all. With fanfiction, I know that y'all will be nice to me even though it's never perfect <333
Tags and Hellos!! (I'm unsure if we still need the spaces, but i've been burned too many times lol)
@you-remind-me-of-the-babe @m1ndwinder @facewithoutheart @run-for-chamo-miles @raenestee
@onepintobean @prettygoododds @noblecorgi @hushed-chorus @angelsfalling16
@thewholelemon @monbons @shrekgogurt @brendughh @hertragedyconnoisseur
@beastmonstertitan @valeffelees @horsesarenotdeer @drowninginships @supercutedinosaurs
@fiend-for-culture @rimeswithpurple @cutestkilla @alexalexinii @ileadacharmedlife
@arthurkko @rbkzz @skeedelvee @bookish-bogwitch @brilla-brilla-estrellita
#one day i will make a short wipsday post#today is not the day#listen to all my ramblings everyone#look at my screenshots#i just love the sound of my voice#proof of life#my writing#editing#six sentence sunday#carry on fanfiction#snowbaz
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Brief Meta on Memories and Traumatic Grief
Memories change over time and don't stay exactly the same. Each one is fluid, tied to a web of ever-changing associations we draw between them and other thoughts, and we actually make small edits each time we revisit them, like small tweaks in a word doc file that we may hardly notice.
But we are undoubtedly rewriting them over time, changing the narrative even if not by much, forming new associations big and small with them by weaving other thoughts/feelings/beliefs/perspectives/memories with them, no matter how consciously or subconsciously we do so. It's like playing the telephone game with ourselves without being able to stop it.
The fascinating thing about this is it opens up room for trauma treatment approaches such as Eye Movement Desensitizing and Reprocessing (EMDR), narrative therapy, journaling, memory rescripting etc to be effective, since memories are therefore subjective. Memories are always malleable, though at the same time they have foundational roots.
Which brings me to the above. I believe it was tremendously important that others were physically present and right next to him in the moments right after Flapjack faded away. Trusted loved ones who felt the same kind of emotions as he was, to collectively grieve as a group (hell, there hasn't even been time for them to properly mourn without rushing the process. Not yet). This would've influenced the forming of Hunter's traumatic memories related in any way to Flapjack dying.
Instances like below - him being held tightly and soothed while being in an unmatched level of pain - must have shaped the newly forming memories in a major way:
Oddly enough, this scenario in which a death has just occurred has some similarities with its opposite: birth 🤔🤔🤔🤔 The minutes and hours after any childbirth are a very sensitive window for foundations of a sense of safety, emotional regulation and even physiological processes to be built. That's why newborn infants should have pretty much constant physical touch with caregivers via e.g. skin-to-skin contact for healthy bonding to take place.
*tempted to philosophize more about birth vs death but I'm holding back from being unnecessarily lengthy*
Back to Hunter's major traumatic loss above. I'm referencing it because it's not long till we'll see him witness Belos be imprisoned, dying or however way in which he will be defeated. How could this impact on all the Belos-related memories and Flapjack-related memories he will keep recalling for the rest of his life?
I think he will require the exact same type of support once that milestone of his life - truly losing Belos - arrives. This but on a way bigger scale:
Why?
Because there's no way this part of him has totally disappeared, even now:
There are formative memories do to with Belos which can't be whisked away with a Delete button.
There are a number of factors influencing how he's going to absorb the seconds/minutes of that upcoming loss in Watching and Dreaming. The hours afterward will matter so much too.
Will he witness that loss with his own eyes or e.g. might Camila pull him close into an embrace and tell him not to look?
Will he have an active role in making the moment of Belos's defeat happen, or might he watch passively from a distance?
Will Belos say anything to him while it happens, or not? If yes, what are the words Hunter will hear?
What thoughts and feelings will he have about himself, and what memories will fill his mind while it happens?
Who else is there with him during and right after it happens, and what do they tell him?
All these will add up to form his experience of that loss (which is made more complicated because it is also a major gain/win for him). There is no way through this where he escapes further loss (which coexists in a messy way with gain), since trauma be like that.
Examples of other important moments in other media that portray what I'm trying to explain include this part of Avatar: The Last Airbender..
where Katara is by Zuko's side as he watches Azula, his sister, have a nervous breakdown. The physical touch from Katara matters. The memory of this event is forming in Zuko's mind and being shaped in real-time. and will continue to be shaped over time.
Another one I remembered is this moment of Silver shielding Jim in Treasure Planet (the supernova scene) when Jim's skills as a crew member (which he bet all of his self-worth on) were truly being tested:
This proved to be vital "cushioning" for what happens right afterwards: Jim, already stricken with a fragile sense of identity and no self-love, being blamed for the death of a crew member.
The last example is from How to Train Your Dragon 2. Hiccup not being on his own during his father's death and funeral:
A negative, dark example is Jinx losing Silco in Arcane:
Nobody to soothe and hold her (because she rejected Vi's help due to lack of trust), and she had been the one to end his life.
Whether a parental figure we lose has been kind or cruel to us, grief is unavoidable when they are gone. Hunter's is on a exaggerated level in fiction since Belos technically murdered him via the possession and he had to be brought back to life via external means (Flapjack's sacrifice).
I was especially compelled to write this meta after a fresh realization that being physically alone and hidden in the crucial minutes and hours after a few life-altering incidents in past decades, significantly prolonged my recovery time from such awful traumatic memories.
But I'm very glad Hunter should be in excellent hands having to say that complicated goodbye (which realistically, will not be a one-time send-off) to his 'uncle', which he most definitely won't be responding to with a triumphant Hollywood kind of smile on his face.
SOMEBODY HAS TO TAKE CARE OF THIS BBY AND PUT A BLANKET OVER HIM
#toh analysis#toh hunter#toh belos#the owl house#loz writes a meta#acute grief#it's hella weird: I wrote this on my main abuser's birthday without realizing at first#death mention#trauma mention#abuse mention
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How do you avoid over-writing? I don’t know if that’s the correct term, but one of the reasons it’s taking so long for me to post updates on my works is that I feel like I’m spending way to much time on minor details. I don’t want to be one of those writers who spends 2 pages describing a single object, but I’ve gotten myself stuck in a never ending loop of deleting parts I think are useless and rewriting them simpler and I am going to collapse
I’ve been staring at this since you sent it, anon, because I want to give you a good answer – it’s not every day that someone slides into my inbox for writing advice and I’m incredibly flattered.
That being said, if I am being honest, the best answer that I can give you is: write. Just write. If it’s excessive, let it be excessive. A common mistake that writers (me included) make is to edit as you go, which in turn means you start becoming harder and harder on the content of your writing, and you move slower, and get less done. Editing should come after the first draft is done, after you’ve got the story on paper. You can go back and change it once it’s done to reflect the story you are trying to tell. That may mean cutting out excessive detail, reworking sections, things of that nature.
In my case, it often means adding in the detail, because I naturally trim things down too much (my greatest crime is eating all the sensory details of my works if I can help it – they add little for me, but I know others like them, so I am trying to include them more in Red Sky). By default, I include the bare minimum of sensory stuff and go heavy into the thoughts/spirals. I’m not sure I can help remove, when I am kind of the opposite guy. My instinctive rule of thumb is, though, to give just enough detail on environment to let the imagination fill in the rest. Writing has a flow to it for me – if it starts losing pace when I read (IE, if I read it and I start trying to skim), that’s too much. That’s how I tell.
I’m afraid I don’t know how helpful this is because it is something that comes with practice, reading more, talking to others, and getting a feel for what your audience wants or needs to see to be immersed in the story.
One of the best pieces of advice someone gave me recently is that polish comes in editing. I’ve got a wonderful pair of betas ( @dropout-ninja & @voidsiblings ) who help me a lot with this. If you’re getting yourself locked in a loop, write it as it feels natural, and let the polish come later. Sometimes you gotta ramble for 3 pages about that vase and then just tuck it away later, y’know?
Maybe one of the people that I tagged will have some more advice, though. Writing mutuals, please reblog if you’ve got anything to help anon <3
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I need to ask this, as I'm listening to the defectors au playlist, who did you think of when you put Billie Eilish's "what was I made for?" Because it makes me think of Kallus slowly unraveling after Lasan and realising just what kind of government he put his whole trust in to do the right thing, or is it Ezra dealing with his feelings after being essentially abandonded by yet another parental figure? and then having to battle with those feelings after Twilight of the Apprentice? what were your thoughts on this because it's just plagueing my mind right now
(What a motherfucking coincidence you ask this because i was thinking over it not even an hour ago-) (and thank you so much again for making the playlist, i have been listening to it every day since youve created it-)
THANK YOU SO MUCH FOR ASKING- (warning, I have rambled nonsensically a lot, apologies-) (edit: FUCK ALRIGHT- I got distracted and accidentally swiped out of the app without saving so I have to rewrite it-)
The answer is both.
Now, I did first think of Kallus for it, but I've been think of a lot of Ezra during it as well.
This is a story with multiple moving parts, some songs are applied to more than one character or instance. And some songs are stretched over the course of an arc, whether that arc is as long as a few years or as short as an instant. This one is not an exception to that.
In Kallus’s case, it's part of his slow crash and burn with his faith to the empire, as well as period of time that follows after Lasan. As time goes on and events happen and seeds take root, there are moments. Moments of creeping doubt and dread.
Kallus has multiple goals, objectives, near the beginning of the story. The established duty to the empire; being a part of doing something far greater than himself. Making a difference for those who need it across the galaxy. The decision to take care of Ezra; a direct impact. Not taking action and not taking initiative can and would be just as detrimental as taking a misaction. And then his choice to help Mira and Ephraim; he thinks they're simply misguided or a miscommunication led to a severe misunderstanding. Because they very much have the same desire to help others and to help uplift that got him to join the empire.
As the years go on, it all starts to wear harder on him, especially in moments.
Mmm I look forward to writing out that in one particular scene, as Kallus is watching Ezra filling a room with such joy during a party, such light-hearted warmth, Kallus has to step away from the event for a moment. Because it's been about three years and Ezra is growing and it's so fast, too fast, and Mira and Ephraim are missing it. He's been fighting tooth and nail for them to be here and they aren't because despite all the work being done on both ends, the appeal for their situation just got pushed again. And now they've lost three years of watching Ezra grow into such a bright kid and it's leaving a sour taste in Kallus’s mouth.
At one point, he starts to realize that he doesn't think they actually plan on releasing the bridgers, but he realizes that the day before he is shipped off to lasan. Lasan cements the cumulation of the past five years to him. Everything he's dedicated himself to, he was lied to, led on. A d he complied to it. This, all round him- the smoke and ash and dead silence, is what has come from his dedication to the empire.
---
And then with Ezra, near the end of the five years, he senses a dread a sadness that hangs in the air.
He feels it too. Because even though he sees his parents and that they are safe, it's not the same. They aren't home. Kallus doesn't know that he knows, but Ezra knows that Kallus has been working almost every day to see through to the release of his parents. Something about it has made Kallus more frustrated than before.
Ezra continues on though, because Kallus has never once broken his word to Ezra. At least not until he returns after a mission that took over two weeks because it was across the whole galaxy. Kallus returns home to Lothal, and everything changes over night. Kallus finally realizes what the empire is but he isn't leaving, and he isn't leaving with Ezra. And Ezra knows exactly why even though Kallus still isn't saying it. And Ezra wants to ask for him not to return to the empire, but he knows that Kallus isn't going to leave without his parents, and he wants his parents back. He wants his parents and Kallus.
So he does as Kallus instructs, but something still pulls at him. He's in a bit of a daze by the time he makes it to the port where he's supposed to meet Tseebo. He sees Tseebo for a split moment and then he doesn't. He doesn't know where Tseebo ran off to, he doesn't know how long Kallus is going to take finding his parents, he doesn't know if kallus is going to find them or of they're going to come back.
In this moment he feels like he's lost everything he never even had to begin with. His parents, only ever having seen them in the walls of an imperial compound. Tseebo, who was only ever present to assist and is still so fearful that he choose to run after his parents and Kallus were depending on him, and is the one person Kallus would actually listen to. And Kallus. Who was always so dedicated him but was never really his, the man's faith to the empire has been dying but now that it's gone Ezra still doesn't have him because now he's run off to go find his parents.
And this grief hits him all over again when Kanan distants himself. And Ezra feels that it's his fault because of how trusting he was of Maul. Kanan got hurt and lost his sight and he's pulling away from Ezra and no matter what Ezra tries, there's nothing he's able to do to stop Kanan from slipping away and Ezra can't do this again.
I hope this made sense and I hope it answers your question! THANK YOU SO MUCH FOR ASKING I LOVED IT.
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Welcome One & All
I am new to the BBC Sherlock fandom, having only been a fan for a little over a month now. And I love it!
On this blog, I want to fill in some gaps in the market, so to speak in the Sherlock fandom. Examples of what I plan to provide are aro-spec/a-spec Sherlock headcanons, lots of Johnlock and Parentlock.
Aro/Ace Sherlock & Johnlock...
Naturally, of course I love Johnlock. It took me a little longer than it probably should have to see how perfect they were for each other, because one of the first video edits I ever watched was Sherlock Being AroAce for 12.5 Minutes. Being that I am somewhat aroace myself, I was excited to find that I related to Sherlock and that was part of what drew me into the fandom.
But at first I didn't want to ship John and Sherlock, because it kinda conflicted with my headcanon that Sherlock is aroace. If I were to put an aromantic character into a romantic relationship, that would be a bit arophobic would it not? It would make it seem like I believe romantic relationships to be superior to platonic relationships.
But then I remembered that aromanticism and asexuality have spectrums. I am on said spectrum. My personal headcanon for Sherlock Holmes is now that he is grey-homoromantic asexual. Basically, he's never been in love until he met John.
That sounds pretty cliche, but that's how being greyromantic works for some people. People who identify that way, may only ever fall in love with one person romantically. Or they may experience romantic attraction for multiple people in their lives. All being greyromantic means is that you rarely experience romantic attraction, but sometimes you do.
Still unsure of whether I want to headcanon Johnlock to be a queer platonic relationship or full blown romance.
I want to add my aro-spec and a-spec Sherlock headcanons, because I don't feel that there are enough out there. Which is sad because just as representation is important for other identities to feel seen and valid, it seems as though aro-spec and a-spec people get next to no positive, respectful, accurate representation.
This can lead to people who are aro/ace feeling like there's something wrong with them. They may have a hard time finding an identity that fits them, and may lead to them having misconceptions about said identity which lead to them feeling invalid in their own identity. It took me three years to feel valid in being aroace, but also romance-positive and desiring a romantic relationship.
But now that I have educated myself on the matter, I want to spread the information to anyone who feels they are struggling with their potential aro-spec/a-spec identity. To people who are struggling with misconceptions which make them feel invalid.
Parentlock...
Rosie is the most adorable thing to happen to these characters and it's a shame that we didn't get to see more of her on the show. It's just as much of a shame that there are next to no headcanons, fanfic, fanart, anything of her. I plan to fix that.
I have no guarantees on the fanfiction, but I do plan to write a massive AU which is mostly canon-compliant, except I rewrite the episodes and change canon to be the way I personally would have liked it to be.
In my fanfiction series, I will write the infamous duo's adventures in raising Rosie. If I ever make it that far, that is. I will be starting my series in season one, and making my way slowly to a potential full rewrite of season four. Then after I've written every era of BBC Sherlock into my story, I will write Rosie's story. From being an infant, to an adult. I am a sucker for a good Parentlock adventure, and will be writing ALL of the Parentlock adventures.
But once again, zero guarantees. I have never written a full fanfiction in my life. I've never been motivated enough, no matter how many ideas I have. Every time I sit down to write down my ideas, they just escape and my brain goes blank.
To End Things Off...
I just wanted to end this by saying that I am excited to be a part of this fandom. I am excited to hopefully become as good as everyone else at analyzing every single scene for every little detail. I hope to one day be writing the analyses that I love to read so much.
I'm probably not going to mention this again on here, but I was on Tumblr a couple years ago. I didn't have the best experience with the fandom I was in, and it took a toll on my mental health. I have been debating coming back on Tumblr, but decided that it was important to share my headcanons. I can't think of a better place to share them than here.
I won't be reblogging anything that's unrelated to Sherlock, unless it's really funny and positive and something that I need as a part of my life on this blog. On my old account, I would feel immense guilt if I didn't reblog every single serious non-fandom post. While those posts were important, I found that it wasn't very healthy for me to constantly expose myself to them.
I want this to be as mentally healthy an experience for me as possible :)
Thank you for visiting ace-sher-bi-john please enjoy your stay!
#bbc sherlock#sherlock#sherlock holmes#johnlock#rosie watson#aroace sherlock#ace sherlock#aro sherlock#greyromantic sherlock#homoromantic sherlock#aromantic#aromanticism#asexual#asexuality#greyromantic#lgbtq+#the asexual tension is *real*#especially here#asexuality isn't boring#greyroace#greyroace sherlock#still gay though
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WIPs Status Update
I am fairly confident no one cares what I am up to, but I haven't done one of these in ages so I figured I should.
In Progress Fanfic
Outlaws of the Whispering Woods
This fic is on temporary hiatus because I'm working on finishing it as part of the @wipbigbang. Participation in that event means I can't update that fic again until the posting period starts on September 8th BUT that once that posting period begins, I should have both art for the new chapter as well as regular updates through November until the fic is done which should be exciting.
That said, there is still like 60k ish to go in that story so if it looks like I'm not going to be able to get it all done in time, I might swap it out for the Chipped Glimmer fic which has also been languishing in WIP hell because it's shorter and easier for me to get done on time. I'd prefer to use the event as a kick in the pants to finish OotWW, though, so we'll see.
Prince Glowyn the Fourth
This fic is 100% complete at last, I just have one chapter left to post and will be doing that sometime within the next week.
Going There
Just about four years after I started it, Going There is finally done as well! (Literally just finished it today!) "Done" in this case means I finally rewrote the back end and filled in the missing connecty bits I never wrote the first time so everything's written, it's just going to take me an unknown quantity of time to edit and post each of the chapters. But less time than rewriting it all took so I expect those last few updates to come fairly regularly once I get them started.
Coming Home
I have always said that I wanted to wait to continue this fic until Going There was done so now that I have finally finished it, the sequel can get my attention more regularly again. That said, with everything going on with the WIP Bang, posting the rest of Going There, running the Big Bang and posting my own Bang fic (plus, like, all the other IRL stuff i have to do this summer), I really don't anticipate getting it updated anytime before the fall at the earliest and even then who knows.
Also, because this is my last in-progress canon fic I'm not in a huge rush to get it out there, I'd rather take my time with it, so I'm fine with that timeline. It'll get updated when it gets updated.
Area First Ones
In my head, this is episodic and while i have five chapters written, I have some things I want to add in between so it's not as simple as just cleaning and posting those. So basically, this one will be one of those fics I update when I update here and there with no set timeline other than my whims.
Coming Soon!
My Big Bang fic is called Horse Girl Everyone and it's the long awaited Riding School AU!
That one is going to be longgggg and basically never-ending and episodic (seriously, we're over 50k words and while Catradora have been circling each other for chapters Glimmer and Bow literally only just met and you KNOW how I feel about Glimbow). I was hoping to write enough in advance that I could do some kind of regular update schedule at the start but because I'm also running the Bang and having some annoying medical stuff going on, I think that's not happening.
I've written a ton in advance, don't get me wrong, I just don't see myself having time to revise it all and post weekly with everything else going on. But we'll see!
Anything else?
Well, yeah, lots of stuff but it's not fandom related so I can't tell you about it. ;-) Though maaaaybe I might have the chance for some of you to help me beta some of my original stuff in the near future if you're willing so keep an eye out for that.
I'm trying to have less things in progress at once so, though I have other fanfic projects in various states of completion, I'm purposely not going to even think about posting any other multi-chaps until GT and OotWW are done.
One shots and shorts? Yeah, I'll be throwing those up randomly as the mood strikes, you know how I roll. I'm eyeing up the Domaystic 2024 prompts to see which ones call to me right now.
So I have other stuff planned for later but I'm not even going to tease it because we'll see how everything shakes out.
This year has actually been absolutely horrible health wise but weirdly productive writing wise so it's been a mixed bag but at least nice to get some stuff done!
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I need to know more about Voievod! How long have you been working on it? How do you find the balance between storytelling and providing historical information? I'm about to start reading it, and I'm so interested in the process! Bonus question: do you have any playlist or type of music you associate with it?
Oh my God, thank you so much for dropping this into my in box, loveliest! This really makes my entire day. 🥹❤️ Please, excuse my ramblings if this gets too long sksksk.
First of all, thank you so much for giving my fictional monolith a chance! I appreciate it more than words can say and hope you will find it enjoyable! ❤️ I also do think that it is important to mention that it tackles a lot of dark and gory themes so, please, always check the trigger warnings first — some works are not that heavy, but others might be more explicit and graphic in nature, so never hesitate to skip some of them if you find them uncomfortable.
Now on to your questions!
How long have you been working on it?
Voievod in its current form is actually my third attempt, but I have been playing around with Vlad’s story for nine years now. I started working on my first story in 2015, but that was a blend of Vlad the Voivode and Dracula the Vampire — basically, it focused on how he became a vampire. I eventually abandoned that project because I did not really have patience with it and kept rewriting and re-editing many parts of it, and maybe it was a good thing I did because I gradually came to realisation that his character as a mortal man is so much more interesting than the vampire thing.
I tried to give it another shot in early 2020, this time focusing fully on Vlad as the historical figure. The first wave of COVID granted me a lot of free time, so I tried to use that opportunity to work on the story, as well as catch up on any new information from historical research. I wrote a few drafts but abandoned it again after a few months because I sincerely felt like I did not have enough writing experience to pull it off in a way I would be satisfied with.
I started working on the third and current version in February 2023 — I randomly revisited the old drafts from 2020 and started playing around with them a little, expanding the ideas until I managed to write two pieces I was quite proud of. I approached this with a great deal of respect and fear, then realised that I felt confident enough in my writing to perhaps try again. I think it was a good decision to wait and get enough writing experience before getting back to it because, looking back at my previous attempts, my world-building and characterisation have improved. Still, I am taking this as an opportunity to push myself and let myself grow — and every new piece is quite the lesson as I am often plunging into places I thought I would never dare before.
How do you find the balance between storytelling and providing historical information?
I think the hardest part of working on such a project is the research itself. To depict the historical events as accurately as possible, you have to read anything you can get your hands on and absorb as much as possible. I have loads and loads of files filled with notes on figures, events, culture, etc. not only for one but four separate countries as all of them are crucial for the work. Vlad’s story is even more specific because you really have to separate facts from all the debris and junk of propaganda against him that shaped what was known about him for a long time.
Once you become intimately familiar with the research topic and can swim easily through that sea of information, it is not that hard to find that perfect blend. In fact, having that historical information at your disposal really speeds up the process because you do not have to agonise over the plot — all those events are already there, you just follow them. When it comes to many characters from Voievod, we know what their life was like and what their personalities were, so I follow their lead in that regard. And it is fascinating because real life sometimes writes the most compelling stories.
What balances this out is the freedom other aspects give me. We usually come to know historical figures as legends and larger-than-life beings, and they were undoubtedly extraordinary, but they were people first. I get to breathe that humanity into them by depicting what they think, feel, desire, and fear. I make them make mistakes and laugh. There are also people in their lives that we know little or nothing about, so that gives me a lot of space to create characters from scratch — Cătălina is a perfect example of that, and I love having the opportunity to create such a rich and wonderful character. Ultimately, personal relationships give a lot of space to create dynamics as I please, because we know so very little about the private lives of these people.
Do you have any playlist or type of music you associate with it?
Ahhh, I love this question so much! Here is my opportunity to share my beloved baby lmao. 🤭
I have a “soundtrack” playlist on Spotify, which you can find here. I love visualising scenes and playing them in my head like little video tapes, and the right music helps me grasp the mood and emotion of those moments when writing them. Almost all the tracks are actually tied to specific scenes or works. (One is already published and bears the same name. *wink wink*)
Also, as a bonus (let me brag there for a second), here is a Pinterest board for some of the characters from Voievod. ❤️
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Hallo there and happy STS, my friend!
Today I'm asking a question about editing: Once you're done with a first draft, what's your editing process (timeline, software, other writer/reader feedback, etc.)?
Happy STS, @aschlindartroom!
I love editing. There. I've said it. I love editing. Getting the content down is nice, yeah, but making it work is something special.
Answer's long so it's below the cut. I'm happy to share pics or examples or explain anything in more depth, if anyone would like!
Throughout my first drafts I leave notes for myself in <<triangle brackets>> because they're easy to search. My first task after completing that first draft? Searching for the triangles and sorting out whatever I was complaining about/flagging for later. This normally takes a hot minute.
But yay, let's say I finally got through the triangles! Now it's onto the "to do" list in the project's Onenote. These are things which would have been in-text triangles, but I realized would need to be fairly major changes (as in, outside of that particular page or chapter). Accomplishing these to-dos takes even longer than dealing with the triangles, often requiring rewrites, restructuring, and continuity searches.
Finally I've completed those to-dos! This is where I take a pause to scribble out the plot and put it on some sort of structure. For Attenuate/Reverberate, it was an 8-step hero's journey. For Prince for Hire, it'll probably be Save the Cat. Usually my plots don't exactly hit the main beats, so that's something I flag to work on during draft two.
Okay, we've got out plot scribble out, our notes and to-dos fixed, and we're ready to go. Time to reread and make more triangle notes, and more to-dos. I'll re-read the entire draft in its entirety, pausing occasionally to throw in comments of things to fix, emotions I'm missing, areas to clarify, etc. IE, it's death by triangle note again. This is the moment where if a scene or section is just absolutely not working/accomplishing what I need, I'll open up a new word document and rewrite it. I'll keep the OG version open on one half of my screen (to save the good parts), but then I will make the scene accomplish what it needs. This serves to tighten the pacing and ensures I hit my plots and subplots, as well as my worldbuilding.
Draft two has been thoroughly noted-up and rewritten (as required). Time to go back through and fix those triangle notes. Again, this takes a hot minute, and may result in more rewriting.
Let's say I've finally finished with that. Now comes the fun part! I tend to be very wordy when I write, which jacks up my pacing. This next edit is the "destroy it with a chainsaw" edit. I change the font to something easily readable (like Open Dyslexic or Comic Sans), I set that spacing to 1.5 or 1.75, I pop by the local office supply store and buy a three ring binder, and... I print it. The entire thing. All 600ish pages.
From there it's a classic hack-and-slash edit. I like using pink pens because I think it's funny to use something not red, and green is far too serious. I look for redundancies. I look for sentences which are just too long and winding. I look for unnecessary descriptions (or descriptions which are simply stage directions). I look for overly verbose dialogue. I look for anything confusing. I slash through them.
This is mostly a subtractive edit. That said, it'll happen that I end up hand-writing entire pages to fill random gaps, or to clarify things, or whathaveyou.
Okay, we're finally done this "destroy it" edit. The next bit is fairly logical: I take those handwritten edits and I apply them to the digital manuscript. This is then what I term draft three.
In draft three, my primary focus is clarity. Does the plot work, does it make sense, and are the characters' actions logical? Are there any areas I still have mentally flagged as "not what it should be, and I will be able to fix it on my own"? Draft three is for ensuring I have the manuscript where I want it to be.
If I've got the manuscript to the point where I can't fix it any further without outside input, I set it aside for a week and use that time to search out a critique partner. We'll arrange a manuscript swap (usually via Google Docs), let each other know our harshness tolerances and things specifically we're looking for, and then we'll go for it. Treat their manuscript like your own. It needs care, and it needs love, and it probably needs some help, too. If it didn't, they'd be querying/readying for self-pub rather than working with a critique partner.
In my mind, critique partners are more like an editing buddy than a beta reader. Beta readers read from a reader perspective and share their reactions, while critique partners read from a writer perspective and share their techniques. I've learned so much from previous critique partners, it's absolutely astounding how talented they are.
After draft three's been thoroughly torn apart, and if I agree with what my critique partner suggests, I'll go in and try again. Fix it. This becomes draft four. Usually, there's so many significant changes after editing the digital version of draft four it's worth printing again for another subtractive edit. This print and destroy edit is the same as the original one, and once it's all tapped up again, it becomes draft five.
Draft five is usually where I feel confident in the manuscript, and this is where I'll look for beta readers. Basically, I want it ready to publish before I send it out to sample readers.
Anywho, that was long! Like I said up top, I actually love editing, and would be happy to go more in-depth/share examples/pictures if anyone would like me to :)
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"What's your drawing process? Care to show a tutorial of how you colour, shade and render?"
I don't really have the energy to go into detail (visually at least) but I'm happy to show my general process and explain what I do for each step.
1) I draw the rough page with "prelim" sketches, using a 10px ink tool in red. These are usually just stickfigures with ears, eyes and a few features that differentiate them, in the rough poses I need them to be in. The simplicity means I can move things around easily. I also add prelim text-boxes to get an idea of how much space I need for dialogue.
2) I draw over the prelims with the actual sketch, using a 1px sketch tool in black. When drawing over sketches of any kind, I put the sketch at 9-11% opacity so it's just visible. It's harder to make mistakes that way and forces me to be more careful with my lines. Here I also add the other panel lines and keep the prelim text boxes.
3) I line over the final sketch using the same sketch opacity rule, for the character illustrations. The lines start out rough initially as I use a mouse and thus can't draw with pen pressure, so once the lining is done I erase and add to the lines to simulate line weight and make it look cleaner.
4) I begin colouring by first using the selection tool on the areas outside of the character lineart, then inverting it so it contains all of the character. This is easier than directly selecting each section of the character.
5) The selected section is filled out with the character's base/main colour. I usually do this with accessories turned off, as they are on a different layer (ie Miltei's blade and Ash's necklace). Then I make a hair layer, eye/mouth/scars layer, and 1-2 marking layers, in that order of dominance. These are set as clipping layers to the base colour layer so I don't have to worry too much about going beyond the lineart. I just use the pencil tool at whatever size needed for colouring, and at 5 px for lineart.
6) I finish the accessory layers and colour the inner lineart to simulate depth and connection between certain body parts. Eyes receive "eye lights" (white dots of varying sizes at a low opacity) to simulate eye reflectiveness.
7) I then line the background using the same lineart rules/process established earlier. (Ignore that it's been coloured already idc)
8) The base colours are added for the background. Some sections get rendering before others.
9) Final colouring and extra details added. I usually add some shading or details to suggest depth and texture.
10) Final tweaks; ambience! Skyrays like the ones shown are done by drawing a large beam of yellow light and blurring it a ton. Then I do it again. On the second layer I add thin yellow lines using the spread tool. Then on luminous layers I add little dust particles like in the sunbeams you'd see in real life (though usually you can only see the dust up close).
11) I import the page into CSP and rewrite the dialogue using the prelim text boxes as a guide. I get them in the shape I want, then draw the speech bubbles using CSP's bubble tool. It's set to a sketchy outline to make the bubbles look a bit rough. These are coloured to match the character speaking, as are the text. The text and bubble layers are then reimported to SAI and the watermark is added. And we're done!
extra notes:
1) Eyes are generally drawn on a separate layer to the rest of the lineart, and pupil lines on yet another layer. This makes it easier to edit them and colour them without accidentally interfering with the other lineart.
2) There are rules I follow with how I do eyes and eye lights, but it's hard to explain. If I make an eye tutorial I'll make sure to go into plenty of detail about it.
3) I don't usually merge layers unless I know there's no reason to keep them separate. Those eye lineart layers always stay separate from other lineart.
4) The panel/page outlines are never on the lineart layer. When selecting the lineart so I can colour, I just draw small lines to connect the lineart that goes into the panel outlines. This is in case I need to edit the lineart position or something like that.
5) How I actually approach lineart changes on a case-to-case basis. Sometimes I'll do hair first, or body first, or ears first, sometimes I draw them all on different layers because of a complex pose, etc. I almost always draw eyes and accessories last though.
6) Preferred font is comic sans (thought I use both upper and lowercase as purely uppercase is irritating to me as a writer) for readability. I use a mix of other fonts for varying purposes.
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Hiya Hidden, I hope your day is going well! I want to improve my writing, but I don't have a beta and I'm not ready to join a group, right now I'm a bit to thin-skinned for that. I picked up Stephen King's book and that's been helpful, are there any other resources you'd recommend?
Hey there, glad to hear you're exploring your options in a way that works for you!
For other readers, Stephen King's On Writing is the one writing book I recommend because it teaches editing quickly and effectively. Your local library almost certainly has it, if you're interested.
And speaking of local libraries, I've read pretty much all of the writing books mine carries. About 70% of them are mostly cheerleading/support books, without much in the way of practical advice or exercises. Of these, I recommend Anne Lamott's Bird by Bird, as it's masterfully written.
I always recommend reading the best of what's out there, too. Obviously this is highly subjective, but if you are interested in my picks: here. Read diversely, seek out view points that are new to you (I love biographies for this reason).
I recommend Googling around for what's out there for free or low cost right now, in terms of lessons. Your fave authors might have a podcast or a lecture series for a fee. These days, people tend to use socials to promote themselves, so you might be able to learn direct from your favorite horse's mouth, so to speak! There are also online class series for a fee, but obviously you'll want to google those for reviews first.
I'm going to quickly toss some practical things that work for me beneath the cut, but disclaimers apply (I'm a hobbyist, what works for me might not work for you, etc).
1.) Drafting is one small part of writing
I get the sense that, when folks say they are writing, they are referring to drafting- getting words down on paper. Drafting is a small part of creating a finished piece. There's also planning, researching, editing, and inevitably scrapping/rearranging/rewriting/retooling/etc. These days, I personally spend about a month out of the year making a 50,000 word draft in Nanowrimo, about a month planning and researching before that, and the rest of the year editing/rearranging/retooling/discovering what my story actually is. Of course, I do end up drafting new scenes and filling gaps in there, too.
From listening to other creatives and watching how they track progress (mostly word counts), I get the sense that editing and refining are often overlooked in favor of further production. Basically, quantity over quality.
I don't know what the correct percentages are, and I doubt they exist. It's totally possible to obsess over every word to the point where you don't draft anymore, which is equally a problem. Just remember that there's so much more to the process than drafting, and it's normal/common for your draft to be taken apart and reassembled before completion.
Which leads me to...
2.) First draft are bad
Don't sweat quality in draft one. Draft one is always trash compared to the final product. Perfection anxiety can remove the joy of writing and paralyze writers. Worry about polish when you edit, but you can't edit something that doesn't exist. Bang out that bad first draft and nurture it from there.
I have a little essay on combating writing paralysis with successive drafts here. My advice always changes over time, lol, so who knows if I'd still agree, but it could be worth giving a read with a critical eye.
3.) Make working on your writing project a habit
In my opinion, the best thing you can do as a creative is make creating a daily habit. "The muse" and "inspiration" are fickle. Putting your butt in the chair and making stuff because it's make stuff o'clock is reliable. My advice is to show up for a set amount of time every day (start with as little as 15 minutes) and make stuff, with no care for quantity or quality. Just show up and do the thing and call it a win. It takes time, but once you establish the habit, you will become a creative force. People I think tend to underestimate how far you can go taking one small step a day. The time will pass regardless, so why not break down the thing you want to do into tiny, daily chunks?
I have an essay loosely about this here, although it's from the perspective of self care through daily creative habits.
4.) Leave distractions behind when you create
Turn off the internet on your computer and leave your phone in another room if it is safe to do so. If you sit in a room with nothing else to do but write, shockingly, you tend to write much more than if you have Tumblr within arm's reach.
Obviously some distractions can't be helped, and my goal is never to shame anyone for those. But try reducing those you can control. For me, it makes a huge difference. I adore distraction free writing tools for this reason! The most affordable I know is an AlphaSmart neo2 used (aim for about $40 total, ignore the price gouge ones, make sure it has the printer cord to connect to your computer, and you will need 3 AA batteries). There are modern alternatives, but they are pricey, and frankly I hate the company that makes them (yes, I'm talking about Astrohaus).
5.) Strive for completion
It's common in both fanworks and original projects for new writers to have 5+ fics or novels with a few chapters on their hard drive, effectively generating a graveyard of stories that never progressed past the opening portion. All this teaches us is how to start a piece.
I'm not suggesting that anyone torture themselves over a piece they don't want to work on anymore, but the only way to learn how to craft narratives is to... Well, craft complete narratives.
My advice is to make sure you know how you want your story to begin and end, and some idea of the dreaded middle bits, before you put too much effort into drafting. It's so easy to get excited and launch yourself into a frenzy, only to hit a wall and drop things completely when that initial inspiration fades.
But as mentioned in 3, inspiration is fickle. Habit is not!
Those are my favorite bits of writing advice, but I do have more! As I mentioned above, I tend to change my mind over time, but that leaves room for you to be critical about what I say and take and leave things as you choose.
-A video of my editing process
-Combating writing paralysis with successive drafts
-Dishing with an artist
-Tips for Fanfic Authors
-More Tips for Fanfic Authors
-Tips for Winning Nanowrimo
-Even more tips on writing fics
-Digimon Adventure/02 references
I hope something in this mess is helpful, lol!
Also, you mention being thin-skinned. My dear (I know using that may sound condescending, but I mean it with kindness and affection, because I have been there too), that is so common, especially for very young people. I was thin-skinned myself and only began... shedding? Toughening??? That skin around age 30. I am absolutely nowhere near being 100% tough yet, lol!
But I do want to say that moving in that direction is so, so wonderful. For me, personally, being thin-skinned was part of my upbringing. I was raised to assume everyone was dangerous, so of course I had a tendency to take everything personally and in the worst way possible. With time, therapy, and good 'ol 'no longer having the energy to get up in arms about everything,' I began to see that being thin-skinned is actively damaging to me. Like, it can hurt the people you snap at who were genuinely trying to help or joke around, yeah, but it always hurts me.
Being thin-skinned stands between people and the help they might need. It causes people to reject advice that might help them grow. It can make other people afraid to be real with someone, because that person might respond so negatively to an honest attempt to help or connect.
Literally everyone has these feelings sometimes, so I'm not saying this to attack or condescend. In fact, it's mature that you recognize this aspect of yourself. But I might gently suggest that working on this could be as helpful to your writing as the best writing book in the world, whatever that book may be.
I'm no therapist, but a cognitive behavioral therapy technique helps me a lot with this. If I feel a strong spike of emotion, I stop to question it before acting on it. Why did I feel so upset when Bob said x? According to my therapist, events don't cause emotions (such as Bob's possibly problematic comment). What causes emotions is how our belief system processes the event, which is why different people respond to the same event differently. Often, in the process of translating events to feelings, our belief systems sort of... Distort the message, or make it far more personal than the speaker intended.
Practicing this skill is easy online- just walk away from the computer for a bit. In person... Not so much. It's a difficult, active, not-fun process. I personally think it's worthwhile, even though I have a long way to go, myself.
But do also remember that some advice is just... bad. Some of my advice might be bad, or simply wrong for you. Never turn off your critical thinking!
I'm rooting for you, my dear! Please take care and keep writing and growing, you are amazing!
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Jun 17
More writing done yesterday, I think it's progressing along well. I'm doing it in cursive, I learned how to do that before many of y'all were born, and it's worked in that I was able to go back and write in the margin where I had accidentally put in a character thing too early so I could just scribble in the margin 'we don't know Jack is ___ yet' and that will be taken care of when I type it.
Honestly, kids, write your story out on paper, especially in the early drafts, and physically look at it. Sprawl Mart composition books are cheaper than spiral binders.
This particular story has been written, edited, and typed before. It was okay but I felt it needed a little something, mostly a change of tone and some inner dialog for the characters, so I know where it's going.
I think the last time I had aa hand written story go this quick was the mask story, I know which one that is, at a time when it was pulling several scenarios together and the stuff just needed to flow. Once the Jack story is written out that one could be next.
We'll just say I have about five stories at the most that currently exist in previous typed forms of varying lengths but needed to be redrafted for tone/clarity/ran out of gas reasons. I'm at the point in my writing where even if I'm going to rewrite something until that's typed and done a previous version will stay on the puter for reasons.
This also ties in with my thoughts about how all those 'I have alters' kids seem to boil down to the trap of claiming to want to be original but many having the exact same thing. All of them have cheesemakers, weasel stompers, dolls haunted with the ghost of a Victorian child, and video game/cartoon blorbo.
It's like assigning everyone in the writing group to do a fan fiction rewrite of something with one of the rules being 'don't just make a character(s) trans for the sake of being trans' and having to send 95% or the papers back.
If everyone is trans no one is trans.
If everyone is a DiD system then no one is a DiD system.
Do I have trans characters? Yes, I haven't bothered to ask many of them but I do have one main character that is and it's not their personality. I also have a character whom I haven't decided if they actually disassociate or it's a lesser sort of fugue state. The 'alter' is part of the plot and has its base in trauma but I want to give it a grounded plausible base with the character's back story and it doesn't involve sexual abuse.
There's another trans character that's... I'll use bread dough as an analogy because what started as one character to fill a plot need has risen and split in to what I would like to be two distinct characters. One will cross dress for plot reasons, but doesn't know if they will continue after, the other for character reasons and probably will keep the change.
However it ends up writing it out will be helpful in making it happen.
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The blogger stated Short article Forge took around 10 minutes to generate a post, much longer than the advertised time of one minute. Here are the results of her test: Article Forge produced a short article of 572 words. The article didn't make good sense, and lots of sentences were poorly worded. The post combined sentences about cross stitching with crochet, beadwork, and embroidery.
After erasing the short article, Loretta tested Article Forge for a 2nd time. She used the main keyword 'houses in Indianapolis' and the secondary keyword 'houses Indianapolis.' Once again, she chose an article length of 500 words. Short article Forge took around 6 minutes to create the short article. Here are the results of the 2nd test: Post Forge produced a short article of 503 words.
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We mainly utilize it to fill spaces in our content or broaden on product descriptions for our clients. It's not tough to come up with a couple of sentences here and there, however when you have to do it numerous times every day, you begin discovering it challenging to come up with ways of discussing things." (Septimiu B) "Some of the time it generates completely dummy and ineffective content that does not make any sense (they should need to upgrade).
You can modify these short articles to match your brand voice or design or send them to professional authors as a first draft. With Articoolo, you select a topic and short article length, and the software application does the rest of the work for you. It likewise incorporates with Word, Press so you can release content on your blog site rapidly.
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I am competing in Na, No, Wri, Mo to attempt and develop 50,000 of material in a month. The only problem with that is that I am a sluggish writer. More particularly, I feel the need to prepare method too much before I begin composing - article forge free trial. I am examining these 2 pieces of software to help me move past the preliminary momentum killing problems and simply delve into the great things.
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We will see if that's the case later. I am given a page that is pretty and invites me to get begun. In 60 seconds I might have some nebulous short article. I then click on prices to see how it compares. $60/month or half of that if I sign up to a complete year.
If I wished to get some posts written, that weren't total junk, I could pay about 2. 5 cents per word on Fiverr. So, for that $60 a month, if I might produce 5000 okay-ish words I would consider it a win. I am thinking it requires to be okay-ish to actually work.
I am going to think that they are direct rivals, each battling for market share. That possibly the optimist in me though. Just like all of these services, they include a free trial. That's good, because I don't desire to pay at all for this (article forge 3.0). Post, Forge has a 5 day trial.
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