Hi lucent
For storyday, tell me about the most normal story you've ever written and the most outlandish. According to you, I mean.
This question became very interesting to me as I started thinking of my answer to it, because it made me realize the only wips that have really Stuck are the ones that land in the middle of that spectrum? Which suggests that you have to hit that sweet spot between normal and outlandish for something to succeed.
For example, the most outlandish story idea I can remember ever trying to flesh out and write was something about a girl discovering an abandoned greenhouse full of sentient plants and their warring society contained entirely within glass walls. I don’t remember ever having a plot, just that premise I thought was fun.
(My headless zombie idea is in a similar stage, but I think I can come up with a plot for that one, so I don’t want to abandon it yet)
And the most normal one was probably a romance story about a woman traveling around taking people’s stories to post, similar to the People of New York account, and the man who follows her trying to get her story instead.
There were several reasons it didn’t work; for one thing, the two characters were basically Ash and Zach clones, and I couldn’t come up with unique characterizations for them. For another, I never had a solid backstory for how or why she was doing this project. Additionally, I think it would make for a more interesting story if she had a motivation that meant she collected the stories but didn’t post them, told people she was collecting testimonies for different reasons each time, and the man was an investigative journalist who had noticed these discrepancies. Which is quite different from the story I had originally.
But! Still quite “normal” I think. Mundane, almost. No supernatural characters or magic or worldbuilding of any sort.
Which I think is what I write best and is most interesting to me right now. Maybe the above story could be told someday, but for now I’d rather work in the mundane world but in the future (SOLE Project), or the mundane world with angels n demons (LiaHT and its sequels).
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Injustice Timeline but with more Ghosts
Superman loses Lois, and starts to go rogue a la Injustice route.
Problem.
Dan, who was just entered into the Justice League, takes great offense to this.
Dan, who is reformed.
Dan, who remembers ripping every single member of the Justice League to shreds in that other timeline, and still remembers how to do it.
Superman never makes it past his opening speech to pitch the idea of hero-approved murder.
Dan, standing over an actually unconscious Superman who probably definitely needs medical treatment, looks at the other Heroes who would have sided with Superman.
"Ẅ̸̖̭͚̰̳̼̰́̇̋̚͜ͅh̴̨̛̭̝̘̻̙̝̜͔͚͛͌̿̉̓̈́̔̈̍͆̾͘͜o̵̦̟̣̖̝͔̠͍͙͖͕̔̏̈́͗̍͒̎̿͗̚͜'̴̦̣̪͓͓̤̲̲͐͌̂͋̉̚͠s̵̛̛̛̙̠̾̂͐̌̏̐́͝ ̵̛̩̹̪̤͔̰̣̼͈̒̉̿́͆͌͒͊̄͘̚͝ñ̷͉̠̩̝̇̒̐͂̄̽̈̃̅̕͘͝͠è̷͓̹̫͊̍̔̃̾̌̽̈́͑̓͜͝x̴̻̓̊̽̎̑ṫ̶̬̮̭̳͕̗̙̙̭̬̣̯͌͋̅͌̎͒͐̍͜?̴̗͍̺̼̪̞̋̕"
Meanwhile, Danny was sitting bored in his throne when a rather frightening new ghost forced her way in.
She demands an audience with him, introduces herself as Lois, and bullies him into making an interdimensional Passport.
She bullies Walker into agreeing that a Passport would make interdimensional travel follow the rules.
She has Danny searching various dimensions to find hers, because she wants to spend her afterlife with her still alive alien husband.
Danny...is too scared of her to tell her no.
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I need people to understand how S&P (standards and practices) works in television and how much influence they have over what gets to stay IN an episode of a show and how the big time network execs are the ones holding the purse strings and making final decisions on a show's content, not the writers / showrunners / creatives involved.
So many creators have shared S&P notes over the years of the wild and nonsensical things networks wanted them to omit / change / forbid. Most famously on tumblr, I've seen it so many times, is the notes from Gravity Falls. But here's a post compiling a bunch of particularly bad ones from various networks too. Do you see the things they're asking to be changed / cut ?
Now imagine, anything you want to get into your show and actually air has to get through S&P and the network execs. A lot of creators have had to resort to underhanded methods. A lot of creators have had to relegate things to subtext and innuendo and scenes that are "open to interpretation" instead of explicit in meaning. Things have had to be coded and symbolized. And they're relying on their audience to be good readers, good at media literacy, to notice and get it. This stuff isn't the ramblings of conspiracy theorists, it's the true practices creatives have had to use to be able to tell diverse stories for ages. The Hays Code is pretty well known, it exists because of censorship. It was a way to symbolize certain things and get past censors.
Queercoding, in particular, has been used for ages in both visual media and literature do signal to queer audiences that yes, this character is one of us, but no, we can't be explicit about it because TPTB won't allow it. It's a wink-wink, nudge-nudge to those in the know. It's the deliberate use of certain queer imagery / clothing / mannerisms / phrases / references to other queer media / subtle glances and lingering touches. Things that offer plausible deniability and can be explained away or go unnoticed by straight audiences to get past those network censors. But that queer viewers WILL (hopefully) pick up on.
Because, unfortunately, still to this day, a lot of antiquated network execs don't think queer narratives are profitable. They don't think they'll appeal to general audiences, because that's what matters, whatever appeals to most of the audience demographic so they can keep watching and keep making the network more money. The networks don't care about telling good stories! Most of them are old white cishet business men, not creatives. They don't care about character arcs and what will make fans happy. They don't care about storytelling. What they care about is profit and they're basing their ideas of what's profitable on what they believe is the predominate target demographic, usually white cis heterosexual audiences.
So, imagine a show that started airing in the early 2000s. Imagine a show where the two main characters are based on two characters from a famous Beat Generation novel, where one of the characters is queer! based on a real like bisexual man! The creator is aware of this, most definitely. And sure, it's 2005, there's no way they were thinking of making that explicit about Dean in the text because it just wouldn't fly back then to have a main character be queer. But! it's made subtext. And there are nods to that queerness placed in the text. Things that are open to interpretation. Things that are drenched in metaphor (looking at you 1x06 Skin "I know I'm a freak" "maybe this thing was born human but was different...hated. Until he learned to become someone else.") Things that are blink-and-you-miss-it and left to plausible deniability (things like seemingly spending an hour in the men's bathroom, or always reacting a little vulnerable and awkward when you're clocked instead of laughing it off and making a homophobic joke abt it)
And then, years later there's a ship! It's popular and at first the writers aren't really seriously thinking about it but they'll throw the fans a bone here and there. Then, some writers do get on the destiel train and start actively writing scenes for them that are suggestive. And only a fraction of what they write actually makes it into the text. So many lines left on the cutting room floor: i love past you. i forgive you i love you. i lost cas and it damn near broke me. spread cas's ashes alone. of course i wanted you to stay. if cas were here. -- etc. Everything cut was not cut by the writers! Why would a writer write something to then sabotage their own story and cut it? No, these are things that didn't make it past the network. Somewhere a note was made maybe "too gay" or "don't feed the shippers" or simply "no destiel."
So, "no destiel." That's pretty clearly the message we got from the CW for years. "No destiel. Destiel will alienate our general audience. Two of our main characters being queer? And in a relationship? No way." So what can the pro-destiel creatives involved do, if the network is saying no? What can the writers do if most of their explicit destiel (or queer dean) lines / moments are getting cut? Relegate things to subtext. Make jokes that straight people can wave off but queer people can read into. Make costuming and set design choices that the hardcore fans who are already looking will notice while the general audience and the out-of-touch network execs won't blink and eye at (I'm looking at you Jerry and your lamps and disappearing second nightstands and your gay flamingo bar!)
And then, when the audience asks, "is destiel real? is this proof of destiel?" what can the creatives do but deny? Yes, it hurts, to be told "No no I don't know what you're talking about. There's no destiel in supernatural" a la "there is no war in Ba Sing Se" but! if the network said "no destiel!" and you and your creative team have been working to keep putting destiel in the subtext of the narrative in a way that will get past censors, you can't just go "Yes, actually, all that subtext and symbolism you're picking up, yea it's because destiel is actually in the narrative."
But, there's a BIG difference between actively putting queer themes and subtext into the narrative and then saying it's not there (but it is! and the audience sees it!) versus NOT putting any queer content into the text but SAYING it is there to entice queer fans to continue watching. The latter, is textbook queerbaiting. The former? Is not. The former is the tactics so many creatives have had to use for years, decades, centuries, to get past censorship and signal to those in the know that yea, characters like you are here, they exist in this story.
Were the spn writers perfect? No, absolutely not. And I don't think every instance of queer content was a secret signal. Some stuff, depending on the writer, might've been a period-typical gay joke. These writers are flawed. But it's no secret that there were pro-destiel writers in the writing room throughout the years, and that efforts were made to make it explicitly canon (the market research!)
So no, the writers weren't ever perfect or a homogeneous entity. But they definitely were fighting an uphill battle constantly for 15 yrs against S&P and network execs with antiquated ideas of what's profitable / appealing.
Spn even called out the networks before, on the show, using a silly example of complaints abt the lighting of the show and how dark the early seasons were. Brightening the later seasons wasn't a creative choice, but a network choice. And if the networks can complain abt and change something as trivial as the lighting of a show, they definitely are having a hand in influencing the content of the show, especially queer content.
Even in s15, (seasons fifteen!!!) Misha has said he worried Castiel's confession would not air. In 2020!!! And Jensen recorded that scene on his personal phone! Why? Sure, for the memories. But also, I do not doubt for a second that part of it was for insurance, should the scene mysteriously disappear completely. We've seen the finale script. We've seen the omitted omitted omitted scenes. We all saw how they hacked the confession scene to bits. The weird cuts and close-ups. That's not the writers doing. That's likely not even the editors (willingly). That's orders from on high. All of the fuckery we saw in s15 reeks of network interference. Writers are not trying to sabotage their own stories, believe me.
Anyways, TLDR: Networks have a lot more power than many think and they get final say in what makes it to air. And for years creative teams have had to find ways to get past network censorship if they want "banned" or "unapproved" "unprofitable" "unwanted" content to make it into the show. That means relying on techniques like symbolism, subtext, and queercoding, and then shutting up about it. Denying its there, saying it's all "open to interpretation" all while they continue to put that open to interpretation content into the show. And that's not queerbaiting, as frustrating as it might be for queer audiences to be told that what they're seeing isn't there, it's still not queerbaiting. Queerbaiting is a marketing technique to draw in queer fans by baiting them with the promise of queer content and then having no queer content in said media. But if you are picking up on queer themes / subtext / symbolism / coding that is in front of your face IN the text, that's not queerbaiting. It's there, covertly, for you, because someone higher up didn't want it to be there explicitly or at all.
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How can Will move forward if he's just ignoring his past and listening to people who call him evil– internalizing all that self hatred?
How can James find his voice and master his needs if he actually has no autonomy– if he keeps letting people tell him he has no autonomy?
The battlefield in Dark Heir is really about who controls the narrative. Right now the Light controls the narrative and James and Will are losing because of it. They have to take the control back. They can't do that if they continue to buy into the propaganda against them, their past selves, their relationship, and the desires they harbour.
They need to start facing themselves as they are, who they once were, and start fighting back against the Light's narrative to be free of it.
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The Kiwami Millennium Tower showdown definitely ended with Kiryu being shaken awake by Haruka, who frantically pulls him over to Nishiki, half-buried in rubble and in a pool of his own blood, and Kiryu carrying a badly injured Nishiki out of the building to safety and still holding him close and not letting go when Nishiki regains consciousness in his arms and starts to weakly struggle against his grip, gives up, and breaks down sobbing, clutching Kiryu’s shirt and pleading to him–
“Please don’t do this– please don’t force me to live with this– just end it. I don’t deserve to live, I don’t want your mercy or your pity– it wasn’t supposed to go like this. I failed– I fail at everything– I even failed at ending my own life. I’ve hurt and betrayed everyone I’ve ever cared about and been a burden on everyone I’ve ever known. I’ll never be enough. Why the hell are you trying to save me? What the hell is there to save? Let me do one useful thing for once in my life and leave me to bleed out like I should. Please, Kazuma.”
And with teary eyes squeezed shut, his head down, Kiryu holds him so tightly to his chest it makes Nishiki’s burns sting and tells him,
“Everyone hurt you, and I left you to hurt alone. I broke our promise. I should’ve never left you to cross the line alone. I was supposed to be there for you, and I wasn’t– but I’m here now and I’m not letting you go. Never again. I need you here. I want you here. Just being here is enough, Akira. I promise.”
And Nishiki gives into his instinctive need to just cling to him and cry, as if making up for years of pent-up tears he’s forced himself not to shed out of an intense fear of vulnerability. He does what he should’ve done a long time ago, fakes his death, and leaves the yakuza life behind in favor of something more mundane, but something that’s actually him– something that allows him to accept himself as he is rather than being forced to live up to the impossible standards of others.
Trust me this is absolutely how it went. The End.
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