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hayatheauthor · 2 months

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Writing Rage: How To Make Your Characters Seem Angry

Anger is a powerful emotion that can add depth and intensity to your character's personality. If you're facing issues realistically expressing your characters' rage, here are some quick tips to help you get the ball rolling. Whether your character is seething with quiet rage or exploding in a fit of fury, these tips will help you convey their emotions vividly to your readers.

This is blog one in my writing different emotions series. Go check it out to explore more emotions!

Facial Expressions

Furrowed Brows: Describe the deep lines between their eyebrows, signaling frustration or intensity.

Tightened Jaw: Mention their clenched jaw, indicating suppressed anger or tension.

Narrowed Eyes: Highlight how their eyes narrow, showing suspicion, irritation, or anger.

Raised Upper Lip: Note the slight curl of the lip, suggesting disdain or contempt.

Flared Nostrils: Describe how their nostrils flare, indicating heightened emotions like anger or aggression.

Body Language and Gestures

Crossed Arms: Show their defensive stance, portraying resistance or defiance.

Pointing Finger: Describe them pointing accusatively, conveying aggression or assertion.

Fist Clenching: Mention their clenched fists, symbolizing anger or readiness for confrontation.

Hand Gestures: Detail specific hand movements like chopping motions, indicating frustration or emphasis.

Aggressive Posturing: Describe them leaning forward, invading personal space to intimidate or assert dominance.

Posture

Tense Shoulders: Highlight their raised or tense shoulders, indicating stress or readiness for conflict.

Upright Stance: Describe their rigid posture, showing control or a desire to appear strong.

Stiff Movements: Mention their jerky or abrupt movements, reflecting agitation or impatience.

Eye Contact

Intense Stares: Describe their intense or prolonged gaze, signaling confrontation or challenge.

Avoiding Eye Contact: Note how they avoid eye contact, suggesting discomfort or a desire to disengage.

Glaring: Mention how they glare at others, conveying hostility or disapproval.

Dialogue

Raised or strained tone with variations in pitch reflects heightened emotions.

Short, clipped sentences or abrupt pauses convey controlled anger.

Use of profanity or harsh language intensifies verbal expressions of anger.

Volume increase, from whispers to shouts, mirrors escalating anger levels.

Monotonous or sarcastic tone adds layers to angry dialogue.

Interruptions or talking over others signify impatience and frustration.

Aggressive verbal cues like "I can't believe..." or "How dare you..." express anger explicitly.

Reactions

Physical Reactions: Detail physical responses like increased heart rate, sweating, or trembling, showing emotional arousal.

Defensive Maneuvers: Describe how they react defensively if someone tries to touch or talk to them, such as stepping back or raising a hand to ward off contact.

Object Interaction

Aggressive Handling: Show them slamming objects, throwing things, or gripping items tightly, reflecting anger or aggression.

Use of Props: Mention how they use objects to emphasize their emotions, like slamming a door or clenching a pen.

Descriptive Words:

Verbs:

Roared with fury, expressing unbridled anger.

Snapped in frustration, indicating sudden irritation.

Shouted angrily, releasing pent-up emotions.

Glared fiercely, showing intense displeasure.

Slammed objects in rage, symbolizing anger's physical manifestation.

Grunted in annoyance, displaying impatience.

Raged vehemently, portraying uncontrolled anger.

Adjectives:

Furious and incensed, conveying intense anger.

Seething with rage, bubbling beneath the surface.

Livid and fuming, exhibiting visible anger.

Agitated and irritated, showing growing impatience.

Enraged and wrathful, expressing extreme anger.

Vexed and irate, indicating annoyance.

Infuriated and incandescent, highlighting explosive anger.

Looking For More Writing Tips And Tricks?

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!

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hoshigray · 1 year

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Pleasurable Practice

Here's what I got: when you're left in headquarters to study for an upcoming language skit, your boss and work crush, Miguel O'Hara, does what he can to help his subordinate. And he does, in more ways than one...

A/n: It's been a week since I saw the film in theaters, and my brain hasn't been the same. I tried very hard not to write for this man, but here we are. Sighhhh, I swear I wasn't this bad when playing EoT (curse you Oscar Issac, and the ATSV art department!!!). And it doesn't help that my social feeds are full of him...Anyway, I hope you enjoy this piece! It's WAY longer than I wanted, but I guess that's meant to show how much fun I had writing, hehehe~. Also, ty so so much for 600+ followers!!

Cw: Miguel x fem!reader - some ATSV spoilers so tread carefully - sexual context so minors DNI - fingering (fem! receiving) - cunnilingus - clitoral play (Miguel's fangs lightly brush your clit, but doesn't bite it) - praise - kisses on the stomach - pet names (amorcito/little love, mi alma/my soul; amor/my love; vida/my life) - sexual acts in public - outside intrusions, but you two don't get caught.

Wc: 2.8k

"Hey, Lyla. You sure you wanna leave me here?"

"Aww, you scared something would happen without me?" She chuckles when you shrug. "You'll be fine; everything's been taken care of for today. If something pops outta nowhere, you know where to find Miguel or give me a call. Alright, I'm outta here. Cya tomorrow~."

"Bye, Lyla~" With that, the pixelated woman signs off from your line of sight, and you slump into your chair with a sigh.

It's late at night in Nueva York. The Spider Society headquarters is still active, but fewer people occupy the halls and sectors in these late hours, you being one of them. You're sitting at a conference table by the teleportation room, taking in Margo's shift. But since things are quiet around here, you use this time to work on your homework.

Well, you would've if a pair of hands didn't suddenly come from behind and blocked your vision. "Guess who?"

You shake your head with a smile. "Aren't you supposed to be at Earth-50101 hanging with Gwen and Pav?"

The hands are removed, giving your shoulders a quick rub. "Can't say a quick bye before I'm off?" Hobie Brown walks from behind to sit on the table, avoiding the scattered papers on the surface. "What's all this? School?"

"Yeah," You pick up a paper with color-coordinated dialogues. " I got a reflection to finish and need to read this script for a skit in my modern language class on Wednesday."

"What language?"

"Spanish." You flip the script for him to look at. A giggle slips from you. "Suppose you can't help me, huh?"

Hobie grins. "Yo lo haría si pudiera." Your eyes go big. Of course, the guy who "doesn't believe in consistency" would know a thing or two about other languages.

".....Please stay and help me."

"Can't, perhaps next time." Another heavy sigh as the tall other gets up from the table and opens a portal to Pavitr's universe. "We'll save some snacks to bring back tomorrow. See ya then."

"Bye, Hobie." You groan with your head meeting the table surface as the portal vanishes with Hobie's dismissal. In despair, you lift your head up and proceed with your work.

It's about 11 p.m., and you were able to finish your paper in about two hours. It's now time to work on your Spanish script. Unfortunately, your class partner can't be here (obviously) to say his lines with you, but you two promised to highlight your lines and recite on your own downtime. So you follow through with the blue lines — your lines — avoiding the red lines and announcing all the words to the best you can.

After the third time around, you start to get to the rhythm of it. So in tune with what you're doing, you don't mind your surroundings as you circle around the table with your face glued to your script.

"What're you doing?"

However, it all comes to a halt when a voice startles you. So used to the silence and your own tone that you didn't notice a familiar man creep from behind you. Your eyes widen at the tall and well-built figure before you.

Miguel O'Hara, Spider-Man 2099 and the leader of the Spider Society — your boss who you have a major crush on and is still waiting for you to reply after nearly scaring you to death.

"O-Oh, Miguel, umm," you quickly straighten yourself up, but the heat in your face encroaches. "Sorry, didn't see ya there. I was just looking at this script."

"A script?" He slightly tilts his head, surveying your moves as you sit back at the table. He follows and peers behind your shoulder to see what you're working on. "For what?"

"It's for a skit in my Spanish class. I'm reciting my lines for Wednesday." He nods at your answer, glancing around to see you're alone. "Lyla signed off for a while, but she told me to tell you that if you 'need anyone to put a leash on you,' Jessica would answer the call."

The man narrowed his eyes and sucked his teeth, "of course she said that..." was all he murmured under his breath from his pixelated peer's words. With a heavy sigh, he turns back to the paper in your hand and extends out his. His silent request is answered when you pass him the sheet to skim. A brow is lifted. "Is the skit like some kind of married couple or—"

You confirm. "Yes. Our unit is on relationships, and my partner and I wanted to do a skit where the husband — my partner — comes home and surprises his wife with their favorite flower and then gives a nice speech on how much he loves her." Miguel still reads the script, but you continue on. "Luckily, our instructor said it's not our final where it's required to talk entirely in Spanish. So, we can say some English phrases or words if our brains go blank."

Miguel finally stops examining the script and eyes at you. "I can help."

Huh? "Excuse me?"

"You're the blue lines, right?" Correct. "Then I can be the red lines and help you practice."

Wait, no! "Oh no, there's no need for that, Miguel! I'm sure you're busy looking at the screens on your station and—"

"No pasa nada, Y/n," You gulp when he grabs a chair and sits close to you. "I'll say your partner's parts, and you reply with yours." There's no use in arguing with him out of this, so you just follow suit.

For the past thirty minutes, you and Miguel have been practicing. Sometimes he'll call you out on words you forget or mispronounce, which hurts your little heart being scolded like a child. But then there are times when he praises you for saying something correctly without second-guessing, or he'll ask for a pen to scratch off something and write a better phrase for you to say. And you can tell that your memorization's been improving thanks to his help. Maybe there was no need to be nervous.

The time is now 11:46, and you feel way more confident about this skit than before. Miguel can also tell by how much you've performed that you'll do fine on Wednesday. Guess that should do it. He puts the script down and gets up, heading back to his original post.

"Hey, wanna do the actual skit with me?"

Huh? "What?"

"Well, I was thinking," You squeak. "Maybe we can try acting out the skit without the paper now that I'm kinda getting the hang of it? But, I mean, that's only if you're okay with it, ya know..."

His brows trench down. Miguel knows he shouldn't do it; there are many universes in his post that he needs to keep an eye on in case anything pops off. He can't afford to just act out a scenario for some class. However, when he glances back at you, he faces mixed feelings. Your eyes look at his, nibbling on your bottom lip, and your fingers fidget with each other as you wait for his answer.

Miguel knows he shouldn't...but it won't hurt to comply this one time.

"Fine," your heart skips when he turns back to face you fully. "But don't mention it to Lyla or Jess. I'll never hear the end of it from those two."

"Of course!" You reassure him as you ready yourself, mentally calming the happiness brewing inside down. "You go."

He nods and plays the scene. He acts like he opens a door and holds an imaginary object. "Estoy en casa, cariño."

"Oh, bienvenido a casa, bebé!" You rush to Miguel and give him a hug. You feel him go rigid, and you freeze. Wait, he's still my boss and not my actual partner! Oh, God, I bet he regrets doing this now...Ughhh!! Commit now, cry later!

You quickly improvise and pull him by his spider suit to come close, placing pretend kisses on his cheeks. "Llegas pronto a casa, mi guapo muñeco. Is something wrong?"

Miguel stares at you for a few seconds before he blinks and coughs. "Ahem, Querida, vine temprano porque es tu cumpleaños. Y quería darte esto." The hand with the invisible object comes up, and you take it.

"Dios mío, ¿mi flor favorita en mi día especial?" You give the man a warm smile and place a hand on his cheek, stroking his skin lovingly. Miguel hitches his breath. "Eres demasiado buena conmigo, muñeco. Pero no tenías que regalarme nada."

It takes Miguel a moment, but he coughs once more and returns to the task. "Puede que la flor no fuera necesaria, pero tenía que conseguirla para ti, mi amor." He puts a hand on yours that's still on his cheek, now it's your turn to slow your breathing. "Cada vez que veo esta flor, sólo puedo pensar en ti. No sólo hoy, sino todos los días. Veo todo lo que haces por mí y nunca lo doy por sentado. You are my everything, Y/n. Tú eres mi mundo. Mi luz. Mi corazón. Mi… Mi…"

He stops, noticing your expression and shallow breaths. Your eyes never leave his, mouth agape, and your attention entirely on his words— no, on him. Even in this little act, you dare not move or say something out of turn. Listening to the man before you intently, your hand still in his.

He knows he shouldn't, but Miguel leans into you, and a small gasp leaves you before his lips press onto your soft ones. "....Mi alma."

Your brain short-circuits, the feel of his lips overtaking you. You awkwardly kiss him back, resulting in a moan from Miguel. He grabs your waist while pushing himself forward, making you walk backwards until you hit the table. The bump has you two break the kiss, forcing you back to reality.

Miguel says nothing, and so do you, your eyes honing in on his deep red orbs. Your thoughts go too fast that your head pounds. What? What was that? Did he mean to do that??

"Túmbate."

He captures your attention. "What?"

"Lie down, mi amor." He commands in a stern voice. Hesitance restrains you, yet you still follow orders and sit on the table with your back to the surface. A small smile creeps up on Miguel, and he leans down to plant more kisses on your sweet lips. "Good. Now, say your part."

Slow smooches from your chin to your neck leave you breathless. Although the heat in your face is unbearable, you play along and stick to the script. "My wonderful husband...Y...You are so thought—"

"Se supone que está en español, Y/n." He corrects you. Lifting your shirt to reveal your abdomen. Miguel kisses your exposed tummy while his hand snakes past your bottoms, pressing a finger down on the wet spot of your clothed vulva. Your toes curl as your first moan leaves puffy lips. "Try again."

You intake a deep breath. "Ere...Eres muy considerado con—Mmmm....conmigo." Your bottoms and undergarments are now off, your bare cunt out for Miguel to see. The older man props your legs upward with both hands as he brings his face close to your pussy. He lightly blows on it, and you bite your lip from the cold air. "Keep going, mi vida."

"Cuando....no haya luz en mi—Oooh!!" Miguel flicks your clitoris with his tongue before nestling it between your soaked folds, sucking and laving your essence. "Nnnmp! Mi-Miguel, I can't do thisss...Your tongue, it feels so, so—Oh Christ..."

His ruby eyes peek at your face. "But you were doing just fine, Y/n." The way he says your name feels so sinful, so forbidden. But so pleasing to the ears. "Repeat it."

His tongue goes back to torment your slit. The risque noises the wet muscle makes with your slick-covered chasm ring your eardrums. Ecstatic whimpers fill the space around you, and you grab tufts of Miguel's brown hair when his tongue flicks your clit again. He's impatient, so you concede.

"Cuando no haya luz en mi vida....Haaaahhh, sé que estarás ahí para protegerme." Miguel pushes your tender bud against his teeth. His canine brushing on your pearl, causing you to jerk. "Eres mi sombra...Mi—Ahhhh!....escudo....Mi rey."

He chortles, "Good job, mi alma."

Satisfied with your cooperation, the man sucks on your precious sex as his forefinger nestles between your folds, your slick providing lubricant to naturally push his digit through your entrance. You jolt with a sharp cry, tears falling from your beautiful face.

His tongue and fingers go faster, and your release climbs higher with every lick. The stimulation of your poor cunt and clitoris is hardcore that you come in a few seconds, the walls of your chasm fluttering around Miguel's fingers coated with your personal fluids.

Your heavy pants slow down to steady your body that subsides from the aftershocks of your orgasm. Miguel withdraws his mouth and fingers from you, standing upright to take in your figure.

He scoffs with a tiny grin, licking his lips. "Amorcito."

You open your mouth to say something, but a flash of colors and shapes captures the attention of both of you. Your eyes go wide. Oh no, someone's coming!

With haste, you immediately grab for your bottoms and underwear before taking cover under the conference table, using it to quickly put your clothes back on before someone enters through the portal. That someone was Jessica Drew, making her arrival known by revving her motorbike.

"Jess," Miguel puts on his usually serious face. But on the inside, he's almost as nervous as you. Because he swiftly pulls a chair out to cover his erection lower regions.

"Hey, Miguel! I thought I'd find you here." The woman addresses him when she's done a lap around the table. Her portal vanishes from the scene. "I've been trying to call you through your watch. You not wearing it?"

He looks down at his wrist where it was supposed to be. "...I was using the restroom, so I left it on my station."

"Mmm, I figured." Jessica then notices the paper and backpack on the table. "This is Y/n's stuff, right? Where are they?"

"R-Right here, Jess!" To her surprise, you come out from the table with your bottoms fully secured. "Sorry, I was looking for my pen before packing up." You smile to ease the awkward tension and your racing heart.

"Oh, okay then." Jessica nods to your words and turns to Miguel. "Anyway, I was calling you up because I need backup. The guy I was dealing with somehow switched places with another villain. Took care of the other one, but my guy's elsewhere."

He hums. "Lyla."

"That's me." The yellow-pixelated woman with pink heart-shaped glasses appears once more.

"Where are the coordinates of the anomaly Jess was handling?"

"I'm sorry, you want me to do what?"

"...."

"What's the magic word?" The tiny woman teases him while you and Jessica hold in your laughs.

Miguel's brows furrow with a slight pout. "....Canyoupleasesend—"

"Woah, woah, woah," Lyla gets closer to his face with each word, raising his irritation as she does so. "Little too fast there."

"Can you please give us the co—"

"Already gave it to Jess."

"Then what was the point—"

"You know how much I love to pester ya," her smile doesn't help squander his frustration, not when he also hears the exchanged giggles between you and Jessica. "And call that payback for not having your watch on you."

To avoid their eyes seeing Miguel's situation, he leaves and fetches his watch quickly after being repeatedly teased by the two women. He returns ready with his mask on and the device on his wrist. Lyla and Jess are waiting for him, same with you and all your stuff packed up. It's 12 in the morning now, you have to get home. "Ready?"

"Yup, see ya there." The woman on her bike starts it up. Lyla disappears when the dimension is opened. "Bye, Y/n!"

"Bye, Jess!" You wave goodbye to the woman, who does one final lap before entering the portal to her new destination. And now you're back to being alone with Miguel, who you find looking at you. You gulp and say your thoughts. "Don't worry, I didn't tell them! And, sorry that it happened. I was being a little too close to you in the first—"

"Hey." Miguel lifts a hand to stop you from rambling on further, and you listen. "Your skit. When is it again?"

It takes you aback that he asks, but you still reply. "Wednesday?"

"Hm. Alright then." And with that, he walks to the portal to his next mission. But before he exits, he peers from his shoulder and proclaims something.

"Tell me how you did on Wednesday, then we'll continue with this talk."

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thottybrucewayne · 2 months

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While we're on the subject of Paris Is Burning...

Y'all should look into the Dorian Corey Project right here on Tumblr.

The Dorian Corey Project is a small online collective dedicated to preserving Black queer history. I found out about them a few years ago and I greatly appreciate the work they put in to honor Dorian Corey's history while so much of the dialogue surrounding her as a person tends to sensationalize her situation. They currently have a campaign running now until June called Gender In Real Life meant to "Highlight the efforts of (hyper) visible Trancestors and Ancestors whose life work inspires Black LGBTQIA people today." (The website will be up soon, too <3) Go over and show them some love and appreciation for the work they do!

#thotty speaks #black lgbt history #black trans history #black queer history

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volno · 8 months

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the fact that Githyanki is the least picked race for Tavs is a fucking crime, because they have some of the funniest dialogue choices available and my current run is unintentionally hilarious because of it. Here's some personal highlights from act one:

#bg3 #baulders gate 3 #baulder's gate 3 #githyanki #baulder's gate

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saraswritingtipps · 7 months

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Writing Child or Teenage Characters:

Writing child or teenage characters requires an understanding of their unique perspectives, thoughts, and behaviors at various stages of development. Here are some tips to help you capture the essence of child or teenage characters realistically:

1. Research Developmental Stages: Familiarize yourself with the developmental stages of children and teenagers. Understand the physical, cognitive, emotional, and social changes that typically occur during these periods. This knowledge will help you depict characters at appropriate stages of maturity.

2. Voice and Dialogue: Pay attention to the language and vocabulary used by child or teenage characters. Their speech patterns, sentence structure, and word choices may differ from adult characters. Reflect their age and level of education in their dialogue to make it authentic and relatable.

3. Emotional Authenticity: Children and teenagers experience a wide range of emotions, and their emotional responses can be intense and sometimes unpredictable. Show their emotions through their actions, reactions, and internal thoughts. Be mindful of age-appropriate emotional depth and understanding.

4. Observational Perspective: Child and teenage characters often notice and interpret the world differently than adults. Highlight their unique observations, curiosity, and innocence. Allow them to have a fresh perspective that can bring a sense of wonder or discovery to the story.

5. Growth and Development: Portray child or teenage characters as evolving and growing individuals. Show their learning experiences, mistakes, and the lessons they learn along the way. Capture their gradual understanding of the world and their evolving sense of identity.

6. Relationships and Peer Dynamics: Explore the dynamics of friendships, peer pressure, and social hierarchies that are prevalent during childhood and adolescence. Show the influence of friends, family, and mentors on their thoughts and behaviors. Highlight the importance of relationships in their lives.

7. Hobbies and Interests: Reflect the passions, hobbies, and interests that are common among children and teenagers. These activities can shape their identities and provide opportunities for self-expression. Incorporate their hobbies into the narrative to add depth and authenticity.

8. Growth of Independence: As children and teenagers mature, they seek more independence and autonomy. Depict their struggles with authority figures, their desire for freedom, and their exploration of boundaries. Balance their growing independence with their need for guidance and support.

9. Challenges and Coming of Age: Explore the challenges and rites of passage that child and teenage characters face. Address issues such as identity formation, peer pressure, academic stress, bullying, first love, and self-discovery. Treat these themes with sensitivity and avoid trivializing or dismissing their experiences.

10. Evolving Relationships with Adults: Capture the evolving relationships between child or teenage characters and the adults in their lives. Show the shifting dynamics, conflicts, and moments of connection. Avoid portraying adults as one-dimensional authority figures or overly understanding mentors.

#writing #writer on tumblr #writerscommunity #writing tips #character development #writer tumblr #writblr #writing advice #oc character #writing help #creative writing

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numberonetrashwitch · 9 months

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Some observations about Baldurs Gate 3 that hit too close to home.

After another few runs i will probably just make an in-Depth Character Analysis for every character simply because they are good reflections of actual trauma-manifestations and how abuse can manifest in people. They are also so well written that it serves a narrative purpose to explore all the material that is out there about them. I am also personally cursed with actual medically-relevant levels of Empathy and Hyperfixation; so writing this helps me put a pin in it and move on.

But so far here are my highlights

(SPOILERS and obviously content warning bc these are deep)

before you ask; i have almost 300h in this game.

You have to convince Shadowheart to eat the Noblestalk. She actually stells you she rather get her memories back from Shar but when you hit the persuasion or intimidation (what the fuck) check to get her to eat it she'll tell you about her childhood friend. Not her name, not her parents but her best firend. Possibly because she has had a closer bond to that person after being abducted and indoctrinated. With her believing herself to be an orphan, she would've looked elsewhere for comfort and sought out her own family, this is why she falls hard and heavy for Shar and builds the backbone of her indoctrination. She is literally ripped out of her home & given a new identity to server her from all she has known. Religious indoctrination, Gaslighting, Abduction, being forced to let go of your personality are her main themes.

There is a scene out there floating around in which you see Astarions pespective of the night when he bites Tav for the first time, in his meditations he is confronted with the rules Cazador put on him, including that he can't eat intelligent creatures, can't be away from Cazador unless allowed to, has to obey every command and that they are should know that they are property. Which in turn means that Astarion literally didn't just have any autonomy, he was objectified (and not just through seductive/sexual measures) and that is really the crux to understanding why he doesn't believe in kindness, but rather shows self-serving behavior in most cases. Since we know that Astarion was extremely young for an elf before he died and became immortal (literally stopping the aging /maturing process) it is also very telling that Cazador constantly calls him brat, boy or other very juvanile names, refering to them as a family... well it is also the story of a very controlling parent. Themes of (Bodily) autonomy, infantilization ( & puer aeternus, forever-child), slavery, depersonalisation, corruption of life and torture to break someone.

Gale isn't just a guy hung up on his Ex, but also a victim of abuse. In this case a power imbalance none of us can fathom; She is described as being a jealous goddess and rules over the domain of mysteries and magic. So with Gale being a Wizard, she is literally his boss. He admits that he was foolish enough to aspire to be an equal to her, but she is so jealous that she tells him he can't really be worthy as long as he takes breath. She could just take his powers away and be done with it, that would be more than enough punishment for a guy who literally made Mystra and her domain his life's purpose, but she rather makes him do it himself. Add to that, that she literally only tells him this after years of self-isolation (after he put down so many wards that he could've blown up a whole army as he says if you click the right dialogue) to really fuck him up well. He also talks about death pretty much constantly, not surprising giving your situation, but he will tell you that he will kill himself at several points in the game, for instance after he comes clear about his nethrese orb. Themes of romantic abuse, power-imbalance, toxic work enviorment, self-isolating behavior, suicidal ideation

Wyll ... well from the looks of it he is the most well adjusted of all the companions (my opinion) but he has something that i'd describe as the "eldest daughter"-syndrome, more commonly known as parentification. This pattern usually occurs within single-household parents and is commonly described as a parent looking to their child for emotional or practical support, rather than providing it to their kid. We meet Ulder and see that he talks over Wyll a lot, not listening but expecting him to follow the standard he sets for him. That is also why Wyll repeats his fathers words like gospel (because this is what, in his mind, fullfills the expectations bestowed upon him) and why he loves fairytales / bard tales so much (because they are an ecapist view of the job he set out to do) Ulder literally exiled his teenage son because Wyll did the only thing he could to save an entire city, by sacrificing himself. Thats a lot to expect from a 17 year old - even more so, he doesn't stop with the heroics. He expects himself, as a human who hasn't even reached the age of 30 to hold up to mystical creatures such as Astarion or Karlach, or even Gale who is a accomplished Wizard. Themes of parentification, escapism, self-harming through putting himself in danger, chronic-self-sacrifice

In plain words; Gortash, Karlach's Idol sold her to a Devil. But add to that that she must have been pretty young when she was sold (late teens to early twenties possibly) and being that if you play as a Tiefling, you face a lot of predjudice she was likely forced into that position as well. Starstruck she was, with a juvenile naitivy that Gortash used. Appropriately, as he is the chosen of Bane the god of "tyrannical oppression, terror, and hate, known across Faerûn as the face of pure evil through malevolent despotism" (Source: Forgotten-Realms Wiki / Bane) So she pretty much was raised in a toxic enviorment, which forced her to become a killing-machine, first figuretively, then with the extraction of her heart, literally. Themes of slavery, oppression, misuse of trust, being taken advantage by a more powerful/older(?) person, being drafted.

Jaheira - to be honest, you need to know the lore of the previous baldurs gate games or just listen to her dialouge, ask her all the questions. She is a war-veteran against Bhaal, the good of ritual murder, and has a long history of fighting to achieve some sort of balance of power. She lost her husband and several close people all to this, or any other war, but due to her wisdom and strength people look to her for guidance. Themes of: Survivors Guilt.

Halsin - he is really closed off at first but then just casually hits you with "i was captured in the underdark and spent 3 years chained to a bedroom wall by a pair of drows who used me as they pleased". He is reprimanded by some of his druids for leaving the grove as soon as opportunity struck, just to get back and leave the next day, and if you talk to him about his position in the grove he is actually very forthcomming. He actively holds himself back; indulging in simple hobbies because he knows what lies within his heart. He is afraid of himself and his potential (canonnically he can't control his wildshape, which is very weird for an ARCH-druid) Themes of: impostor syndrome, avoidant-based self-harm, sexual opression, loss of control, emotional regulation.

Lae'zel is a very tragic case, and one that closely resembles the stories of Shadowheart and Karlach. Her entire existence is based upon a matriachial war society allowing her to live if she proves she can be of use and that in a culture which only values brutality, dominance & service. All of that culimating in her finding out that her oh-so-beloved Queen is actually just an imposter, and that everything she has lived for up to that point is merely political propaganda created to make her, and the rest of her entire species, willing pawns in a war that has no longer bearing on their survival alone, but is fought to justify Vlaakith's (the reigning monarchs) personal ambitions. Not only is she forced to reconcile that she is turned into the thing that controlled her kind for hundreds of years, that the only cure she knows of would kill her and then on top of that, that her hopes and dreams were lies and that she is now the Nr 1 enemy of the person she has served with all her being. themes of: oppression, propaganda, casual violence, objectification, child-warfare, eternal warfare

Minthara in short, her story is about being shamed for growing up in the same scenario that Lae'zel grew up in. Lolth, the god of the Lolth-sworn drows is a crazy queen who values scheming & backstabbing so much and is so volatile that you can't know what to expect of your deeds (and i mean it; there were people who were appraised by her for scheming against her, but also those who were killed. It's almost random.) She considers Lolth to be cruel and abandoned her for the Absolute, only to then be used and abused the same way Lae'zel has. Not with promises, but erasing her memory and exposing her perceived weakness. Themes of: casual violence, violent culture, her own ambition colliding with her desire to be safe, being a pawn in a larger game.

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artbyblastweave · 11 months

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Still playing Skyrim. And I’m interested to report that the game is actually better than I remember, on balance. But I’m kind of fascinated by what’s going on with Lydia, mechanically and narratively.

Lydia is the first follower who gets shoved in your face just by virtue of following the main quest. There are others you can pick up earlier, but not without finishing errands (for Faendal and Sven), by forking up a pretty big chunk of change for the early game by hiring Janessa, or by going out of your way in some other manner. If you’re completely new to the game and you’re just powering through the main story as it’s presented, she’s the first option for a follower that the game highlights for you in giant blinking neon lights. And as a quest reward, she’s mechanically kind of a godsend at that point in the story; a doubling of carry capacity, an excellent meat shield and distraction, a way to extract utility from weapons and armor you don’t want to use yourself. More subjectively she provides the impression of a stalwart ally or companion in what can be a very lonely worldspace to exist in. There’s very little reason not to take her with you, and once you have her, the majority of companions being equal, there’s very little reason to get rid of her until she stops level scaling.

Despite the mechanical utility Lydia provides at a crucial point, and the resultant likelyhood that you’ll haul her along for the ride, she’s only a couple steps up from the companion cube. She has no specific, non-fungible impact on the narrative beyond demonstrating Jarl Balgruuf’s favor. Her deferral to you is automatic; if someone is actively paying her a salary to help you defile graves, cut deals with every deity on the continent and invade the afterlife, it sure as hell isn’t you. It isn’t clear what her gig under Balgruuf was before she was assigned to you. She has no personal narrative. She has no personal side quest. One of her biggest inklings of personality is when she expresses vague dissatisfaction with being treated as a pack mule, but then she does it anyway. She’s party to world-shaking events and political upheavals, but she’s present purely in her capacity as your appendix, so reality simply treats her as your plus-one.

She’ll block doors you’re trying to get through, and she’ll get mad at you if you push her out of the way. She’ll charge into battle or set off traps while you’re trying to sneak. She’ll microaggress you with stock Nord dialogue while pulverizing your enemies, a plurality of whom are also Nords. She’ll distract bosses long enough to buy you breathing room for a healing spell or a potion. You’ll kill her by accident with an ill-timed area-of-effect spell, roll your eyes, and, ultimately, probably reload your save. Because she might only be a couple steps up from a companion cube, but the whole gag with the companion cube is how ridiculously low the threshold is for the audience to get genuinely attached to something in a video game. A thin character invites apophenia. Behaviors that are purely downstream of dev thoughtlessness will still imply character traits if taken at Watsonian Face Value. In this case, inexplicable undying loyalty, reserved comments on impressive landmarks, and comical stoicism in the face of some of the weirdest events it’s conceptually possible to encounter. So here’s to weird, underbaked companions in Bethesda Games, and everything we can project onto the void they provide. And Here’s to that related genus of character- units in squad-based tactics or management-sim games with permadeath mechanics who last long enough and accumulate enough equipment, skill points, etc. that they become your Special Little Guy despite otherwise lacking any deliberate character traits.

#thoughts #meta #skyrim #the elder scrolls #elder scrolls #TES #lydia #skyrim lydia

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poisonlove · 3 months

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We can't be friends | w.a

Request @ortegalvr

Pairing: Wednesday Addams X reader

Warning: Fluffy, Sad

Belladonna

The belladonna plant, also known as Atropa belladonna, is notorious for being poisonous, but some of its chemicals can be used in medicine to treat certain conditions, as in traditional medicine. However, its use requires extreme caution and medical supervision due to its toxicity.

I scrunch up my nose and look at the words in our herbology book with confusion. I had to do thorough research on poisonous plants and any potential benefits they might bring, so I decided to take advantage of this research time at the Weathervane.

"Here's your macchiato," I raise my head from the book and see the barista. The brown-eyed, curly-haired guy gives me a small smile. "Thank you," I return the smile and notice him walking back to the counter, wiping some cups.

I sigh audibly and sip the coffee, closing my eyes to the delicious flavor. It wasn't Italian, but it was still good, less watery than I imagined. I lick my lower lip and return my eyes to my notes, tapping the pen on the paper, thinking of some other poisonous plant.

I needed to get a good grade.

The sound of the bell in the shop marks someone's arrival, and I look up curiously, seeing a familiar figure. A sensation of chill runs through my body, my heart pounding frantically against my chest.

I couldn't move.

Wednesday Addams was accompanied by a girl, a blonde with colorful highlights. The blonde was smiling broadly and chatting with the brunette, who was looking at her with her usual apathetic gaze. Wednesday was wearing an all-black school uniform, her unmistakable braids hanging over her shoulders.

Her eyes flick in my direction, and I feel my shoulders slump, my eyes softening as I look at Wednesday after so many years. Wednesday seemed surprised to see me, but she didn't show it. Her posture remained perfect, no hint of shock or surprise, just her eyes staring into mine as if trying to read something in them.

The blonde, noticing where Wednesday was looking, leans towards her, probably asking who I was, interrupting the staring contest that had developed between me and her. "I didn't know you knew anyone here in Jericho," is the only thing I manage to catch from their dialogue, and I lower my head to the table, playing with my hands.

It was a habit I had when I was nervous and embarrassed, which was plausible considering it's been years since I've seen little Addams. "Wed, are you okay?" the blonde asks again, two tables away from me. I purse my lips, feeling bitterness in my mouth at the nickname she gave her.

Wed? Now you're letting her call you by my nickname? I thought bitterly.

I sigh audibly and turn my attention back to my assignment, trying to ignore the conversations between the blonde and Wednesday, even though the latter barely spoke. I unconsciously smile, knowing it was just like her to behave this way.

Let's say that every time we went out together, I was the one who talked the most of the two, the brunette just looked at me without blinking, her deer-like eyes watching me with curiosity as I talked and talked. It made me smile and shiver at the same time to be watched with such intensity, but Wednesday loved listening to me talk, she always said she liked my voice

Oleander... Poison... Wednesday.

I knew perfectly well that Wednesday loved this kind of thing, studying every kind of weapon or poisonous plant, a passion her mother passed on to her. But this connection came to mind only now seeing Addams' figure.

I raise my gaze, unconsciously looking at the girl who was my downfall, the love of my life... A girl I still think could be mine. I see her talking to the blonde, smiling shyly, almost imperceptibly at her words.

Apparently, she can understand you, right?

Because I'm different from her, right?

"No! You can't understand! I don't want to hurt you," Wednesday's voice suddenly rises, looking at me seriously.

"But..." I start, feeling tears welling up in my eyes.Wednesday turns her back on me and walks towards the entrance of my room, her hand on the doorknob, her back rigid.

"We can't keep seeing each other, I don't want to see you anymore," her voice lowers again, a cold chill creeping into my bones.

"You're leaving me?" I whisper, looking at the brunette in disbelief. Wednesday doesn't even hint at turning around, her shoulders slumping as she opens the door.

"Wed," I say timidly, my voice breaking as tears threaten to fall. Addams tightly grips the doorknob, her posture still perfect.

"Don't be pathetic, y/n... You're smarter than this," she says with such coldness that it leaves me stunned. After this sentence, Wednesday walks through the door of my room, leaving my house and my life.

It's been 3 years since that moment, and I still shiver at the memory.

I clench my jaw tightly, trying to suppress the anger and pain I still feel, as I delve into my assignment, trying to find comfort in the pages of the book.

"What do you want to order, Wed?" asks a high-pitched voice. I look at the paper while waiting for her rather obvious response.

"Iced espresso," Wednesday replies neutrally.

Her favorite, I know.

Apparently, she still liked the coffee I made her try at my house during our first study project.

Umm... What can I offer you?" I ask nervously as I watch the brunette marveling around my kitchen. Wednesday touches my microwave and looks at it closely.

"What do you have?" she asks spontaneously, her voice small but determined.

"I asked you for a reason, don't you think?" I chuckle timidly, smiling at Addams' strangeness. Wednesday didn't seem like a very... Simple girl, indeed, she had a morbid sense of humor and a loyalty to the color black.

Wednesday gazes into my eyes, making me blush at their intensity. Black eyes stare into mine without blinking, whether curious or annoyed, I still don't know.

"What's that?" she points to the coffee machine, and I blink incredulously.

"You really don't know what it is?" I ask in surprise, and she tilts her head sideways, analyzing me with her gaze.

"It's a coffee machine... Do you want to try my family's famous iced espresso?" I ask proudly, my eyes lighting up with excitement.

The corners of Addams' mouth lift, and she timidly nods her head.

I shake my head and try to focus, a solitary tear rolling down my cheek before falling onto the book. I clench my jaw and try not to cry. Focus on the task.

Don't be weak, don't be pathetic

"Enid, can you hurry up and finish the frappé? It's almost writing time," Wednesday asks with a hint of irritation, earning a glare from what I now know is called Enid.

Out of the corner of my eye, I watch their interaction, Wednesday's black eyes pointing towards my direction again. I look away towards her features: high cheekbones, full lips, a stoic but incredibly attractive gaze. Wednesday remains motionless, staring at me, and I surrender to her gaze, starting to pack up my things to put them in my backpack.

The memory of our first date...

We were in the dark room of Wednesday's house, enveloped by the tense and mysterious atmosphere of a horror movie playing on the big screen. Sitting on the couch, I was completely immersed in the plot, but every now and then a shiver of terror would make me jump.

I felt the tension building inside me as the scenes became increasingly eerie. My hands were clenched into fists on my knees, and my heart was beating so fast I feared it might burst from my chest, but I couldn't tear my eyes away from the screen.

Suddenly, a particularly scary scene materialized on the screen, and I couldn't hold back a small scream of terror. Without hesitation, Wednesday grabbed my hand firmly, surprising me with her quick action.

The touch of her hand on mine made me jump, but immediately I felt a sense of calm spreading inside me. Her fingers were cold, but the grip was comforting, as if she wanted to protect me from the terror surrounding usI looked at Wednesday with gratitude, finding comfort in her dark and deep eyes.

She didn't say a word, but her simple gesture spoke more than a thousand words. In that moment, I understood that I wasn't alone, that she was there with me, ready to support me.

So, with Wednesday's hand in mine, I faced the rest of the movie with a renewed sense of courage, knowing that no matter how terrifying it was, I could overcome it with her by my side.

Our first kiss, which happened later that evening.

Wednesday and I locked eyes, a silence filled with tension and emotion enveloping the room.

Our gaze met, and I could sense the same uncertainty I felt.Then, slowly, Wednesday leaned towards me, her eyes fixed on mine with intensity. My heart was pounding so hard I feared it might burst, but I couldn't tear my gaze away from her.

Her lips brushed against mine cautiously, as if she was afraid of hurting me. I felt the warmth of her breath on my face, and a shiver ran down my spine as I leaned in closer to her. Our first kiss was a moment of pure enchantment, a whirlwind of overwhelming emotions.

Wednesday's lips were soft and warm against mine, and the contact was so intense that for a moment it seemed like the world around us stopped.

An onslaught of memories overwhelms me, making me feel vulnerable. My heart breaks at the memories of what we were, of what we shared.

I feel like that flood of memories could easily drive me to madness, but I don't want to feed this monstrous fire. I just want to let this story die, and I'll be alright.

"Shit," I whisper, clenching my jaw tightly.

I stand up from the chair, and the cup near me falls to the ground, attracting the attention of the others. Tyler, the barista, walks over to me and crouches down to pick up the broken pieces. "I'm sorry, I didn't mean to," I say with concern. "It's okay, accidents happen," he says, smiling kindly.

My eyes glance at Wednesday, and I see her turn her head upon hearing the noise. The blonde next to her continues to drink her frappé, unfazed by the events. Wednesday keeps looking at me in a strange way, her eyes... Glassy. They're kind. Her body invites me to approach and I freeze at the thought of standing just a few steps away from her, face to face.

Maybe she wants to talk and sort things out?

Be friends?

I purse my lips and break the eye contact between us. I grab the backpack with my assignments inside and look at Tyler with concern, who smiles broadly at me.

I give him a small smile and leave the shop, feeling a weight lift off my shoulders.

We can't be friends, there are too many feelings.

But I'd like to just pretend, maybe one day not too far away I'll be able to.

But a part of me... Wait until you like me again.

#jenna ortega #jenna ortega x reader #jenna ortega x you #jenna ortega x y/n #jenna ortega x fem!reader #wednesday addams x reader #wednesday x you #wednesday addams x you #wednesday adams x reader #wednesday x reader #request #taking requests

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hayatheauthor · 1 month

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Creating Fear in Your Characters: A Writers Guide

Creating authentic emotions is vital for immersive storytelling, which is why I decided to make this series on how to write different emotions. After exploring rage, and sadness it's now time to delve into fear!

Fear is a powerful emotion that can manifest in various ways, from subtle apprehension to paralyzing terror. Here's a guide on how to write fear effectively, covering different aspects of your characters' behavior and reactions.

Facial Expressions

Fear often manifests first in facial expressions, conveying the initial shock or unease. Describe these expressions to immerse readers in your character's emotional state:

Widened Eyes and Dilated Pupils: Show the eyes widening in response to a sudden threat, with dilated pupils indicating heightened alertness.

Tense Jaw and Clenched Teeth: Mention the clenching of jaw muscles or teeth, signaling internalized stress or anxiety.

Furrowed Brow and Raised Eyebrows: Describe the furrowing of the forehead and raised eyebrows, revealing worry or confusion.

Quivering Lips or Lip Biting: Note subtle lip movements like quivering or biting, reflecting nervousness or fear.

Frozen or Stiff Facial Muscles: Highlight moments of fear-induced immobility, where facial muscles become tense and rigid.

Body Language and Gestures

Fear can also be expressed through body language and gestures, showcasing your character's instinctual responses to danger or threat:

Backing Away or Recoiling: Describe your character instinctively moving backward or recoiling from the source of fear, signaling a desire to retreat.

Raised Shoulders and Tensed Posture: Show how fear causes the shoulders to rise and the body to tense up, indicating readiness for fight or flight.

Trembling Hands or Shaking Limbs: Mention the trembling of hands or shaking of limbs, reflecting nervousness or anxiety.

Covering Vulnerable Areas: Describe your character instinctively covering vulnerable areas like their neck or torso, symbolizing a protective gesture.

Fidgeting or Restlessness: Note any fidgeting or restlessness, such as tapping feet or wringing hands, as signs of inner turmoil and fear.

Vocal Cues and Dialogue

Fear can alter vocal cues and dialogue, affecting how your character speaks and communicates their emotions:

Quavering Voice or Shaky Speech: Describe the voice quivering or becoming shaky, indicating nervousness or fear.

Rapid Breathing and Gasping: Mention rapid breathing or gasping for air, showcasing the physical impact of fear on the respiratory system.

Stammering or Hesitant Speech: Note any stammering or hesitant speech patterns, reflecting the character's struggle to articulate their thoughts coherently.

Sudden Silence or Lack of Verbal Response: Show moments of sudden silence or the inability to respond verbally, highlighting the overwhelming nature of fear.

Repetitive Phrases or Vocalizations: Describe repetitive phrases or vocalizations, such as muttering prayers or chanting reassurances, as coping mechanisms in fearful situations.

Reactions and Physical Responses

Fear triggers various physical responses in your characters, showcasing the body's instinctual reactions to perceived threats:

Increased Heart Rate and Sweating: Mention the character's heart rate increasing and sweating profusely, reflecting heightened physiological arousal.

Dilated Pupils and Heightened Senses: Describe dilated pupils and heightened sensory perception, as the character's senses become more attuned to potential dangers.

Muscle Tension and Rigidity: Note muscle tension and rigidity, as the body prepares for action or defense in response to fear.

Nausea or Stomach Churning: Show how fear can lead to feelings of nausea or stomach churning, as the body's stress response impacts digestive functions.

Fight, Flight, or Freeze Response: Highlight the character's instinctual response to fear, whether it's a readiness to fight, a desire to flee, or a state of frozen immobility.

Types of Fear and Emotional Depth

Different types of fear can evoke varying emotional responses in your characters, adding depth to their portrayal and the narrative:

Startle Fear: Describe the sudden, reflexive fear triggered by unexpected events or loud noises, leading to a quick, intense reaction.

Apprehensive Fear: Show the lingering sense of unease or dread that accompanies anticipated threats or impending danger, heightening tension over time.

Terror: Depict the overwhelming, paralyzing fear that arises from extreme danger or horrifying experiences, impacting the character's ability to think or act rationally.

Phobias: Explore specific phobias that trigger irrational and intense fear responses, shaping how your character navigates their environment and interactions.

Trauma-Induced Fear: Address fear resulting from past traumas or experiences, influencing the character's behavior and emotional resilience in present situations.

Verbs and Adjectives for Writing Fear

Here's a list of verbs and adjectives to help you convey fear effectively in your writing:

Verbs: tremble, cower, gasp, quiver, shrink, freeze, recoil, sweat, pant, gulp, shudder

Adjectives: terrified, anxious, alarmed, horrified, shaken, jittery, panicked, petrified

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ineffable-suffering · 7 months

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The Jane Austen Ball and why it was never about Nina and Maggie

Otherwise known as (*takes a deep breath*): A completely inflated close-up look at various dialogues and events of Season 2 that prove that the Whickber Street Traders and Shopkeeper's Association Meeting Cotillion Ball was supposed to be Aziraphale's confession to Crowley

Look, the point's been made before but that's never kept me from making it myself again, still. In fact, even I made it before, at the end of one of my other metas. But I feel like it's absolutely worthy enough to get its own soppy, way-too-long post. And I do love it so very much to write ridiculously long essays on something that could easily be condensed into a short paragraph.

So, here we go! Snuggle up, get cozy, settle in and, most importantly:

(Word count: 3.177 | Reading time: ~13 minutes)

As I already said above, I laid out a similar case in my meta about why Aziraphale is somewhat of an unreliable narrator. I'll try and recycle it here briefly, so I can further make my point.

When Aziraphale arrives back in London from his Edinburgh journey, he seems oddly happy and giddy for the fact that he just had a rather odd and threatening encounter with Shax. I explain in my other meta that this is because he just spent the last hours of his drive reminiscing on the thrilling and romantic magic show adventure of 1941 and also the fact that he just found out that Crowley has been replaced by Shax and no longer works for Hell.

Ergo: We have a hopelessly lovesick Principality at our hands, who's practically swooning over his serpent who saved him, his books and his magic show all those years ago.

Ergo:

✨This✨

Realistically, Aziraphale should probably be a tad worried about the eery encounter with Shax, in which she definitely had the upper hand on him. But well, if you spend many-a hours driving across the serene countryside (Edinburgh is about an 8-hour drive from London), pondering on one of the craziest, sticky-sweet romantic adventures of your not-life life, well ... things tend to turn a little rosy around the edges. Head in the clouds and all that. Light shades of grey!

Alright, onwards: Once the angel, filled to the very brim with fond memories and butterflies, gets out of the Bentley, he's kindly met with a face full of verdant plants and a very in-character-grumpy Crowley.

Fhwack! Way to burst the rosy bubble.

Seriously, the absolute lightning speed with which Crowley storms out to vacate the bookshop the very second Aziraphale arrives makes me giggle every time.

Let's make a first small (who am I kidding) diversion into analysing the following conversation in unnecessary detail ...

... simply because I enjoy quoting dialogue as an accurate reference in my metas. I'll also highlight certain passages I want to comment on in individual colours so I can back up my thoughts with them below. Alright, their little chinwag goes as follows:

Crowley: "They you are! I was worried something might have happened to you." Aziraphale: "No, nothing happened to me. Very uneventful journey indeed. No strange things at all." Crowley: "Good. That's what we wanna hear." Aziraphale: "Um .. everything okay with- ah.." *nods to the bookshop* Crowley: "Oh, yeah, fine. He's singing to himself. I think he must have been asleep. I heard snoring coming from his bedroom–" Crowley, to the Bentley: "Did you miss me? I bet you did." Aziraphale: "... I'm sure it did." Crowley: "So, any more clues from the mystery of the missing archangel?" Aziraphale: "Not exactly. Or, if there are, I haven't yet cracked the case. But I'm certainly hot on the trail of something." Crowley: "I'm sure you are. Oh, by the way, the whole sudden rain and awning thing was a complete washout." Aziraphale: "Sorry?" Crowley: "You know, project making Nina fall in love with Maggie. I failed, it's your go." Aziraphale: "I see. Well then, Whickber Street Traders and Shopkeeper's Association Monthly Meeting, here we come!" Crowley: "You're really hosting the meeting?" Aziraphale: "Absolutely! And I can guarantee you, it will be a night to remember."

At first glance, this has little to do with the plot of this meta but actually, it folds into my point very nicely! However, it's not time for that yet, so we'll just state the facts as they are for now and then bring them back 'round later when we need them. That being said: For the love of Someone, will these two ever manage to simply tell each other the truth of what happened instead of thinking they can protect each other by lying about it all the time? Hrmpf. As a big fan of open communication myself, I'm close to developing a stomach ulcer with the amount of false truths being spewed here. (Then again – and yes, that is another, way larger meta I'm currently cooking up – it plays so very perfectly into the whole Jane-Austen-Pride-and-Prejudice tragic miscommunication theme that this entire Season has, so I understand the point of it.)

Very uneventful journey indeed, Aziraphale, except for the fact that you were ambushed by a demon who told you she was Crowley's successor, knows about the rumors of the two of you being an item as well as what went down in 1941 (that almost had both of you exposed) and also seems to have figured out where you and your demon boyfriend are hiding Gabriel, all in the span of about a minute. No strange things at all, nooo!

And Crowley's "Oh yeah, fine" is a total lie too. Again, we see him make an absolute run for it before Aziraphale can even enter the bookshop. After all, he just once again witnessed Jim have a Gabriel-flashback, speaking of the Second Coming, while Crowley was alone with him. As fumingly angry he is with the amnesiac archangel – he's also absolutely terrified of what might happen (to him and Aziraphale) should Jim regain his memories. So, no wonder he's quick to vacate the premises after witnessing Jim's rather eery memory flashback (and was, just like Aziraphale, threatened by Shax mere moments later, lol).

But no, nothing out of the ordinary happened to either of them. Tip-top. Absolutely tickety-fucking-boo.

Alright, let's get back on track with the actual topic of this meta. Certainly hot on the trail of something, hm? At first glance, it might seem like Aziraphale is talking about the fact that Gabriel was in company of someone whenever he went to the Resurrectionist Pub. (The clue!) However, I don't actually think he is talking about that. Why? Because, and this slipped my mind too at first, he never actually follows any of this information up, does he? Yes, sure, he went to Edinburgh, found the capital-c Clue and then returned to London. But what does he do with it? Nothing. He doesn't keep investigating this hot trail because that's not the important thing he realized during his journey. No, the more important clue Aziraphale found during his trip, is that Crowley no longer works for Hell and that he is also very much irrevocably in love with him and must confess this at the earliest given chance. (The latter part isn't necessarily a new discovery for Aziraphale, but it surely is fuelled by the fact that he just realized Crowley's out of a Hellish job and simply hasn't told him yet.)

This exchange just the perfect indicator for the fact that Aziraphale, at no point during his drive back, was thinking about the Maggie and Nina mission. He has no idea what Crowley is talking about once he mentions it and seems surprised, even, that he would. Even though they just talked about it on the phone when Aziraphale was still at the graveyard. Which is another important piece of evidence because it means that the last status update Aziraphale got of Mission Lovebirds, was that Crowley had sensed an opportunity to make them fall in love – and had then hung up on him. Why is this important? Because it means that until that very point of their conversation, Aziraphale did not know that Crowley's attempt had failed! There would have been just as much of a chance of Crowley's weather miracle actually working out and Maggie and Nina already having skipped into the sunset happily ever after.

So, riddle me this:

Why would Aziraphale spend the entire ride back from Edinburgh plotting "a night to remember" (because clearly, he already had the entire Ball planned out down to a T in his head since he goes into action right away after arriving) if he didn't even know yet that Crowley's attempt had failed?

To be very clear here: We're not talking about Aziraphale driving on the M1 to London, having a silly little idea for putting on some good music, miracle-ing Nina and Maggie to dance to it and watch them confess their love–

No.

He planned an entire actual Cotillion Ball with very particular location design that involves re-arranging the entire bookshop, specifically designed individual outfits for (almost) every single attendee, topped off with a live band, hors-d'œuvre, drinks and an actual choreographed group dance.

During one car ride.

Where's the party planner Aziraphale AU? I'm waiting!

Now, sure, we know that it's still quite important for Aziraphale to convince Heaven of the faux-reason they gave for their accidental ✨25-Lazarii miracle✨. But if we're all honest, this all seems to be a tad much just to make two random humans fall in love, even for that.

Glittery ball gowns and suits? Red and gold wall curtains? A modified language filter? Bloody vol-au-vents?

Talk about over the top ...

Once we start S2E5, Crowley is still surprised at the mere fact that Aziraphale is actually planning to organize the Monthly Meeting – and he doesn't even know yet that it's gonna be the most extravagant ball-boogaloo that the Whickber Street Community has ever seen! Aziraphale wanting to organize the meeting alone, is enough to render Crowley incredulous, because Aziraphale never mingles with the other shopkeepers. He usually actively avoids them and any sort of social encounters as much as he can because he doesn't care about the bloody Christmas lights, alright?

These things seem mundane and uninteresting to him, obviously, since all he really cares about is hoarding his book collection in peace like the little hedonist he is and drawing as little attention as possible to his none-business business.

Oh, right, speaking of books:

Let's take another unnecessarily detailed look at the whole Whickber Street invitation scene:

Aziraphale realizes very quickly that he's not the only one who's quite unenthusiastic about the blessed Chritsmas lights. And despite his very persuasive methods of temptation ...

... he has to take some more drastic measurements. And those are?

That's right: Giving away his books.

I'll repeat it again, slowly: Aziraphale is willingly (!) giving away or lending his books to pretty much complete strangers to, allegedly, make two other humans strangers fall in love.

Seriously, who is that angel and what has he done with our prim, fussy, hedonistic Aziraphale that protects his books with the vice grip of an eagle carrying his precious prey?

Believe in the importance of Mission Lovebirds as much as you will, but we're talking about Mr. A.Z. Fell here who, over the past millennia, has pretty much spent every day actively working out methods to stop people from purchasing as much as a single paperback from his holy shelves.

And yet: the 1965 September Dr. Who Annual? Given away. The first edition of Expert at the Card Table that was S. W. Erdnase's personal copy? Lent away to grubby human hands to fondle around with.

Let's do another coloured dialogue diversion (don't worry, it's not as extensive as the last one):

Crowley: "You just did what I think you did?" Aziraphale: "I'm not prepared to talk about it." Crowley: "You gave away a book." Aziraphale: "I had to! Maggie and Nina are depending on me. They just don't know it yet."

Crowley backs up my point: This is a huge deal. Aziraphale does not sell his books – let alone give them away for free. We're all shocked! Flabbergasted!

And the explanation Crowley and us get just ... doesn't satisfy. Something and someone sure is depending on this Ball and doesn't know it yet. But it's most definitely not Maggie and Nina, folks.

You know for whom Aziraphale would give away his books in the blink of an eye, though?

Mhm, that's right.

This pretty old serpent.

I want to take a minute to show you the reaction again that Aziraphale has upon entering the very same magic shop him and Crowley went to in 1941 to acquire the Bullet Catch:

You ... you need a minute there, angel? You're sure looking a little ... affected.

And I mean, well, no wonder. He reminisced about that very memory four hours last night. To him, this shop is where the most turbulent, ecstatic, adrenaline-fuelled and romantic night of his life began. And it shows.

I've made my point in my other meta series about how Aziraphale is an incredibly nostalgic character. He romanticizes so many things in his memories – especially the parts that feature Crowley. So, it doesn't surprise me in the slightest that he's once again willing to loosen the tight grip he has on his book collection to get the successor of Will Goldstone's Magic Shop, the shop that started it all for him, to come to his fancy Ball.

As we watch Aziraphale and his little lap dog demon pat around Soho, I'd like to take another second to point out that he goes to seven or more establishments before he even invites Nina.

... and he only does so because she starts talking to them on the street. Almost like he'd forgotten about it. Why not ask her at the very beginning? To establish whether or not he'd have to book-blackmail her too?

"Perfectly ordinary invitation with no hidden agenda of any kind", except that he's using you and Maggie as a pretence to resolve his own clusterfuck of a relationship-miscommunication Jane-Austen-style so that he can then hopefully confess his undying love to his demon not-boyfriend boyfriend.

Marvellous!

You'll forgive me another short diversion but my God, the whole exchange at the Marguerite's restaurant with Crowley literally cat-call-whistling Aziraphale over to him (and Aziraphale checking if he meant someone else first, I–)? I am weak. So, so weak and

However, this is also when we get a snippet of Crowley finally revealing the truth in place of his "Oh, he's fine"-lie earlier and telling Aziraphale that he's actually pretty scared Jim might turn back into Gabriel and smite him altogether. And Aziraphale's response is, in a cosmic sense, (remember the pink paragraph now) so hilarious:

"Have you thought of just talking to him?"

Yeah, have you? Have any of the two of you? Just thought about talking? To each other? About anything?

'pparently not. But hey, it's all good because remember what the ultimate remedy for star-crossed lovers simply misunderstanding each other is?

Bish, bash, bosh, problem solved!

Back at the ballroom bookshop, Aziraphale sends Crowley to invite Maggie in order to, in my opinion, not spoil the Ball-y surprise for him. (Inviting Maggie only now?! Wouldn't she be one of the only two guests who really should attend? Why the short notice? If she's really that important for the Ball you're planning, hm?)

On top of this, we see Nina almost not attending the Ball meeting after her partner broke up with her and Crowley being the one who coincidentally runs into her and ushers her into the bookshop before Shax and her "legion" of demons start creeping up on them. Again, if this hadn't happened by pure coincidence, Nina would have left to go home and this whole Ball would have taken place without her, rendering the apparent sole purpose of making her fall in love with Maggie useless.

Why doesn't Aziraphale care more for both of them to attend and be there? Why is he instead busy fussing over everything looking perfect and wonderful and doesn't even seem to notice that both Nina and Maggie are really late to the meeting?

Well. Well.

The answer's in the title, babes.

Alas, Crowley safely gets Maggie and Nina to join them, Mr. Brown is the only one who doesn't get a miracled outfit (fussy, petty angel, you just don't like him, do you?), Jimbriel stuns with glamour and flirt (and whatever sexually suggestive thing he does with his cheeks) and the Whickber Street Ball is a-go!

Sorry, I just had to chuck this in again because Crowley's face here absolutely kills me every time. He looks so confused, I am hollering.

And the heart eyes Aziraphale is making at Nina and Maggie now that they're actually here?

Oh, bless it, angel.

He's all like "Oh look, it's working! Jane was right! It's all going to be resolved, all the misunderstanding and quarrels! Crowley, where's Crowley–"

Ah yes, there he is.

Ladies and gentlemen, this is an angel who is not listening to a single word being said right now. No, in his head, Aziraphale is already down on one knee, pouring his heart out to Crowley after they just danced the night away.

Oh, yes, right. The dancing.

Parallel much?

But well, as marvellous and beautifully romantic as her stories tend to be, it turns out that Jane Austen isn't always right after all. Because before we know it, the perfect night shatters into many-a tiny pieces (literally).

And once again, fhwack:

... the rosy bubble bursts.

Let's take one more deep breath so I can make my final point:

In S2E2, Aziraphale explains to us very exactly what Jane's Balls (hrhr) used to be about: Solving miscommunication and confessing love to one another.

During his car journey back from Edinburgh, Aziraphale:

doesn't know Crowley's Mission Lovebirds had failed

remembers 1941 and just how badly he's in love with Crowley

and also realizes that they seem to have been wildly miscommunicating for quite some time now. (Crowley didn't even tell him he basically got let go!)

So, what does maddeningly strong love plus a want to resolve all the miscommunication equal? That's right: A night to remember! A Ball to change it all! A dance, a vol-au-vent, a confession. And, ideally, a happy ever after. Because:

“It is a truth universally acknowledged, that a single man angel in possession of a good fortune Jane Austen collection, must be in want of a wife demon husband.”

The Ball was never for Nina and Maggie. As a byproduct, maybe, yes. But the whole rest of the glimmer and glamour, the careful, romantic planning and set up of it all, the book-bating the other shopkeepers– that was for Crowley and Crowley only.

And oh, if only it were as easy as in the books.

*whispers* I'm sorry, I had to.

***

Your honour, the tinfoil-hat crackpot defence rests. Feel free to share thoughts (and prayers) if you want to!

Au revoir! 💗

#good omens season 2 #good omens #gos2 #go2 #good omens 2 #good omens meta #good omens s2 #crowley #aziraphale #ineffable husbands #my own meta #the bloody vol-au-vents made me do it #aziraphale has balls #truly #jaune austen ball #it is a truth universally acknowledged that this show is going to drive me out of my mind #azi just wanted his silly little love confession #but then he had to surrender the angle #bummer

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tboygareth · 1 year

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here, have a little modern steddie meet-cute. meet-ugly, maybe? idk. 1k words, mostly dialogue

"uber for, uh," the guy in the beemer at the curb looks at the phone in his hand, "eddie m.?"

"hey, that's my name!" eddie shouts, stumbling toward the car. the world is tipping sideways a little, but it's been a good night.

he wrenches open the passenger side door and slides in.

"cool if i sit up front, man? i get motion sickness sitting in the back, and you would not like me when i'm motion sick."

"uh, sure?"

eddie pulls the door closed behind him and says, "so what's your name, pretty boy?"

"you don't check the app before getting into some random guy's car?" the guy asks with a huff.

"oh, no, i never order these things for myself." eddie laughs. he tries to think back, remember how many jameson shots he put back tonight. can't. oh, well. "my roommate always sets it up beforehand when i come down to the styx for a show."

"a show? like a concert?"

"uh, no. drag show. styx is a gay bar." the guy's quiet at that. "that a problem? still dunno your name."

"oh. steve," the guy - steve - says shortly. "no, it just... looks more like a... metal bar, or something."

"sometimes things are both, can you believe it! they do a drag show last wednesday of every month. good show tonight, all the girls looked great." he kicks his feet up on the dashboard of the car, watches steve's eyes cut sideways at them as he does. "do you like drag shows, steve?"

he's testing the waters, feeling steve out to see if he should be worried about getting into some random guy's car outisde a gay bar with a dead phone. eddie's definitely had a little too much tonight. he's probably got glitter in his hair. there's definitely black lipstick smeared across his cheek from when allison chaynz planted one on him earlier during her set.

"only been to a few, but yeah. they're a good time. good show."

safe, then. tentatively.

eddie studies steve for a moment, trying to figure him out. he's got this thing he does sometimes, in an uber; eddie's an easy read - he gets into an uber and the driver immediately flips their spotify over to a metal playlist.

the driver's are usually easy to read too, and it's eddie's favorite game; he tends to know when he's got a country boy behind the wheel, or an emo transplant from the mid aughts, or the indie girlies with their iced coffees and perpetual dark undereye circles that all the concealer in the world can't hide.

the guy looks like he wears teenage boy deodorant and smells like repressed trauma. he has the indie girlie dark circles under his eyes, an apple watch strapped to his wrist. rich boy. drives a beemer. good hair, stupid highlights. there's a tube of burt's bees cherry lip balm in the center console and a days old energy drink in the cupholder.

"hmmm, the front bottoms," he decides at last, after staring at steve for what must have been an uncomfortably long time.

"i'm sorry?"

"i said, the front bottoms."

"is that a... what's the word... a euphemism?"

"no, steeeeve. it's a band. check 'em out sometime, your daddy issues'll thank you. do you like music, steve?"

"sure."

eddie clicks his tongue. "smells like bullshit. no one who likes music says sure when someone asks if they like music."

they're stopped at a stoplight. from behind the wheel, steve is studying him right back, looking him up and down, his gaze coming to rest once again on eddie's shoes on the dash.

"get your feet down," steve says, pushing at eddie's shins. "do you have any idea how dangerous that is?"

"fine, fine. so if you don't listen to music, steve, what do you listen to in this fancy bmw?"

"sports, mostly," steve shrugs. "podcasts sometimes."

"oh, boy, you are a walking red flag, aren't you? shame you're so pretty."

"well what about you? what do you listen to?"

"guess."

"i dunno, probably that metal shit. five finger whatever, or something."

eddie presses his hand to his chest. "five finger - oh, stevie, i am wounded. i wouldn't be caught dead listening to bro rock."

out of the corner of his eye, he definitely catches a smile from steve.

steve holds an aux cable out to him. "here, then. wow me. show me some real metal or whatever."

"god, i'd love to take you up on that," eddie says, huffing out a little laugh. he holds his phone up. "this sucker's been dead for hours."

this time steve's the one to click his tongue. "shame."

"truly. so what's your story, steven? what's got you out at three in the morning?"

"it's my night off," steve shrugs. "just started night shift at the hospital, trying to get used to the new sleep schedule."

"mmm, the hospital. you a nurse?"

"i am. trauma nurse."

"nice. ever see any gnarly injuries?"

"had a pretty fucked up dog bite come in the other night."

"shit."

"yeah." another stoplight, another unsubtle once over from steve. "so what about you? what do you do?"

"line cook."

steve's eyes linger on him a little longer than necessary. "oh, but i'm the walking red flag. got it."

"whoa," eddie laughs. "what's that supposed to mean?"

"i've dated line cooks. everyone's dated a line cook."

"sounds like something a slut would say, steve. craziest dick you've ever had, huh?"

"mmm."

it's not a denial.

they're getting close to eddie's building now, and that's an actual shame. because steve's cute. he needs a haircut maybe, and the stubble around his mouth and chin is just on the wrong side of five o'clock shadow, but he's got these distracting little moles along his face and neck and arm that eddie's been itching to play connect the dots with since he got in the car.

"wait, i know this building," steve says as he slows at the curb and looks at the address on his phone again. "my roommate's girlfriend lives in this building."

it clicks into place, then, for eddie.

"oh, shit! you're robin's steve!"

steve's eyebrows draw together as he gapes at eddie, and then his eyes go wide with realization. "chrissy's ed?"

"eddie," he corrects. "gotta be a level twenty friend to call me ed. and chrissy's the only level twenty friend i'll ever have."

"noted. good to finally meet you, man. i, uh. i guess this is you, then, huh?"

"yeah, sure is. maybe i'll see ya around." eddie goes to get out of the car.

"oh, you will," steve says, his smile lopsided and goofy. "i'll make sure of it."

"hold ya to it," eddie promises with a wink.

steve wiggles his fingers in a flirtatious wave as eddie walks backward on the sidewalk toward his building.

so robin's steve is cute. maybe he should have been letting chrissy set them up this whole time.

still. sports and podcasts. guy's a walking red flag. who knows, maybe they're green. eddie's never been able to see the difference anyway.

#steddie #steddie fic #bee's blurbs #idk what this is honestly #it came to me in a vision #buckingham #if you squint

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