valentinerose529

[valentinerose529]

Timeskips (A Deceptively Tricky Trope)

Anyone remember when we all went to the theaters to see Endgame and the trailers actually fooled us into thinking all the action happened immediately after Infinity War? Then 15 minutes into the movie, the Thanos we grew to love/hate dies and the bomb drops: “Five…Years…Later”

It’s a shame that the movie didn’t properly explore the worldly consequences of losing half the population in favor of a Marvel victory lap through all its greatest hits. That our heroes could do absolutely nothing for five whole years, opening on a shot of a cold and dark cityscape — that was the best use and execution of a timeskip I’ve seen in recent memory, even if the rest of the movie didn’t follow through with it.

Timeskips are an effective way to age up characters or age past the end of an era of peace, or the healing after a tragedy (or the lifeless aftermath of one). Usually, your established heroes do their heroic thing, and anywhere from a couple weeks to a couple months to a couple years pass before the story picks back up again. Some may have died along the way, the political climate has changed, couples have had children, or babies have grown into their own characters, relationships have grown, begun, or fallen apart.

These damnable plot devices are a double-edged sword. On the one hand, the author gets to skip sometimes decades of meandering plot and development to tell almost an entirely new story in the same universe, sometimes not even with the same characters who are now too old, too dead, or retired.

However, timeskips can also cause some massive confusion, missed opportunities, and fandom wars over whether or not the jaded and grizzled and depressed heroes we see on screen are, in fact, a realistic evolution from the last time we saw them (looking at you, Star Wars).

Sometimes, they’re used in a single episode, thrusting a present character into the depressing dystopian future so they can prevent whatever causes said future before disaster strikes (Teen Titans "How Long Is Forever?"), and all returns to normal by the time the credits roll. Sometimes, the author really wanted the drama and angst of a pregnancy, then got stuck with a baby that needs constant attention from its parents who can no longer go do Plot Things until the baby can take care of themselves (The Originals).

Sometimes it’s the jump between two eras of a series, where our heroes have had a couple years of practice and now we can make the tone a little darker and the action a little more visceral. Or, it’s expected of a multi-book saga that regularly jumps a year ahead with each edition, leading up to the big prophecy (Percy Jackson, Harry Potter).

The Fundamentals of a Good Timeskip

As requested by Anonymous!

Telltale signs of a dubious skip:

Audience is expected to care more about an undeveloped newcomer than the pre-existing cast, because the current cast does without explanation

Audience is “told” to accept Catastrophic Event without being “shown” how and why it happened

Characters die, break-up, disappear, marry, change teams, or change entire personalities for ~drama~ and no other reason

The Book You Never Wrote was way more interesting than the future you brought us to

The new plot depends on Events Unwritten, but never shows or explains Events Unwritten

Timeskip only exists because the author is unable to make the leaps in logic themselves and hopes you won’t notice

The legacy of past heroes is trashed completely for More Story

Signs of a successful skip:

Characters we know and love are still themselves, just a little older and wiser

Characters that do change do so logically, within reason, and could have been extrapolated from the last publication

Radical changes and the new hellscape you threw your heroes into is given ample screen time to show “How tf we got here”

The new world doesn’t disregard or ignore the legacy and victory of past heroes

Absolutely nothing of import or unexpected happened in the interim, except time

Anyone who dies off-screen won the story by dying of old age, or some other respectful avenue (popular with aging mentors and old masters, usually when their actor also passes)

Whether your timeskip succeeds or fails depends entirely on, in my humble opinion, how much story you skip and sacrifice to make the jump, and how radical the changes are from the past to the future. And, to what degree the skip serves as a means to an end or the centerpiece of the new story.

Meaning that since you leave weeks, months, years, or decades unwritten, how interesting was the Book You Never Wrote, and how badly would audiences need to read it to understand the jump from A to B?

If I’m writing a ten-year skip and half my heroes have died, half have ended wonderful relationships, two kids have been born, a known hero has become a villain, and an entire city’s been destroyed… that is a *very* interesting story I wish I had the opportunity to read, because it sounds like every character I fell in love with is about to become unrecognizable and very frustrating to follow now that I don’t understand why they make the choices they do — *if* I’m never shown evidence to support the leaps in logic.

If I’m writing a ten-year skip and all that happens in the interim is a minor child character is now a tween with a pretty average life, or my super-powered heroes have had only mediocre rogues to battle, or a character who began in the mail room is now a middle manager at their boring job, then, yeah, we can skip all that jazz and get to the good stuff. This is usually the setup for your “next generation” skip for any genre.

Good timeskips also depend on how readily the characters accept and acknowledge the changes that have happened off-page, and how much the future story now depends on the information the audience never received. If your plot and your characters constantly reference and argue over the Book You Never Wrote, your audience won’t be pleased to not have read said book.

I’m going to use specific media here because the nature of a timeskip concerns entire plots and my usual vague examples don’t suffice. How you write and implement one is entirely up to you and each of these have their staunch defenders, I just don’t like them and I’m here to explain why. Hopefully if you’ve seen at least one of them, you can use them as a shining example of what (or what not) to do in your own work.

The fandoms in question:

The 100

Star Wars

Percy Jackson

Last Airbender/Legend of Korra

How to Train Your Dragon

The Little Mermaid

—

The 100

The timeskips in question are between seasons 2 and 3, and between seasons 4 and 5. The first timeskip is a couple months between seasons 2 and 3. After a huge conflict (and easily the best season of the show by a country mile), shifting alliances, enemy-of-my-enemy, the best couple-that-never-was, the season ends with protagonist Clark unable to let herself enjoy the spoils of war because of the crimes she committed to make it happen. She leaves behind all her friends to go be a hermit, including deuteragonist Bellamy, who is Not Happy about this decision.

The problem: In between seasons, Clark hasn’t changed much, but Bellamy sure has. He gets a girlfriend, develops an entire relationship, only for this girl to get fridged within the first 50 minutes or so of season 3. He takes her death super hard and, with Clark not there, spirals into a bit of a blind-faith fascist turning on all his friends and becoming nigh unrecognizable. Without seeing the growing relationship with the fodder girlfriend, without seeing how hard life has been for him without Clarke, all his choices, all his beliefs, all his pontificating sound completely foreign and out of character and he does not recover until it’s almost too late. As he’s the deuteragonist of the show, you can only take yelling at your TV for all his stupid and OOC decisions for so long, when it could have been done so much better.

The second damning timeskip is five whole years between seasons 4 and 5. Bellamy develops another unseen romance up in space, his sister becomes a bloodthirsty underground queen, and Clark devotes her entire life to raising a little girl she finds.

The problem: Clark cares a lot more about protecting the little girl than anything else, a choice audiences can’t empathize with because we’re still siding with the characters we’ve watched grow and suffer for four seasons, making Clarke an incredibly frustrating character to watch.

Five-year timeskips are fine. I think I’m in the minority in hating this decision by the writers. However, when your characters’ motivations change so radically without you being able to follow that development, making their new choices seem incredibly inconsistent with who they’re supposed to be, the disconnect is super strong. We’re being told at this point to care about these strangers over the existing cast without ever having been shown why.

Star Wars

Timeskip in question: Return of the Jedi to The Force Awakens. Enough time for Rey to look like a 20-something and, I believe, the exact same gap between the movies in the real world. The argument over Luke’s character has been beaten to death by now. We end Return of the Jedi with the promise of a galaxy in peace after decades of civil war between the Rebels and the Empire and the ultimate sacrifice from Anakin.

The problem: We open Force Awakens like the war never ended. There’s still stormtroopers, there’s still the Empire (though, now it’s called the First Order), there’s still Rebels rebelling. The happily ever after one would expect between Han and Leia is shattered because their kid went Dark Side. Their kid went Dark Side because… well, one side, the other side, and the unrevealed truth.

It’s less “Luke would never make these choices” and more “How do you expect audiences to believe Luke made these choices without seeing the pain and trauma inflicted on him to end up like this”. The casual fan only watches the episodic films. Luke ended one movie as a semi-optimistic war hero. He began the very next film jaded and traumatized enough to debate, and nearly go through with, murdering his nephew because of what he *might* do someday.

That anyone expected that to go over well was deluding themselves, but everyone knows these movies are a mess.

There’s also the disappointment in realizing all that Anakin lived and died for fell apart in less than 30 years. Who are these people calling themselves the First Order? Where did they get the funds, the resources, the platform to become as big a threat as they are? How did the Rebels fail so spectacularly at building a functioning government? How do they not have the funds, platform, and resources to buy better ships and equipment? How did no one realize they were hollowing out an entire planet to build another Death Star?

The Sequel Trilogy lost audiences when it refused to provide any explanations at all for *why* these changes happened. The movies don’t care about *how* Ben became Kylo, they just need you to accept that it happened. They don’t care *how* the First Order rose, just don’t look too closely or it all falls apart.

The skip between Empire Strikes Back to Return of the Jedi is also a bit sketchy, because Luke has done all his Jedi training off-screen and can just pull abilities out of nowhere, but the plot of Return of the Jedi doesn’t depend on having seen Luke grow.

Percy Jackson

I feel bad putting this here because it’s not nearly as egregious as the previous two, but because the original series was so good, these choices are that much more baffling. The timeskips in question: Sea of Monsters (2) to Titan’s Curse (3) and Last Olympian (5) to Lost Hero (6).

The books focus on a singular week or two per year, so Percy can age from 12 to 16 in time for the Great Prophecy by the end of the series. This series is filled with timeskips and unseen content, but the jump between books 2 and 3 is the most jarring. I just did a retrospective for both of them so if you happened to read that, I’m repeating myself a little.

The problem: At the end of SoM there is a huge shakeup in the realm of who will actually be the chosen one — a discarded chess piece has been revived and brought back onto the board. In the missing months, Percy has built an entire friendship and rapport with his would-be rival, and so many reunions were left unwritten between Thalia and the friends she left behind. It’s the depth of the missing content that really feels like they forgot to print a chapter in either book, particularly when she’s so important to the story.

Percy references quite a few times how good friends he and Thalia have become. Fantastic, on what page might I read that development, when the author spent quite a bit of time building up the presumption that you two would hate each other?

The other timeskip is the complete opposite. Last Olympian to Lost Hero is, I believe, only a month. Once again, we have a presumed happy ending and ultimate sacrifice completely torched for the sake of More Story. The original five-book saga culminates with the tragic death of a villain we’d watched for five whole books. His argument was the thesis of the first series.

The problem: As with Star Wars, everything that character died for is rendered mostly moot. There is evidence that his death meant something, in the positive changes seen in the lives of those that survived him, but he died preventing armageddon… and a month later Bigger Badder armageddon is on the rise.

I almost wish the timeskip here had been longer. A couple years, at the expense of aging up the heroes to their twenties. His legacy on the story is virtually nonexistent. When you look back at the horrible tragedy that was this kid’s life, all it amounted to, everything he fought for, everything he believed in and died for and lost friends for… bought only a month of peace.

The Last Airbender and The Legend of Korra

Obviously, the timeskip in question is between these two series, about, what, sixty years? Last Airbender ends with, once again, the world at peace, ish, with lots of cleaning up to do, reparations to make, and governments to reshape. In the gap between series, almost everyone we knew has passed away, or aged out of being useful to the plot. Aang, of course, had to die so Korra could be born.

In the first season, because I’m reasonably confident all they planned was one season, the 60 year interim sees a lot of radical changes. Fan favorites die, the old ways are lost, the status quo is nothing like it used to be. So how do they get away with it?

Firstly, the show doesn’t begin with the main villains having already conquered Republic City and trashing everything the heroes fought for. The entire season is a crawl, then a plunge, toward disaster. They let you enjoy the fruits of the old characters’ labor, see the world that they built, before the new threat attempts to burn it down.

Secondly, because almost the entire original cast is dead or absent, there are no relationships sorely missing context, and there’s no *subversive* twists to what the audience could extrapolate from the ending of the old show.

LoK did make some radical changes to the world, but, crucially, it didn’t change the surviving core characters — we still have a known point of reference through which to view all the other changes. Katara is still Katara, she’s just older. Zuko is still Zuko, he’s just older. Katara didn’t become a persnickety, bitter bat and Zuko didn’t launch the Fire Nation Invasion II and return to his angsty ponytail-era.

It also helps that Korra is, like us, an outsider to this strange new world, a perfect vector through which the audience can ask questions and get answers on how, why, and when everything changed. LoK, unlike Star Wars, cared and thought about the *how* and the *why*.

If you’re going to write a story about the next generation without compromising the legacy of the old guard, Legend of Korra is a solid example of how to do it convincingly, respectfully, and entertainingly, even if it did drop the ball on some characters *cough*Sokka and Suki*cough*

How to Train your Dragon

But an even better example? How to Train Your Dragon to How to Train your Dragon 2. It’s been five years, a massive risk for your children’s animated fantasy series, but it’s also been almost five years of real-world time. Those who were Hiccup’s age when the first movie premiered are still Hiccup’s age when they head back to theaters. Not to mention the optional Netflix shows to help fill in the gaps.

Once again, there’s no *subversive* choices made with the relationships. Hiccup is still with Astrid and they’ve grown out of their awkward teenage phase. Their personalities haven’t radically changed either, only matured, the main group of heroes have had time to foster deeper bonds.

There’s no surprise children, no important characters who got killed off screen, and the changes to their homeland seem reasonable and logical given the time frame. A place that once feared dragons is now dedicated entirely to their preservation and conservation.

This is a timeskip that took advantage of every benefit of skipping time. The audience can very easily fill in the missing years with their imagination, because the jump from A to B makes perfect sense.

Frozen and Frozen II relied on the same mechanic of the audience growing with the characters with that one musical number. I’m not a fan of the execution of either of these movies, see this post about Frozen’s convolutions, but the execution of the skip itself is well done. All that’s happened in the interim is Elsa getting a little more comfortable being a person, and time has passed.

The Little Mermaid

The gap between Little Mermaid and Little Mermaid 2: Return to the Sea double-skips. First, it skips ahead to Ariel and Eric having an infant Melody, then about twelve years later to Melody being a tween and the new protagonist of the story.

Why it works: Melody is remarkably like her mother and rides the line between endearing and annoying very well and the plot depends on the skip happening at all – twelve years removed from the ocean and Melody has no idea her mother was a mermaid. Ariel and Eric (and Flounder) have grown to become wizened and worrisome parents and absolutely nothing remarkable happened unseen between the credits of the first movie and the second skip in the second movie. They get twelve years of peace, respecting the first movie’s legacy, and it’s through the actions of characters we see on screen that start jeopardizing everything.

—

Another feature I didn’t touch on earlier is that, by virtue of being a musical, the opening song to the Little Mermaid sequel efficiently catches audiences up on all the necessary exposition, all the old familiar faces, and where everyone is now in about 4 minutes. Frozen II does the same.

The Percy Jackson books also give a “previously on Percy Jackson” exposition speedrun at the start of books 2-5 and notes any important details that occurred in the missing months (save the glaring omissions detailed above).

If your time skip is just a plot device to get from A to Y, a well-handled exposition speedrun to catch everyone up won’t offend anyone, so long as you do it tastefully. If your skip is the centerpiece of the plot and the “how did we get here” is the big mystery, jarring your audience with the unexpected future on the opening pages is the point.

Do your best to avoid awkwardly having your characters state “X years have passed,” in dialogue because it’s always obvious and you can do better. Have somebody reference their upcoming birthday so audiences can do the math, or an anniversary. “X years have passed” cracks the immersion, as your characters don’t know or care that a time skip has occurred.

Or, if you’ve written a narrating style that talks directly to the audience, the narrator can just say “X months ago we did Y in the last book, reader, you remember how fun that was?” 

—

TL;DR, terrible timeskips happen, in my opinion, when the writers are disinterested with the interim and want to get to the good stuff without providing a logical jump to get there. Or, they happen when the time the story skips to jeopardizes where it came from without explanation. Whether that’s undermining the legacy of the original hero, ruining relationships and killing fan favorites for *subversion points* and *drama*, or creating a world so far removed from what audiences expected that they’re left confused watching their heroes make baffling decisions based on development they’re promised did happen, but is never shown. It’s one thing if you take your wide-eyed hero and toss him into a bleak future where everyone’s shocked by his pessimistic outlook, it’s completely different tossing your hero into a bleak future and none of his friends seem to care.

#this is super neat and I must remember it #timeskip #writing advice #not mine

[valentinerose529]

#i had to vote forest cat bc they're just so huge and fluffy #but hognose snake or hyena would be my second options. seriously imagine me having a hyena that'd be badass #but a hyena wouldn't be suited to my environment poor buddy would get cold #poll #not mine #fantasy familiar

[valentinerose529]

Reblog so everyone can hear what they need.

#poll #writing encouragement #mood boost

[valentinerose529]

Tap here for a poll about whether or not writers mimic other writers’ writing styles and/or take inspiration from other writers’ works

*this poll was submitted to us and we simply posted it so people could vote and discuss their opinions on the matter. if you’d like for us to ask the internet a question for you, feel free to drop the poll of your choice in our inbox and we’ll post them anonymously (for more info, please check our pinned post)

#i mean that's how I learned. I can directly name several authors as influence on my writing style as it is today: #lemony snicket. john flanagan. william goldman. Diana wynne jones. jrr Tolkien. and so on #and i write fantasy stories today *because* i love to read fantasy books. how could i write if I wasn't inspired to by those stories? #so nah I don't care--in fact if someone was inspired to write because of what I wrote thats really the best praise i think an artist can ge #poll #writeblr #not mine

[valentinerose529]

i noticed a lot of people chose over 100k for my poll on preferred fic lengths so i wanted to get a more specific one! please reblog this again for a larger sample size?

#longfics my beloved #i think 150k is an awesome length since that's a popular novel size and that'll keep me content for a few days. #besides too much longer and fanbinding gets harder the thicker a book gets. #but truly i would read 500k of a really good fic! #fanfiction #not mine #poll

[valentinerose529]

Fanfic prompt/idea:

Mordred is Emrys (not really tho)

(Super long. TL;DR at bottom)

Someway, somehow, Arthur and his knights (Leon, Elyan, Percy, Gwaine, mordred) + Merlin meet someone while they’re away from the citadel who tells them about Emrys. Might be someone trying to kill them and boasting about the all mighty Emrys or might be a friendly, peaceful magical person who stopped for a chat or something else, choice is yours. Anyway, that night as they eat dinner around the campfire, they start talking about this Emrys. At first they’re like “that’s kooky” and laughing but then Percival speaks up quietly and a bit nervously. He says that while he’s sought sanctuary for the night or a few days in Druid camps before he became a knight, he’s heard about Emrys. Now, everyone is actually interested instead of just laughing it off.

Arthur: tell me more.

Percy: well.. the druids highly respect this man almost as if he’s a deity. I don’t know too much, and it’s been a while. I do remember that everyone knew about him no matter which Druid camp it was, even the children. It seems they tell a lot of stories about him to their young’uns.

Arthur: anything else?

Percy: sorry, sire, that’s all I remember. But if you really want to know more you could try to ask the druids.

They all became quiet and continued to eat, Merlin and Mordred relieved this conversation is over. …Until,

Arthur, remembering Mordred is a Druid: Mordred, you’re a Druid. Do anything about this?

Mordred and Merlin: *sweating bullets just wanting this dangerous topic over with* *glances at each other nervously*

Gwaine: WHA? Mordred, you’re a Druid?! You’ve been hold holdin’ out on us, mate!

Arthur realizes that Mordred’s heritage had not, in fact been a known thing, but they’ve made peace with the druids, it’ll be fine.

Mordred, nervously: oh, um, yes, I am…

The knight all take a few moments to be like “wow… never would’ve guessed” and “aren’t druids normally peaceful people? How you become a knight?”

Arthur, wanting to get things back on track: so, Mordred, do you know anything?

Mordred, nervousness increasing, knowing Merlin doesn’t want Arthur to know who he is, but not wanting to lie to his king, eyes darting between the two and all over the camp: uh…um… I… uh, I..I… I guess, yes. *Merlin’s glare intensifies*

Arthur, not noticing Merlin’s death glare at Mordred: tell me more.

Mordred, trying to figure out what to say to satisfy his king’s curiosity but not incur Emrys’ wrath (Emrys already hates him enough for some reason, he doesn’t want to make it worse): well… um, there’s… well there’s Emrys… and there’s this prophecy involving him. Most druids know of it; it’s centuries old.

Percival: oh, that’s right… Something about a magical king, right?

Mordred: the Once And Future King.

Gwaine: hold on a minute.. that sounds familiar… Ah! That’s right! I heard about it from a storyteller at a tavern once. I thought it was an odd name so it stuck. It’s a love story, right?

Mordred, nervously glancing between Merlin and Arthur (Merlin now looking at Gwaine with exasperation): um… I don’t know if that’s what it is.. but there definitely is a deep bond between Emrys and the Once And Future King.

Arthur: continue.

Mordred, trying to stay focused on Arthur instead of the once again glaring warlock beside him: so the prophecy says that the Once And Future King will unite the land of Albion, return magic to the land, and bring about a golden age of peace and prosperity for all. And Emrys is foretold to help him. * internally: please let be enough to satisfy him🥺😣😖*

Elyan: so the stories are about this king and Emrys is just there to help?

Mordred, sweating: um…

Gwaine: if that’s the case shouldn’t you druids be worshiping the king instead?

Sounds of agreement around the fire.

Leon to Mordred: is there more to us than that?

Mordred, under curious and intense gazes again: uh, yes… Emrys is a very powerful, immoral warlock said to—

“IMMORTAL??!!!” Merlin squawked, surprised.

Mordred, very nervous, whispers: ….um…yes………. *telepathically: did you not know?*

Merlin, telepathically: I am not immoral.

Mordred, telepathically: it’s what the prophecies say

Merlin, telepathically: they’re wrong

Mordred, telepathically: …um,, there’s a lot who say you are.

Merlin, telepathically: No. I’m NOT. I can’t be immortal. That’s ridiculous.

Mordred, telepathically: they say you are. That’s why the call you Emrys.

Merlin and Mordred continue to glare and the knights and Arthur look on wondering when those two got close enough to communicate only looks and without talking. Arthur is not jealous. Not. At. All. That would be ridiculous.(Yes he is, he’s the only one who’s supposed to communicate with Merlin silently. How dare Mordred)

Suddenly Merlin stands up: I’m going to wash the dishes *aggressively goes around the camp and grabs everyone’s dishes, then stomps into the woods to a nearby stream*

Arthur: you were saying Mordred?

Mordred: oh, right! Yes, so Emrys is said to be the most powerful warlock to ever live. He and the Once And Future King are said to be equals and without him the Golden Age can’t happen. While the Once And Future King is the king, Emrys is said to be his advisor and teacher of sorts. He also protects the Once And Future King and supports him any way he can.

The knights and king look thoughtful taking in this information. They ask Mordred more questions, just little stuff and clarifications, and Mordred, relaxing that he’s getting through this without blowing Emrys’ identity let it slip that “the time of the prophecy is upon us” and that Arthur is said to be the Once And Future King. Whoops.

Everyone around the campfire is now totally interested in this and wanting to know if it’s true and Mordred’s like “um… yeah, that’s what everyone is saying…” and REALLY wanting this conversation to be over with before he slips up about Merlin. He’s also really glad Merlin is still washing their dishes far enough away that he can’t hear the conversation.

Of course, just as Gwaine asks “if Arthur’s this Once And Future King, the where’s this Emrys guy?” Merlin returns in time to hear it.

Merlin, glaring at Mordred: what?

Mordred, telepathically: I’m sorry! I’m sorry! I’m sorry! I’m sorry! I’m sorry! 🥺

The group fills Merlin in on what he missed while Mordred continues to apologize endlessly. The knights then go back to asking Mordred about Emrys and he tries to navigate the questions without giving anything away while also dealing with a furious Merlin in his head telling him to “FIX THIS NOW!! And don’t you tell Arthur who I am!!” The poor boy!

Mordred continues to navigate the conversation mostly emphasizing how loyal Emrys is and how he and the Once And Future King are said to have a strong bond and there’s nothing to worry about when they start to question if Emrys is a threat. Eventually someone (probably Gwaine) brings up that Emrys doesn’t seem to be doing a very good job of protecting Arthur considering how other he’s encountered by magical thing. And Mordred, who knows how busy Merlin is and how hard he’s been working to protect Arthur (and that’s just since he’s become a knight! He knows there’s so much more he doesn’t know and is in even more awe of Emrys for handling it all) sees Merlin look over at Gwaine like he’s actually concerning strangling the man, says, “he’s very busy! And, he’s just one man! He’s really trying his best!!”

Mordred doesn’t realize what he said wrong and why everyone is quietly looking at him like that until Arthur asks, “You know him?”

Mordred, who just realized that he did kinda just admit to knowing a very powerful, immoral warlock to a king and his knights that are of a kingdom where magic is punishable by death: ……………uh

Arthur, realizing why Mordred looks so terrified: Mordred I understand you are a Druid and have grown up on stories of this man. I will not punish you for knowing him. I’m sure you’ve met many sorcerers.

Mordred, letting out a big breath of relief: thank you, sire. And yes, I have met him.

Arthur, nodding: I see. And he is in Camelot?

Mordred: yes, sire. He’s been working very hard to keep you and Camelot safe.

Arthur, looking at his other knights: I’ve never heard of anyone in the kingdom by that name, any of you?

Leon: he’s likely using a fake name.

Arthur: hmm. Yes that makes sense.

Mordred, wondering if he messed up again: uh, sire? Is something wrong?

Arthur, looking back at Mordred, and trying to reassure him: I wouldn’t really say something is wrong, per say, but the fact that there is an unknown and powerful sorcerer hiding in Camelot is something I need to be aware of. Since you’ve met him, do you know who he’s hiding out as?

Mordred, glancing subtly at Merlin who’s glaring at him threatening again, realizing he really f’ed up: ……

Arthur, realizing Mordred does know who Emrys is: who is he, Mordred?

Mordred: ……

Arthur, starting to lose his patience: Mordred. Who is he? Or does your loyalty lie with him first and me, your king, second?

Mordred, startled: No! That’s not it at all, sire! I’m very loyal to you! I swear it!

Arthur: then…

Mordred, sheepishly: well… in the prophecy you two are equals, so I’ve always weighed your words and orders as equal as well. And Emrys asked me not to reveal him, so…

Arthur: ……

The knights: ……

Merlin, telepathically: you’re not done yet, keep going. The prat’s not going to leave it at that.

Arthur, trying to figure out how to word it: Mordred… you do realize that that is…. worse, right?

Mordred: ????

Arthur: there is someone who one of my knights has valued their words as equal to my own who I have never met and know next to nothing about and who is a sorcerer. I have not appointed this man and if he were to contradict one of my orders… Do see how I really need to know who this man is?

Mordred: …but he’s loyal to you…🥺

Arthur, wondering if he’s actually going to have to turn this into an official interrogation: Mordred.

Tension rises again as Arthur keeps pushing and Merlin starts yelling in his head again and Mordred just Doesn’t Know What To Do. Please make this stop! Until he can’t take it anymore and just blurts out, “I’M EMRYS!!”

Silence.

Mordred can’t believe he just said that. Did he actually just claim to be THE Emrys? It feels sacrilegious. He peeks over at Merlin, but the man seems just as shocked as the rest of them at this development and raises an eyebrow in question.

Mordred, telepathically: …sorry? I didn’t know what to say…

Merlin, telepathically: ..no, im not mad at that. I am a bit curious about where you’ll go with this though…

Arthur: you’re Emrys?

Mordred, with Merlin’s permission to continue: yes. I’m Emrys.

Gwaine, whistles: damn mate, you’ve really been holding out on us!

Everyone looks at Mordred in a new light, trying to reconcile what they already knew about him with this new information.

Arthur: so you have magic then?

Mordred, nervously: yes.

More silence.

Gwaine, very interested and not at all wary: lots of it too being the most powerful and thought of as a deity.

Mordred, who is quite powerful, but not on Emrys’ level, obviously: yeah, I suppose.

After a bit more of an awkward and tense conversation of stilted sentences, and some debate about magic, Mordred and Merlin finally relax at the fact they’re both keeping their heads and the true identity of Emrys is secret. It was pretty much decided that Mordred had already sworn fealty to Arthur when he became a knight and even saved the king’s life in the Northern Plains, so he was most likely still trustworthy even though he was a sorcerer. Arthur and the knights are surprisingly okay with this turn of events; they’re still tense, but no one’s drawn their sword. Gwaine even asks Mordred to do some magic, and with Arthur’s very tense go ahead, Mordred levitates a water skin for a bit much to Gwaine’s delight. Gwaine keeps asking Mordred to do more magic as they head back to the castle like make things float and light some campfires.

I was thinking that it will mostly be about the antics from this point and how it would change things for the better. Like, now Merlin needs to enlist Mordred in his secret magical adventures and work together to keep Arthur and Camelot safe. The two would make such a funny dynamic. Merlin being all huffy and suspicious but begrudgingly including him while Mordred is so happy at being able to help his idol out, a dream come true for him.

The group ABSOLUTELY keeps Mordred’s magic and him being Emrys thing a secret at first, not sure when that’ll change but it definitely will. Gwaine probably spills about the prophecy and Arthur being the once and future king while he’s drunk in the tavern one night, but not about Mordred. The group eventually start warming up about magic and not being so wary of sorcerers since they’re now seeing Mordred using it to protect them so much. When the knights ask about what he’s done so far he tells them about Merlin’s achievements (with his permission, of course) and gets some more stories from him.

When the actual reveal comes it will be after word has already spread that Mordred is Emrys, so then Arthur and everyone will have to be like “no, that was a lie/misunderstanding, it’s actually Merlin” but people will still mistake Mordred for Emrys even years in the future. They’re never living this down.

Also there is DEFINITELY at least one scene where they go to a Druid camp and Arthur’s all like “yep, this is Mordred. Emrys” and the druids, telepathically, are like “boy, what are you doing? Mordred, you know you’re not Emrys.” And Mordred’s like “I have permission…” so the Druids subtly look at Merlin and he’s like “yeah, he’s got permission, just go with it” So, they do.

There’s also going to be scenes where Arthur is trying to get to know Mordred better because they apparently are supposed to have a super strong bond or whatever and yes, he and Mordred do have a bond, but he wouldn’t say it was any different than his bonds with his other knights and is all confused by it. And when he’s confiding in Merlin about it, he advises to not try and force it.

I know this is season 5 and Arthur and Gwen are married, BUT if you decide to go the merthur route, there can even be some prophecies about Emrys and the once and future king being soulmates and destined to be together or something. That would make Arthur even more confused/troubled because while Mordred is only a little over a decade younger than him (I headcanon that Arthur was 20-21 in 1st season and Mordred ~7-10) and age gaps that big weren’t unheard of, he just can’t look at Mordred that way. He’s too much like an innocent little puppy or something. Merlin is probably mortified because he can’t believe they have prophecies about his love life and why was he only finding out about this NOW?

Also, LANCELOT!!! Maybe there’s some way to actually bring him back from the dead. Or, there could be some scenes of him in Avalon watching this comedy unfold and talking and laughing about it with Will and Fraya and whoever else has died. And they’re all shaking their heads at the crazy situations Merlin gets himself into.

TL;DR: It’s basically crack about Merlin and Mordred working together to pass Mordred off as Emrys with a side of fix-it.

In the future I might decide to write this myself, but I’m in the middle of reading TGCF and want to finish that and a couple other things before I rewatch Merlin. It’s been a couple years since my last rewatch so things are a little fuzzy and I don’t want to completely mischaracterize someone. So, here, take it. Do with this what you want, but let me know if you write this or something, cause it would be supper fun to read.

#no but this is the funniest thing ever #Merlin is nothing if not committed to the bit when it comes to every wacky plot so this checks out actually #bonus points if Mordred gets himself into a situation where he can't actually do the magic that's called for so Merlin has to secretly help #merlin fic prompt #bbc merlin #mordred #merlin #not mine

[valentinerose529]

i'm conducting an experiment. everyone who's from an english speaking country state your country, regional area and what you call the following images. i need to see something

#fries. chips. (drop) biscuits. cookies. soda. candy. cigarettes. beanie (hat). cotton candy #usamerican

[valentinerose529]

#one time me and a friend were over at another friend's house and we (stupid young adults) looked at the bigass bag of ground cinnamon #and we said “you know there's this internet challenge to try to eat like a spoonful of cinnamon” #the mother looked at us like we were idiots but gave us two very tiny spoons and told us to choke on it on the porch

[valentinerose529]

someone with a major in literature and/or poetry tell me what's so poetic about this that it captivated me because i have no idea honestly

#reblogging for the plant comentary because wow! #it's great that oilseed rape is a hardier crop! #olive oil is delicious to cook with but it's expensive for a reason- eugh #oilseed rape plant #canola oil #not mine #informative

[valentinerose529]

Kiss Me- pinkpirate

a fun arwen edit because their kiss scenes are God Tier and i love them <3

#whoever blocked out that first kiss scene with the sun from behind them was a GOD TIER director for that image honestly #even if some of their chemistry feels forced ArWen is such a sweet ship for me #argwen #arwen ship #bbc merlin #not mine #video

[valentinerose529]

all descriptions gender neutral, based on vibes only

#mysterious stranger pushing open the saloon doors #for sure #prev #not mine #poll

[valentinerose529]

PSA: Don't use Open Office

I keep seeing people recommending Open Office as an alternative to Word, and uh... look, it is, technically, an open source alternative to Word. And it can do a lot of what Word can, genuinely! But it is also an abandoned project that hasn't been updated in nine years, and there's an active fork of it which is still receiving updates, and that fork is called LibreOffice, and it's fantastic.

Seriously, if you think that your choices are either "grit your teeth and pay Microsoft for a subscription" or "support free software but have a kind of subpar office suite experience", I guarantee that it's because you're working with outdated information, or outdated software. Most people I know who have used the latest version of LibreOffice prefer it to Word. I even know a handful of people who prefer it to Scrivener.

Open Office was the original project, and so it has the most name recognition, and as far as I can tell, that's really the only reason people are still recommending it. It's kind of like if people were saying "hey, the iPhone 14 isn't your only smart phone option!" but then were only ever recommending the Samsung Galaxy S5 as an alternative. LibreOffice is literally a version of the same exact program as Open Office that's just newer and better – please don't get locked into using a worse tool just because the updated version of the program has a different name!

#well when neil gaiman himself promotes it what else can i say #but yeah i promise it's just as good as Microsoft Office for everything except a few specialized features #i will never stop promoting LibreOffice #LibreOffice

[valentinerose529]

A scorpion, not knowing how to swim, asked a frog to carry it across the river. “Do I look like a fool?” said the frog. “You’d sting me if I let you on my back!”

“Be logical,” said the scorpion. “If I stung you I’d certainly drown myself.”

“That’s true,” the frog acknowledged. “Climb aboard, then!” But no sooner than they were halfway across the river, the scorpion stung the frog, and they both began to thrash and drown. “Why on earth did you do that?” the frog said morosely. “Now we’re both going to die.” 

“I can’t help it,” said the scorpion. “It’s my nature.”

___

…But no sooner than they were halfway across the river, the frog felt a subtle motion on its back, and in a panic dived deep beneath the rushing waters, leaving the scorpion to drown.

“It was going to sting me anyway,” muttered the frog, emerging on the other side of the river. “It was inevitable. You all knew it. Everyone knows what those scorpions are like. It was self-defense.”

___

…But no sooner had they cast off from the bank, the frog felt the tip of a stinger pressed lightly against the back of its neck. “What do you think you’re doing?” said the frog.

“Just a precaution,” said the scorpion. “I cannot sting you without drowning. And now, you cannot drown me without being stung. Fair’s fair, isn’t it?”

They swam in silence to the other end of the river, where the scorpion climbed off, leaving the frog fuming.

“After the kindness I showed you!” said the frog. “And you threatened to kill me in return?”

“Kindness?” said the scorpion. “To only invite me on your back after you knew I was defenseless, unable to use my tail without killing myself? My dear frog, I only treated you as I was treated. Your kindness was as poisoned as a scorpion’s sting.”

___

…“Just a precaution,” said the scorpion. “I cannot sting you without drowning. And now, you cannot drown me without being stung. Fair’s fair, isn’t it?”

“You have a point,” the frog acknowledged. “But once we get to dry land, couldn’t you sting me then without repercussion?”

“All I want is to cross the river safely,” said the scorpion. “Once I’m on the other side I would gladly let you be.”

“But I would have to trust you on that,” said the frog. “While you’re pressing a stinger to my neck. By ferrying you to land I’d be be giving up the one deterrent I hold over you.”

“But by the same logic, I can’t possibly withdraw my stinger while we’re still over water,” the scorpion protested.

The frog paused in the middle of the river, treading water. “So, I suppose we’re at an impasse.”

The river rushed around them. The scorpion’s stinger twitched against the frog’s unbroken skin. “I suppose so,” the scorpion said.

___

A scorpion, not knowing how to swim, asked a frog to carry it across the river. “Absolutely not!” said the frog, and dived beneath the waters, and so none of them learned anything.

___

A scorpion, being unable to swim, asked a turtle (as in the original Persian version of the fable) to carry it across the river. The turtle readily agreed, and allowed the scorpion aboard its shell. Halfway across, the scorpion gave in to its nature and stung, but failed to penetrate the turtle’s thick shell. The turtle, swimming placidly, failed to notice.

They reached the other side of the river, and parted ways as friends.

___

…Halfway across, the scorpion gave in to its nature and stung, but failed to penetrate the turtle’s thick shell.

The turtle, hearing the tap of the scorpion’s sting, was offended at the scorpion’s ungratefulness. Thankfully, having been granted the powers to both defend itself and to punish evil, the turtle sank beneath the waters and drowned the scorpion out of principle.

___

A scorpion, not knowing how to swim, asked a frog to carry it across the river. “Do I look like a fool?” sneered the frog. “You’d sting me if I let you on my back.”

The scorpion pleaded earnestly. “Do you think so little of me? Please, I must cross the river. What would I gain from stinging you? I would only end up drowning myself!”

“That’s true,” the frog acknowledged. “Even a scorpion knows to look out for its own skin. Climb aboard, then!”

But as they forged through the rushing waters, the scorpion grew worried. This frog thinks me a ruthless killer, it thought. Would it not be justified in throwing me off now and ridding the world of me? Why else would it agree to this? Every jostle made the scorpion more and more anxious, until the frog surged forward with a particularly large splash, and in panic the scorpion lashed out with its stinger.

“I knew it,” snarled the frog, as they both thrashed and drowned. “A scorpion cannot change its nature.”

___

A scorpion, not knowing how to swim, asked a frog to carry it across the river. The frog agreed, but no sooner than they were halfway across the scorpion stung the frog, and they both began to thrash and drown.

“I’ve only myself to blame,” sighed the frog, as they both sank beneath the waters. “You, you’re a scorpion, I couldn’t have expected anything better. But I knew better, and yet I went against my judgement! And now I’ve doomed us both!”

“You couldn’t help it,” said the scorpion mildly. “It’s your nature.” 

___

…“Why on earth did you do that?” the frog said morosely. “Now we’re both going to die.”

“Alas, I was of two natures,” said the scorpion. “One said to gratefully ride your back across the river, and the other said to sting you where you stood. And so both fought, and neither won.” It smiled wistfully. “Ah, it would be nice to be just one thing, wouldn’t it? Unadulterated in nature. Without the capacity for conflict or regret.”

___

“By the way,” said the frog, as they swam, “I’ve been meaning to ask: What’s on the other side of the river?”

“It’s the journey,” said the scorpion. “Not the destination.”

___

…“What’s on the other side of anything?” said the scorpion. “A new beginning.”

___

…”Another scorpion to mate with,” said the scorpion. “And more prey to kill, and more living bodies to poison, and a forthcoming lineage of cruelties that you will be culpable in.”

___

…”Nothing we will live to see, I fear,” said the scorpion. “Already the currents are growing stronger, and the river seems like it shall swallow us both. We surge forward, and the shoreline recedes. But does that mean our striving was in vain?”

___

“I love you,” said the scorpion.

The frog glanced upward. “Do you?”

“Absolutely. Can you imagine the fear of drowning? Of course not. You’re a frog. Might as well be scared of breathing air. And yet here I am, clinging to your back, as the waters rage around us. Isn’t that love? Isn’t that trust? Isn’t that necessity? I could not kill you without killing myself. Are we not inseparable in this?”

The frog swam on, the both of them silent.

___

“I’m so tired,” murmured the frog eventually. “How much further to the other side? I don’t know how long we’ve been swimming. I’ve been treading water. And it’s getting so very dark.”

“Shh,” the scorpion said. “Don’t be afraid.”

The frog’s legs kicked out weakly. “How long has it been? We’re lost. We’re lost! We’re doomed to be cast about the waters forever. There is no land. There’s nothing on the other side, don’t you see!”

“Shh, shh,” said the scorpion. “My venom is a hallucinogenic. Beneath its surface, the river is endlessly deep, its currents carrying many things.” 

“You - You’ve killed us both,” said the frog, and began to laugh deliriously. “Is this - is this what it’s like to drown?” 

“We’ve killed each other,” said the scorpion soothingly. “My venom in my glands now pulsing through your veins, the waters of your birthing pool suffusing my lungs. We are engulfing each other now, drowning in each other. I am breathless. Do you feel it? Do you feel my sting pierced through your heart?”

“What a foolish thing to do,” murmured the frog. “No logic. No logic to it at all.”

“We couldn’t help it,” whispered the scorpion. “It’s our natures. Why else does anything in the world happen? Because we were made for this from birth, darling, every moment inexplicable and inevitable. What a crazy thing it is to fall in love, and yet - It’s all our fault! We are both blameless. We’re together now, darling. It couldn’t have happened any other way.”

___

“It’s funny,” said the frog. “I can’t say that I trust you, really. Or that I even think very much of you and that nasty little stinger of yours to begin with. But I’m doing this for you regardless. It’s strange, isn’t it? It’s strange. Why would I do this? I want to help you, want to go out of my way to help you. I let you climb right onto my back! Now, whyever would I go and do a foolish thing like that?”

___

A scorpion, not knowing how to swim, asked a frog to carry it across the river. “Do I look like a fool?” said the frog. “You’d sting me if I let you on my back!”

“Be logical,” said the scorpion. “If I stung you I’d certainly drown myself.”  

“That’s true,” the frog acknowledged. “Come aboard, then!” But no sooner had the scorpion mounted the frog’s back than it began to sting, repeatedly, while still safely on the river’s bank.

The frog groaned, thrashing weakly as the venom coursed through its veins, beginning to liquefy its flesh. “Ah,” it muttered. “For some reason I never considered this possibility.”

“Because you were never scared of me,” the scorpion whispered in its ear. “You were never scared of dying. In a past life you wore a shell and sat in judgement. And then you were reborn: soft-skinned, swift, unburdened, as new and vulnerable as a child, moving anew through a world of children. How could anyone ever be cruel, you thought, seeing the precariousness of it all?” The scorpion bowed its head and drank. “How could anyone kill you without killing themselves?”

#holy shit #i don't have words to elaborate what this made me feel but it certainly made me Feel Many Things #not mine

[valentinerose529]

#oh my g o d they're gorgeous #reposted tiktok #video #not mine

[valentinerose529]

credit to @abyssal-gaze for original idea

#tucked under a comforter :> #poll #prev #not mine

[valentinerose529]

#link loz #not mine #legend of zelda #poll

[valentinerose529]

I want to know! Just from having scrolled past a few posts you haven’t even read (or have read despite not knowing the source material), what’s your impression of the KOTLC series?

#to my followers #i've been reading this series for like. eight years idk. i don't know how deranged I may sound on the outside #kotlc #fandom #inter-fandom relations