WAIT HELLO?!?!?!?!?!

To the person I accidentally reported because I didn't watch my fingers

I am sorry

Pauline’s book recs : a MASTERPOST (II)

Shit, it’s 2020 and I’ve updated this Behemoth again. There’s both old and new in here. If you’re having problems with links overlapping, it is most likely the app/dashboard glitching—try the permalink version, and everything should work out, even on mobile. And of course, HAVE FUN.

Also: I had to split this one in two otherwise the links just poof, disappear. Part one is here.

THEMATIC LISTS By character Works featuring Persephone Works featuring Kassandra Works featuring Mary Magdalene Works featuring Narcissus (more or less) Works featuring male protagonists written by women Works featuring the House as a character Works featuring brothers Works featuring assassins Works featuring mermaids Works featuring musicians Works about scorned women and complex character development Works featuring the femme fatale archetype Works featuring female villains Works with Nature as a character Works with supernatural entities as a human double Works with introspective characters Works with narcissistic characters Works with “fatally-flawed” (hubristic) characters Romances featuring softer male protagonists Trope : Star-crossed lovers Trope : Friends to lovers Trope : Villainous love Trope : Toxic mother figure Trope : adaptating Beauty and the Beast Trope : adaptating Bluebeard By theme LGBTQ+ (a terribly old and lacking list) About love: pretty much a whole bibliography Suspense galore: books with good foreshadowing Suspense galore: a few good plot-twists Books taking place in a single building Books taking place in one House Books taking place in a high school Books with dysfunctional families Books about seeing into the Future Books by the sea (and a few pirates) Books set in Paris Books about hubris Books about loneliness and solitude Books about finding one’s life purpose Books about girlhood Books about introspection and self-discovery Books about melancholy and sadness Books about happiness and hope Books with symbolism and atmosphere Books about moral corruption and spiritual decadence Books about sex politics and philosophy Books about the female rage Books about or taking place during World War I Books featuring suicides Poems for mothers Poems about poetry Great love stories Unusual love stories Idealised, bittersweet love ; more By genres Rewriting Greek and Roman myths Rewriting Fairy Tales ; and again Writing and rewriting Arthuriana Favourites free-to-play text-based games Experimental literature Gothic and neo-gothic Southern Gothic Magical realism ; a few more Dystopias Young Adult Horror novels (but check the gothic instead) Crime novels Thrillers (thriller night); more Medieval historical fiction Sweet sweet comfort reads Just, like, sappy stuff

By context Beach reading Travel reading Halloween reading (spooky!) Winter reading Summer reading ; another Lockdown reading (you can still ask!) By book Books similar to The Secret History Books similar to Wuthering Heights ; again Books similar to Memoirs of Hadrian Books similar to Brideshead Revisited Books similar to A Grief Observed Books similar to The Brothers Karamazov Books similar to On Being Ill Books similar to Eros the Bittersweet Books similar to Dracula Books that might remind you of Avatar the Last Airbender if you squint Excerpts similar to Dido and Aeneas’ parting in the Aeneid Recommended editions of Romeo and Juliet Recommended editions of Shakespeare’s Sonnets Recommended editions of Wuthering Heights Recommended translations of Tristan and Yseult Some links to Rainer Maria Rilke’s Book of Hours Some links to a few of Mary Oliver’s works Lit criticism on Dorian Gray Lit criticism on Sonnets to Orpheus Books adapted to the screen (1) Books adapted to the screen (2) By author Favourite French writers Favourite Contemporary writers What to read? By Women French writers What to read? By Anne Carson (And some prep reading for Anne Carson) What to read? By Richard Siken What to read? By Roland Barthes What to read? By Agatha Christie What to read? By E. A. Poe What to read? By Daphné du Maurier What to read? By Sylvia Plath What to read? By Priya Sarukkai Chabria What to read? By Hélène Cixous What to read? On and by Branwell Brontë What to read & which translation? For Marguerite Yourcenar Which translation? For Hafez If you love Anne Carson If you love Angela Carter ; more If you love Louise Glück If you love Virginia Woolf If you love Sylvia Plath If you love Marguerite Duras If you love Emile Zola If you love Colette

gonna post my entire stickman reaction pic collection

Hey, y'all, this is a reminder for anyone that has student loans that they are defaulted on or in collections for:

Apply for Fresh Start NOW if you haven't already done so. Like right now. Do it right this very second do not put it off any longer.

If you don't know, applying for Fresh Start will move your loan status from "Default" to "Current," you will no longer have to deal with collections calls! You won't have your wages garnished or your tax refunds taken by the Education Department! The default gets removed from your credit and you become eligible for federal mortgage programs! You become eligible for Income Driven Repayment (IDR) programs that can reduce your monthly payment in a huge way (from $400/month to $50/month for me!) and you get IDR credit for the three years you were in default during the pandemic freeze!

It only has upsides!

I mean it, it can make a huge difference! You can even submit both Fresh Start and an IDR application at the same time. It takes literal seconds. I had my name legally changed and I'm still eligible! I clicked like 3 buttons, checked a couple boxes, and boom. I sent off the application August 22nd and I got the letter yesterday (Sept 20th), but that letter was dated Sept 1st and was only to inform me that my loan was no longer in default would be transferred to a new loan servicer by the end of the month. It took a week and a half to process.

I also became eligible and received a refund check for money taken from me during the starting stages of the pandemic.

The best time to do it is now. Period.

Do. It. Right. Now.

Post-canon sect gatherings are about to be wild. Listen. Jin guangyao is dead, lan xichen is in seclusion, jin ling is jin ling, and we haven’t met any other competent sect leader ever. Post-canon sect gatherings are p much all on jiang cheng and huaisang to manage. And sure huaisang could help but. He’s a little shit. If it ain’t a qinghe nie problem, he’s not here for it!!! The second sect leader yao opens his mouth, huaisang is halfway out the door! He has no reputation to save and hasn’t slept in over 10 years!!! He doesn’t care! And jiang cheng! Is Jiang Cheng!

—

jiang cheng: and where do you think you’re going?!

nie huaisang, leaving the meeting: stress is bad for the baby

jiang cheng: what baby?

nie huaisang: me. I’m baby

—

jiang cheng: are you taking shots?!

nie huaisang: yeah want some?

jiang cheng: ………..yes give it here

—

nie huaisang: this is the best way to go about this

other leaders: we don’t believe you

nie huaisang, really doesn’t care what they do anymore this meeting has been going on for 5 hours: that sounds like a you problem

—

nie huaisang seeing off those sect leaders who refused to listen to him: bye! I trust in your ability to handle this your way!!!

nie huaisang: there’s a 30% chance they’re all gonna die

—

jiang cheng: slices a table in half

jiang cheng, throwing some money at the broken table: I’ll pay for that

—

other sect leaders: is this… a liability waiver?

nie huaisang: yeah I had some written up after sect leader jiang broke that guy’s legs last meeting? anyways everyone sign one before going in please

other sect leader: maybe…. sect leader jiang could stop injuring people at meetings instead?

nie huaisang: hahaha No. don’t forget to date your signature.

—

jiang cheng: either we start agreeing or I’m gonna get the whip

nie huaisang: diplomacy at its finest

—

nie huaisang: everyone, welcome to the banquet! the unclean realms welcomes all its allies!

jiang cheng: wei wuxian is sucking face with lan wangji right behind you

nie huaisang: this ain’t about them

—

nie huaisang: sorry I’m late. I ran into a problem on the way

jiang cheng: what problem?

nie huaisang: not wanting to come

—

nie huaisang: we need to do something about your temper. how about you just do what I do?

jiang cheng: which is?

nie huaisang: every time sect leader yao talks I imagine shoving my fist down his throat and watching him choke on it slowly, clutching at his neck, as his face turns blue and he dies.

nie huaisang: really puts me in a much better mood :)

jiang cheng: …. noted

—

jiang cheng vividly imagining killing sect leader yao: oh hey

nie huaisang: what did I tell you?

story outlining methods, pt. 1:

take off your pants!! (“take off your pants!: outline your books for faster, better writing” by libbie hawker)

this outline starts with a character — specifically their biggest flaw — and leads to five points that will make up the core of your story. it’s best for plots and subplots that focus on overcoming the flaw!

this outline doesn’t just have to be used for coming of age novels. it is just as important in your dystopian, fantasy, or thriller novels that the main character learns something or has changed by the end.

STEP ONE: think about your character

your main character — what is their name, and what are their important features?

what are your character’s flaws? what about their FATAL flaw? ex: hubris, overconfidence, stubbornness, etc.

STEP TWO: think about the end of the story

the story (whether the main plot, a subplot, or a facet of the main plot) is the journey lead to overcome the flaw. now that you know the character’s flaw, you know what lesson they need to learn.

the end of the story = the flaw mastered, the lesson learned.

STEP THREE: think about the external goal

the external goal is the plot, the outer motivation to push the character to the end of the story where the goal is mastered. if you remember my post on quests, you know that a quest has two reasons to be there: the external factor (shrek saving fiona for his swamp), and the real reason (the lesson learned)

the external goal should provide a chance for the character to recognize their flaw and begin to change. how does your plot tie into their character development?

STEP FOUR: think about the antagonist

thinking about the external goal should reveal who the antagonist is. the antagonist should want to achieve the same goal or a goal that impedes with the protagonist’s goal. the antagonist should be the biggest obstacle to the character.

STEP FIVE: think about the ally/allies

the character(s) that is capable of forcing the protagonist down the correct path. where your protagonist most likely will resist changing and confronting their flaw, the ally will help force them to do so anyway.

STEP SIX: think about the theme

so what’s the point of your book? if you are struggling to boil it down to one sentence, you might want to think about it a little longer. this is what keeps the story feeling coherent. what are you trying to tell us?

STEP SEVEN: think about the plot

each main plot element should somehow relate to the core of the book, aka the character’s development in overcoming their flaw

OPENING SCENE - set the stage. address the flaw or the theme

INCITING EVENT - what forces the character out of their everyday life and into the story?

REALIZING EXTERNAL GOAL - what makes the character begin seeking their goal?

DISPLAY OF FLAW - if the character’s flaw hasn’t been made blatantly clear, now is the time. make it known to the reader.

DRIVE FOR GOAL - what is your character’s first attempt to reach their goal?

ANTAGONIST REVEAL - how do you first show your antagonist’s opposition to your character?

FIRST THWART - what happens to your character that keeps them from reaching their goal?

REVISIT FLAW - show the character’s flaw again, even if they themselves aren’t aware of it yet.

ANTAGONIST ATTACKS - what does the antagonist do that makes things worse?

SECOND THWART - where your character fails most likely due to the attack

CHANGED GOAL - the character finds a new goal or focuses on the external goal in a different way

ALLY ATTACKS - what does the ally do to force the character to see the flaw?

AWAKENING - the character knows what they must do to reach the external goal. how will you show that the character has also awakened to their flaw? how will you show them changing?

BATTLE - the final showdown with the antagonist!

DEATH - the character’s flaw dies here. how will you show that the character truly is different now?

OUTCOME - show whether the character won or lost the external goal, reveal the theme of the story.

naturally, you don’t have to follow that outline exactly, but it can be a good place to start ;)

Character Development: Speech

Finding your character’s voice is one of the most important things you can do to make your character more fully developed. It can often be the thing that sets your character apart and makes the reader easily able to identify them. Creating your character’s voice breathes life into them.

What to think about:

Formal or informal

Can be shown with:

sentence structure/complexity (shorter vs. longer sentences, number of clauses, etc.) 

contractions (e.g. y’all versus you guys, I am vs. I’m)

word choice (simple or advanced; more poetic vs. more practical, blunt vs. subtle)

word order/syntax (can indicate dialect and/or formality)

Things to ask yourself:

- If my character speaks formally/informally, is there a reason?

- Does it indicate their status?

- Or is it a rejection of their status? (e.g. does your highborn character prefer to speak informally because they hate their position in life, or does your lower class character speak more formally to make themselves appear higher class?)

- Is the way they speak normal for their society? In other words, if your character is, say, an alien from a highly formal culture, they won’t think of themselves as speaking abnormally. But if they visit another, less cultured planet, they’ll stick out like a sore thumb.

Catchphrases

When done well, this can be amazing. When done awfully, it makes the reader sigh and roll their eyes in exasperation. So, be careful not to overdo it!

Catchphrases can include:

slang (e.g. wicked, if your character is from Boston, like Faith Lehane from Buffy: the Vampire Slayer)

exclamations/swears (”Hell’s bells!” - Harry Dresden, “Zoinks!” - Shaggy, “Holy ___, Batman!” - Robin at various times)

automatic responses (such as in response to how they are, e.g. “Five by five.” - Faith Lehane, or in response to a question they don’t want to answer, e.g. “Spoilers!” - River Song)

greetings/goodbyes (”Hello, sweetie.” - River Song, “What’s up, Doc?” - Bugs Bunny)

introducing themselves ( “The name’s Bond. James Bond.” - James Bond, “Trust me. I’m the Doctor.” - the Doctor, “Denny Crane,” said repeatedly by Denny Crane)

an explanation/repeat phrase of some other classification (”Dammit, Jim, I’m a doctor, not a ________.” - Bones, “Your mission, should you choose to accept it…” - Mission Impossible, “Live long and prosper.” - Spock, “Same thing we do every night, Pinky! Try to take over the world!” - the Brain)

A lot of times, these catchphrases can become inside jokes, and merely referencing them is enough (think: “It’s a bird! It’s a plane! It’s Superman!” or “Holy _______, Batman!”).

But sometimes, it can feel a little forced (like Miss Martian’s constant use of “Hello, Megan!” all the time in Young Justice). You want to use these catchphrases sparingly, and when they make sense. While you and I might say “fudge” or another such exclamation any time we trip, the reader does not want to read that twenty times in the same chapter because your character is a klutz. This is the art of writing, not the hyperrealism of writing. You want it to mean something, so use it only when needed.

Things to ask yourself:

- Does this character really need a catchphrase? How will this help establish character?

- Does the catchphrase come from the type of place they live or things they do? For instance, Harry Dresden is a wizard, so when he swears he says, “Hell’s bells,” which reminds us of his job and difference from those around him. This wouldn’t be the same if he simply said, “Dang it,” any time he swore.

- Is there a reason they have a catchphrase? Is it deliberate or unconscious on their part?

- Is there a way you can flip the catchphrase and use it to signal a shift in the story or an unexpected twist (e.g. signifying that somehow your character as switched bodies with another person, like Faith from Buffy: the Vampire Slayer; alternatively, that something isn’t right with the character, because of certain events, and they’re not saying their usual catchphrase)?

Verbal Tics*

Verbal tics are sounds that are not really words, more like filler, that get used almost unconsciously in everyday speech. Words like “ehm,” “uh,” and so on are all verbal tics. (Various internet sites assure me that throat clearing and sniffing can also be included here, but I leave that up to you.) For this section, however, I am also including words, but only those words that are filler. I am also including alterations to the text that represent how someone is speaking.

Now, I know that in any writing guide you read, they want you to NOT, NOT, NOT use regular tics like these in dialogue. It’s annoying, repetitive, annoying, serves no purpose, annoying, and so on. In a sense, they are very much right. Don’t use verbal tics for every character! But using them to distinguish one character (or a couple, in different ways) can work very well if done right.

Verbal tics can be:

words (examples: “You don’t wanna mess with us, see, ‘cause we’re dangerous, see,” or “So, I went to the mall yesterday, and there was this dress, so I bought it, so…” or even “Like, I’m not even sure what Vanessa was, like, wearing at that party last night?”)

filler sounds (e.g. “eh,” “um,” “uh,” “er,” “hrrgh,” “urk,” and so on)

messing with the letters and format of the sentence (e.g. dragging out the letter, making every word separated for a slow speaker, running words together to indicate speed, etc.)

Examples of verbal tics (this is a section in which examples are very helpful, so here you go):

Damian Wayne, the current Robin at DC Comics: uses the distinctive sound “tt” in his appearances to express his emotions, even - tt - other comic series that he guest-stars in

Asmodeus from the Redwall series: drawsss out the letter ssss becaussse he isss a ssssnake

The Flash, at various points in DC Comics: speakswithallthewordstogetherbecausehe’stalkingsofast!!!

Canada, from the Hetalia anime: ending every sentence like a true Canadian, eh?

Things to ask yourself:

- What purpose would a verbal tic have for my character? Do they really need one?

- Is the verbal tic connected to an emotion, or is it involuntary? (Generally, in real life, it is involuntary, but once again, this is art, and so it can have meaning, if you so choose!) What emotion might it be connected to?

- Are they aware of it? Are they embarrassed by it? Do people make fun of them for it?

- Is it part of their dialect/culture?

- Is it a recent thing or have they always done it?

- Where is the balance between making it seem like a realistic tic and annoying my reader with the repetitiveness?

*I am not referring to any medical diagnoses here, although if you want to go right ahead and use medically diagnosed tics for a character, please feel free to! However, this section does not deal with those, as I am not an expert, although I understand there might be some confusion due to the terminology I have used. Please let me know if there is a different term I should be using instead, as I couldn’t find one anywhere. Thanks!

Ways of addressing others

The way that your character addresses other characters says a lot about how they view and respect those around them, in addition to their personality. In addition, if you establish a character addresses others in a certain way (say, by last name only), then when they break this pattern, the reader knows it is important.

Different ways of addressing others:

nicknames (either a shortening of someone’s name, even if it’s not usually shortened, or a name reflecting some characteristic of theirs - e.g. “Jane” to “Janie,” or “Shorty,” or Tony Stark’s brand of nicknames, like “Capsicle” or “Rock of Ages”)

titles (similar to nicknames, but more formal - e.g. a character referring to people by their rank, job, familial relations, etc.)

last name only 

full name only (never shortened, includes first, last, and middle names)

no nicknames (never refers to a character by anything other than what’s printed on their birth certificate, can be combined with others on these lists, especially the previous two)

familial referencing (e.g. Aragorn, son of Arathorn)

insults (ranging from harmless to aggressive, can be combined with the first one on this list, not always swears)

by physical/personal characteristics [epithets]** (e.g. by gender, hair color, eye color, traits - for instance, “boy,” “you, redhead!” or “the only one of you with any spine”)

** This one tends to work best in stories set in older times or in sci-fi/fantasy. Epithets can be insults, but the epithets I am thinking of are more Homeric in nature.

Things to ask yourself:

- Is there a reason behind my character’s decision to address people in this way? Does it indicate a lack of trust? A need to crack jokes?

- What does this say about my character’s background? Is this the normal way to address people where they come from? Is it abnormal to do so in the place they are now?

- Does my character evolve from speaking this way? Do they start speaking in a different way, either deliberately or unconsciously? Why?

Accents

Accents are tricky. There are several different ways to write accents (I’m currently working on a post that explains them further), but basically no matter how you write an accent, there are a few things you can do to portray the accent.

slang (e.g. barbie = barbecue in Australian slang)

word order/syntax (e.g. “I’m after going to Mary’s” = “I just went down to Mary’s” in Hiberno-English)

contractions (I’ve versus I have, or y’all versus ye vs youse vs you and so on)

idioms (words or phrases that do not have equivalents in other dialects/languages/places)

diction (words meaning different things, like “chips” in American English and in British English)

verbs (e.g. “ain’t,” “be,” “runnin,” or mixing up tenses)

Keep in mind:

- be RESPECTFUL of whatever accent you’re trying to portray, especially if it’s not your accent

- don’t overdo the accent because it might end up sounding stereotypical (and that is not respectful - see above)

- you should get a feel for the accent you’re trying to write. Listen to the music, read something in that accent, watch/listen people talk in the accent until you hear the rhythm and way people with that accent talk. 

Things to ask yourself:

- Is the way I am portraying this accent as accurate as it is within my power to make it? (In other words, have I done my research?)

- How does my character feel about their accent? Are they in a place where their accent is normal? Are they in a place where they stand out because of their accent?

- Continuing on that thought, how noticeable is their accent? Is it the equivalent of someone from, say, Boston going somewhere else in Massachusetts, or the equivalent of that person from Boston going to California, or the equivalent of that same person going to London? Each one becomes more and more noticeable the farther the person goes from their home.

- Has my character made an attempt to hide their accent? Deliberately intensify it? Or do they just not care?

- Does it get stronger or weaker based on their emotional state?

Emotion

The emotions your character normally expresses when they’re speaking say a lot about their general emotional state. In addition, if there is a change in their emotional state, readers will be able to know that just from the way they talk (though context and body language are always useful!)

You can show emotion in speech through:

speed (if they’re easily excited, they might talk fast! and with a lot of exclamation points! But if they’re sad a lot…well, they might talk a bit more slowly and take their time…kind of like Eeyore.)

word choice (is it generally positive? negative? Or somewhere in between?)

reactions to other characters’ dialogue (are they generally patient and wait for the other person to finish? Or do they jump in because they’re so excited about something the other person has said?)

volume (are they loud? Quiet? Are they normally quiet but get loud when they’re angry? Or vice versa?)

understandability (not necessarily stuttering or stumbling over words, but can be; are their procession of thoughts/logic easy to understand? Is their conclusion sensible? Are they understanding others easily or do they need clarification? For instance, if your character is easily excited, maybe their dialogue comes in a jumble of words that is hard to understand. Maybe they’re so angry they’re not listening to anything the other person is saying, and their dialogue reflects that.)

punctuation/capitalization (are they unsure of themselves and what they’re saying a lot, so they use a lot of question marks like this? Are they aggressive in their emotions and so THEY SHOUT LIKE THIS!!! Are they…kind of thoughtful and take the time to…express themselves correctly…or are they - well - I mean are they - like - the kind of people who - you know, backtrack and correct themselves a lot?)***

***Again, you want to be careful not to overdo this, as it can get annoying AND lose the effect it has on the reader. If one of your characters SHOUTS. EVERYTHING. THEY. SAY. THEN WHEN SOMETHING REALLY IMPORTANT HAPPENS TO THE CHARACTER AND THEY GET VERY EMOTIONAL AND SHOUT, IT’S LOST A TON OF EMOTIONAL IMPACT ON THE READER. Like the end of that sentence. Did it make a big impact on you? It should - it was the entire point of the sentence. But it was lost amidst all of the other capitalized words. The same thing goes for any type of repeated punctuation/capitalization for a character - you want to make sure it counts.

Things to ask yourself:

- Why does my character express this emotion generally? 

- What does it say about their outlook on life?

- What does that say about how they view other people?

- Does their dialogue rely on these techniques too much when trying to show their emotions? How can I combine these with their body language?

Focus/Fixations

This is a pretty simple one. Focus can be organization of thoughts - basically, what idea(s) can they or want to focus on. A character that is very focused might be a practical person who is focused on the here and now, and their plans for whatever situation they’re in. A character that is less focused might be someone who thinks of several things at once, which reflects in their dialogue. 

Fixations are the things that their minds keep coming back to. So for example, if a character is worried about how they did on a test, throughout the story their dialogue might keep returning to that subject or referencing it. For instance: “Hey, when do you think we’re getting that test back?” or “Wow, this is pretty hard. Almost as hard as that test we took.” You want to make it less obvious than this, of course! (A good example is Anya from Buffy: the Vampire Slayer and her obsession with making money.)

Ways to show focus/fixation:

number of ideas/topics in their dialogue at a time

relevance of topics to the present

relevance of topics to the past/future

how they react to people who do not share their focus/fixation (e.g. a focused person finds it annoying when a person who is not focused keeps interrupting them, or a person who is less focused finds it annoying that a person who is focused is paying too much attention to one thing) 

Things to ask yourself:

- How focused are they when talking?

- Do they think of a million things at once, or just one at a time? 

- What are some short-term fixations they might have? Some long-term?

- Why might they be focused/not focused? Why might they have these fixations? What do these fixations say about their character?

- Do the focus/fixations change over time? How? Why? Does it reflect a change in their character?

- Am I making my character too focused/fixated on something? Is it detracting from or adding to the story or the character arc?

How others see them vs. how they see themselves

This one is probably the broadest one on the list. There aren’t specific things you can do to get this across (it’s more of a general thing), but it’s a cycle that you should keep in mind.

Your character sees themselves in a certain way. For instance, they might think of themselves as helpful, or kind. 

The way that they see themselves can influence why they do things (e.g. if they see themselves as a person who doesn’t go on adventures, like Bilbo Baggins, they will refuse to go on an adventure.)

The actions that they take influences how other characters see them, but the other characters do not necessarily see your character’s perception of themselves (e.g. in the Hobbit, Bilbo sees himself as helpful and averting war by giving the Arkenstone to the Elves. He thinks he is being a good friend. However, Thorin sees it as a betrayal and thinks Bilbo is disloyal and not a good friend. Both of them at the time of their actions think they are right.)

How other characters see your character influences how they treat your character (e.g. Because Thorin thinks Bilbo has betrayed him, he threatens Bilbo and rejects him as a friend. Bilbo escapes with his life, but only through the help of the other dwarves. Again, to each character, their own actions are justified and so their dialogue reflects their belief that they are right. So, when they talk to each other, both of them think that they are right and the other is wrong, and you can see this in their dialogue.)

How they treat your character influences how your character sees and reacts to these people, and can influence your character’s perception of themselves (e.g. Because Thorin rejected Bilbo and called him a traitor, Bilbo is bewildered and believes for a time that Thorin cannot be saved, and he feels like he failed).

The cycle continues.

All of this is reflected in their dialogue to each other.

Knowing how each of your characters see each other and themselves will influence their dialogue and reactions to each other. Characters can misunderstand each other, underestimate someone, or help someone feel better about themselves, just to name a few things. 

Things to ask yourself:

- How does my character see themselves? Why? Are they one hundred percent correct?

- How do other characters see my character? Why? Are they one hundred percent correct?

- Does my character have any idea of other people’s perceptions of them? If so, do they care? Is my character correct about what they think other people think about them?

- Will my character’s perspective of themselves/other people change? Why and how? Will other characters’ perspectives of my characters change? Why and how?

- How do all these reactions to each other influence the story?

Hope this helped! Let me know if there are any questions.

- Riona

How to get back into a WIP when inspiration is lacking

1. Character exploration

You may be feeling uninspired because you find it difficult to enter your characters' minds.

A great way to dive into a character's point of view is writing a paragraph from their perspective on a topic like death, the meaning of life, loss etc.

I usually do this before I start a project, but it can be a great way to get back into the swing of things in the middle of a book.

2. Character songs/playlist

A lot of people write with music, curating playlists for their WIP.

I don't write with music, but it can be great to listen to a song or two before writing a specific scene or character's POV.

Curate a Playlist for your POV characters and listen to it when inspiration is running low.

3. Fake promotional material

This may just be a weird thing I do, but I love it.

When I really need a motivation boost, I create fake promotional material or swag designs for my WIP. Mock covers, bookmarks, posters, ads etc.

It reminds me what I'm working towards and that can help a lot.

4. Moodboards

Creating physical mood boards for your WIP or specific characters/locations and putting them up int your work space can do wonders for inspiration.

Every time you look at the moddboard, you're taken back to the moment when the idea first got into your head - a moment when you had oodles of inspiration.

You can also add to those mood boards whenever you need an extra shot of inspiration.

5. YouTube

Every time I watch an Authortube vlog, I feel motivated to work on my own writing.

Pick an Authortuber who resonates with you and has the life you hope to build. Watch one or two of their vlogs and that should light a fire under you.

Reblog if you found these tips useful. Comment with your own ideas. Follow me for similar content.

OG Shen Qingqiu waking up and remembering his torture at the hands of Luo Binghe. Yue Qingyuan is above him, all concerned because he’s been running a fever for days now. The thing is about remembering the torment he went through, is that he remembers that Yue Qingyuan died.

He remembers that demon bringing the remains of Yue Qingyuan to him. Even under all of that torture, Shen Jiu had never once broken. Not until he learned that Yue Qingyuan was dead. Gone. Because of him. “A-Jiu?” The words are softly uttered and then he suddenly has a lap full of Shen Jiu in his lap. 

He’s trembling, Yue Qingyuan realizes, still with shock for a moment before he wraps his arms around him. He doesn’t know what to think, nor why he’s awoken, only to show such an intense reaction. Yue Qingyuan has never seen him so shaken before.

He’s about to speak, but today is a day for yet another shock. “Qi-ge.” Those words that he never thought to hear again are uttered, and he goes still in his shock. Something had happened to so thoroughly shake Shen Jiu that he’d uttered those words that brought a bittersweet pain to his chest. 

Shen Jiu needs a bath, to be properly taken care of, but Yue Qingyuan pays that no mind for now. “I’m here. Xiao Jiu, I’m here.” Come what may, he won’t leave him like this. No matter what. He won’t abandon his Xiao jiu ever again.

(And if his robes are stained with tears in the aftermath, Yue Qingyuan doesn’t dare to speak of it once Shen Jiu has composed himself. Yet the image of Xiao Jiu crying will forever be ingrained in his mind. Ah, he thinks through the pain, This is what breaking feels like.)

Miss Faelicy I would love to get your opinion on Bingqiu.

I see people posting things like how they are "problematic" and how they don't really love each other and SQQ only feels sympathy etc. Obviously there were struggles between them as there should be (considering all that happened) and just because sqq wasn't very open and super obvious about his feelings doesn't mean they are not there..this is how I interpreted it. I would love to know your opinion

Hello! This also covers part 2 of the previous ask.

First, massive spoilers for the end of the novel. Second, a disclaimer: I despise shipwars, which I think are behind most of those comments. I hate them because it's usually all in bad faith: everyone's already committed to their interpretation of the ships, and any discussion is just a guise for justifying their preferences.

So to any readers: I don't want anything here to be used as shipwar fuel. This post is about Bingqiu's canon arc and themes. Basically, I don't know or care if Bingqiu is a good ship, but I do think it's a well-written one.

I'll start by saying directly: for most of the novel, Bingqiu is neither healthy nor romantic. And that this is not bad writing, but on purpose.

A relationship that drives one party to mental breakdown isn't healthy. A relationship where that party says it's okay to hurt or kill them can't possibly be healthy. That happened because there was something deeply wrong with their relationship, something that can't be reduced to Xin Mo, miscommunication, or LBH throwing a tropey yandere fit.

And out of all three MXTX novels, only SV lacks a love confession from the MC to the ML. Again, I don't think it's an oversight, or just because SQQ's face is too thin. There are plenty of ways MXTX could have worked a subtle one in if she really wanted to.

In my opinion, Bingqiu's narrative can be split up into four arcs: Qing Jing Peak (ch 1-27), Jin Lan City (28-43), Post-revival (29-55), and Reconciliation (56-81). Other than the first arc, where their relationship is pretty straightforward, Bingqiu spend most of the rest in direct conflict.

I'll give an overview of the arcs here, but what I truly want to say about Bingqiu starts in arc 4, so if you're impatient you can scroll down. But the overview might help add context.

Jin Lan City arc is about LBH's anger at being brutally betrayed by the one person he thought he could trust. Here he tries to force answers out of SQQ, who he believes both hates him and is a hypocrite. He's driven by a desire to return to the past, but his rage and love makes his actions contradictory: on one hand he tries to win SQQ's approval constructively, by climbing to the top of Huan Hua Palace and performing good deeds, on the other hand his belief that SQQ doesn't care about him so it's all futile anyway (reinforced by SQQ's own actions) causes him to lash out destructively, going as far as to hurt and imprison SQQ.

LBH's bitterness is portrayed very negatively, because all it does is instill despair into SQQ, until SQQ ends up believing that he's only been a blight on LBH's life, and that he must make up for it by killing himself. Whereupon LBH breaks down, regressing into a childlike state. Some might ask, why does LBH never bring up the Abyss again afterwards? It's because he gives up here. This entire arc is about getting LBH to let go of past wrongs and to stop seeking answers, whether the reader believes it's fair to him or not. Because SQQ's life is more important.

Post-revival arc then is about SQQ trying to come to terms with a blackened LBH who also loves him. Interestingly, despite SQQ's horror at realizing LBH was romantically interested in him all along, SQQ actually has a very subtle but telling secondary reaction. To explain, let's back up to the first arc.

Starting around ch 9, probably as a sign of his growing affection, SQQ begins addressing LBH as 这孩子, or "this child," in his internal monologue, instead of LBH's name. He does it once each in ch 9, 12, 17, 21, 25. However, once Jin Lan City arc starts, SQQ drops the address entirely. LBH and "child" are never brought up together except for one snarky comment on LBH's tantrum being disgracefully childish in ch 38.

At first glance this doesn't look noteworthy because LBH by this point is no longer a kid. But when LBH kisses him in ch 49, SQQ changes again: right away he returns to using "child" on LBH, and the "this child" address starts popping up at a much higher frequency. By the end of SV SQQ has referred to LBH as a child in some manner at least 35 times (yes I went and counted), with the vast majority after ch 49, and he continues to do so right into the last extra.

Why was SQQ unwilling to use this address of affection for over 20 chapters? Perhaps because he too thought LBH hated him, and couldn't bear to think about him so intimately knowing that. So SQQ immediately falling back into it the moment he learns LBH loves him is a sign of his relief. He's still dismayed at the romantic part, but though SQQ likes to deflect from his real emotions (this is the guy who focused on bad naming sense after being fatally poisoned, who cavalierly commented only after it was all over that he'd expected to die), the fact that LBH loves and doesn't hate him, means a lot.

Here SQQ's feelings towards LBH are at their most complicated. He still assumes the worst of him like in Jin Lan City, but now because of the above, also sees a lonely child whenever LBH is unhappy and lost. It's like he has two filters actively interfering with each other, "crazed criminal" and "pitiful child," and so he flip-flops between pushing LBH away and comforting him. But when LBH drags CQMS into it, and even seemingly takes advantage of SQQ's love for him, SQQ's negative image and frustration with him only grows, until he finally snaps and tells LBH to never come near him again.

At this point SQQ still believes that LBH is the same black-hearted, invincible, devil incarnate that og!LBH was portrayed to be. The Reconciliation arc starts by chipping away at this filter that's been plaguing SQQ for so long. First the revelation that TLJ/ZZL was behind the sowers, thus clearing LBH's name at Jin Lan City. Then we see how unloved he is by his own father; we see him injured and helpless and unconscious. Meng Mo yells at SQQ, reinforcing that image of a vulnerable, terrified child. So by ch 62 SQQ has thrown away the "crazed criminal" filter completely, and in that same chapter they cling to each other and finally make up. Because while it's true that the current LBH is misanthropic, antisocial, and mercurial, SQQ has also finally accepted that he's still the same LBH he'd raised and doted on, back on Qing Jing Peak.

Now I'm going to talk about what I see as the most important part of Bingqiu. Yes, despite the wall of text already.

A common sentiment of Bingqiu shippers about their issues seems to be, "SQQ is dumb and oblivious; he can't figure out what LBH needs even though he loves him because he sees LBH as a novel character," but I think the problem is far more complicated and insidious than that. If that was everything, why give SQQ the epiphany that he misunderstood LBH so early? Why have him think in ch 66 that "truthfully, he'd never really trusted Luo Binghe, and that's why he kept accidentally hurting him?" If he's already realized that he shouldn't treat LBH like og!LBH (he even meets og!LBH in ch 71 to rub it in further), why do we go another 13 chapters believing their relationship is good and well, even giving us a sweet, happy moment in ch 75, only to show LBH having the worst breakdown of the novel just 4 chapters later? Was it all just padding to demonstrate the danger of Xin Mo?

Or is there something else beneath the surface?

In ch 66, the same chapter where SQQ implies he doesn't want to accidentally hurt LBH anymore, he says something telling. When LQG is skeptical that LBH can be trusted, SQQ thinks, 家里孩子不懂事，大人不容易做, or "when your child doesn't know any better, as the adult you don't have it easy." The child here of course refers to LBH, and the adult is SQQ, who's complaining about smoothing over LBH's messes. But what is SQQ implying here?

Doesn't know any better? That's what you say about a toddler who can't think for themselves, not a grown man. LBH is 25 and SQQ thinks he doesn't know better. Doesn't know better about what? LBH's wants, his needs? His feelings? Or even what's good for him?

And then you realize that's exactly how SQQ's always treated him, like a helpless child who can't make his own choices.

It's SQQ who chooses to throw LBH down into the Abyss without trying to talk to him. It's SQQ who decides that keeping silent is the best choice. It's SQQ who believes self-destructing in front of LBH will help, who thinks that breaking off their relationship is for the better. And it's SQQ who scolds LBH into tolerating CQMS, even though they hate each other and CQMS is hostile towards him. Who forces him to leave first at Zhao Hua Temple despite LBH's pleas otherwise, who shoos him out the window when CQMS walks in on them.

Every single one of these decisions, SQQ made believing it was for the best (repair LBH's relationship with his family, help him avoid arrest, not wanting to make excuses, wanting LBH to be free of his hatred), and every single one of them only damaged LBH further. Because SQQ's never listened to him, even once. Never consulted him or considered his feelings.

(And LBH did try to bring up his feelings on one of the matters in ch 75. He insinuates to SQQ that he doesn't like LQG calling him "little beast" or "ingrate." And SQQ's response is to dismiss them entirely, saying that LQG's "not wrong.")

SQQ has always loved LBH, but he's never once respected LBH's agency or personhood. Because LBH doesn't know better and SQQ does, so SQQ must make all his decisions for him.

And this, amplified by Xin Mo, is what finally drives LBH mad in ch 79.

To LBH, the important part isn't whether SQQ loves him, which I think he knew after ch 43 (it's why he can be so daring and pushy with SQQ's boundaries). What's important is that the moment SQQ believes abandoning LBH is justified for whatever reason again, SQQ absolutely will.

Ch 80's two-way noncon (since LBH was basically unconscious and couldn't consent) tends to draw most of the attention, but I actually think that what happens afterwards is one of the most important scenes for Bingqiu. There SQQ tries to sacrifice himself a second time for LBH, drawing Xin Mo's demonic qi into his body. Yet the novel claims that SQQ's actions here are completely different than in ch 43. SQQ himself says that this time he's doing it for LBH, while last time he was doing it for himself. But can the reader see a functional difference?

There is one, in fact: it's SQQ's response to LBH's choice afterwards. LBH decides to follow SQQ in death, even though this would void the point of SQQ's sacrifice. But instead of insisting otherwise, SQQ just accepts it. Because he finally understands that whether LBH's life is worth living, whether LBH will be better off, is for LBH and only LBH to decide.

It's the first time he respects LBH's agency. And this is the only reason why he and LBH can finally begin building a healthy relationship on the mess they've had up to now.

So that's what I see as the true beauty behind Bingqiu. It's about communication and mistaken assumptions, yes, but it's also about the nature of love between parent and child. The romantic developments were left to the extras, I believe, because this was the main story MXTX wanted to tell with them. Their relationship as lovers only starts afterwards, hence why SV ends with, "the story between you and I, has only just begun." It was never meant to be a whirlwind romance where they fall in love cleanly. It might not to be to everyone's tastes, but an incredible amount of thought was put into the narrative, and that's what amazed me when I first finished this novel.

(This post went on way too long and I ended up cutting off a huge chunk of tangential stuff and how SQQ came to his realization in ch 79: he didn't do it alone. It took him seeing the LBH in TLJ and the himself in YQY for him to understand. In fact, YQY and og!SQQ's relationship has a similar parent-and-child dynamic. I've touched on it before on twitter; if there's interest I might try writing that up here too.)