I Think About Found Family Alot.

♬⋆.˚ Well it's a little bit dangerous, my friend˚.⋆♬

reblog if you believe fanfics are as valid as books that were published and sold by authors who write as their main careers. I'm trying to prove a point

I am posting on tumblr now YAOO‼️ this is a repost cause i really like this drawing

Writing Advice

If you want to include dark subjects and/or difficult topics in your writing (character death, addiction, mental health, SA, abuse, etc.) then you have to dive into the consequences of the topic - never shove it into the story just for the sake of drama, stakes, audience retention, or whatever other reason that doesn't have to do with the story itself.

To use one of the "lighter" examples here, let's so you decide to kill of a character - for the sake of simplicity let's call this character A. Now that they're dead, how does A's absence affect the story? How do other characters feel and cope with A's death? Who's grieves and morons A? Who's denying that A is even gone? Who's numbed and confused about A's death? Who's happy about A being gone? How long does it take for everyone to settle into a new normal without A? What does this new normal look like for them? What makes A's death actually important instead of a background character that no one would notice is gone?

These are all very important questions to ask if you're going to kill of a character, with each piece making the characters feel more alive and making A's death have actual weight behind it. To ignore these questions, leads to a flat world with characters who feel inhuman for how they can move on form the ultimate end and A's death feeling unimportant and something you'd only remember when looking over a wiki. This also means having characters die at the end of the story a half-assed choice. Don't get me wrong, it can still work if handled well - one way to handle this well is focusing completely on character reaction instead of the long running consequences. It's just that many times I've seen characters dying at the end of the story is just to ramp up the stakes, so their death isn't lingered on for long enough for it to feel like it has any importance other than being recognizable characters being the ones dying.

This advice runs true for all examples of dark subjects and difficult topics. You can't just have traumatizing things happen to characters and then not bother to look into the permeant ramifications of that trauma, along with just saying a character has a mental illness, not bothering to research the mental illness, and instead show only a stereotype of a mentally ill person. Not properly showing the consequences makes the world feel flat, the audience feel bored or annoyed, and worst-case scenario cause legitimate harm to those engaging with your work.

This is a rather common mistakes for first time writers to make, they tend not to fully think about the consequences of certain scenes and how it will permanently affect the story. If you've made this mistake before then that's absolutely okay, just remember to ask these impotent questions in the future.

Okay, fair warning, this last paragraph as less to do with actual advice and more me complaining about this mistake happening on a professional level even though if you've been in this creative field long enough to make it into a career you should know better by then. Okay? Okay.

But, and this is what led to me thinking over all this stuff and wanting to give out this advice to the world, this is also a common mistake made by middle aged or older men who are professionals in their creative field to make towards female characters and the topic of SA. I think this mistake stems from these producers/writers viewing SA as a "female trauma" (incorrect but you can't expect much of these dudes), so if they have a female character that they need to give trauma they'll just go with SA and not care about the long terms ramifications. Meanwhile male characters get family death, commonly his wife and/or child[ren], as their main trauma and it's still not treated with much respect - it's mostly just treated as the motive for why the male character is doing what he's doing and the dead wife and/or child[ren] are never shown having a life or personality of their own that would really make their death feel like a tragedy outside of the relationship with the male character, which is a disservice to the character(s). If you're going to make a character, or multiple characters, someone's whole motive then you should at least try and get us to care about the character on their own.

You know, with everything new we've gotten out of the Book of Bill, there's one thing in particular that my mind keep coming back to. Sure theres Bill's past, his relationship with Ford, seeing him on the verge of a breakdown due to going to a mental hospital, but that's not what I'm talking about here. It's this:

For those using text to speach, it's the part of the book where Bill talking about dreams. This one being about Wendy. It says, "Almost every dream is about her mom. Sorry, Pine Tree!"

Now why would this be so interesting, isn't it a basic description of Wendy's dreams with a mild dig towards Dipper? Well, the thing that makes this so fascinating to me is that by the end of the series Dipper is over his feelings for Wendy. He finally understood that he wasn't an option for her, he was just to young for her (she being 15 and him being 12). They built an incredible friendship together with no possibility of things becoming romantic. There's also the fact that Dipper would never be so selfish as to get butt hurt about someone he liked dreaming about their family instead of him.

So why would Bill take a dig at Dipper? Is it that...he's incapable of understanding someone changing? That he expects everything to ultimately stay the same? For Dipper to be the same anxious hormonal pre-teen he was at the beginning of the series? That Dipper being able to do something that he never could, probably even outright refuse to do, enrages him? We may never know, but it does show how Bill is antagonistic to the show's message itself (how things won't stay the same forever).

The thing that's makes this so much funnier for me is that Natsuo, Fuyumi, and Shouto will probably be fine due their, assuming with Natsuo and Fuyumi, iced based quirks then heat ain't gonna be that bad. Meaning that the only one who really suffers here, is Endeavor.

The league on an extremely hot day.

Shigaraki, laying on the floor: “Spinner, I think I’m dying.”

Spinner: “That’s a little dramatic. You’re the one who insisted we stay here.”

Shigaraki: “That was before I knew it was a hellscape.”

Mr. Compress: “Perhaps next time we choose a hideout, we don’t base it off of how close it is to the nearest arcade.”

Shigaraki, glares.

Mr. Compress: “Just a suggestion…”

Twice and Toga walk into the base carrying a window AC unit.

Twice: “Look at what we got!”

Spinner: “Seems like you’ll live.”

Shigaraki: “Shut up. Where did you get that?”

Toga: “Dabi helped us find it!”

Mr. Compress: “How?”

Dabi: “I have my ways.”

—

Endeavor, walking out of his office: “Where the hell is my AC unit?!?!”

Natsuo: “As if you even need one, you’ll never be cool.”

Fuyumi: “Natsuo!”

Shouto, high fives Natsuo.

Endeavor, leaves.

i’m so glad earth only has one moon, if there were more i’d have to pick a favorite and that sounds too emotionally taxing to even fathom

🐌🐌🐌 BAM!

close up shot :3c

and a lil progression comparison

no hope for that guy

i love cbeeduo you get me like no other