Soot Dragon, They Live In Unused Chimneys

first one at the bay gar gets to fuck me

that 'i have to get ready for work' edge of the bed sit. you know the one.

My friends and I used to do this thing where we'd dress up on a theme and go do something totally normal.

We dressed up as pirates and went bowling.

We dressed as vikings and went to the grocery store. The security guard told us we had to move our longship because it was illegally parked.

We dressed as Romans and went to Blockbuster. The staff chanted, "toga! Toga! Toga!" at us.

We dressed up all steampunk and went to the museum. Tourists kept taking our picture.

i always forget how much of a hell getting up in the morning during the cold months is until im trying to get dressed taking frost damage like ough augh ugha oagh uagh

I feel like the reason certain dog-lovers insist cats are evil is because they read their body language as if they were dogs. So here’s a very basic guide to common “mean” things cats do that actually aren’t mean at all if you know what they’re thinking.

Rolling and exposing belly- attacks you when touched Does not mean: Give belly rubs! - haha I tricked you!  Actually means: I’m playful! If you reach for my belly I’ll grab your arm and bite it because I think we’re playfighting! 

Lazily exposing belly - still attacks when touched Does not mean: tricked you again! Actually means: I’m showing you my belly because I trust you. Please don’t break that trust by invading my personal space. I might accept a belly rub if I’m not ticklish and I know you well. Snapping at you while being pet Does not mean: I suddenly decided I dislike you! Actually means: You’re petting me in a way that gives me too much restless energy. Please focus on petting my head and shoulders instead of stroking the full length of my back next time.

Is in the same room but makes no attempt to interact Does not mean:  I’m ignoring you Actually means: We’re hanging out! I’m being respectful by giving you space while still enjoying your company. Slapping/scratching your hand when you try to pet them Does not mean: I hate you! Actually means: You’ve failed to establish that we’re not playing, or the way you’re approaching me scares me. Be calmer, speak more gently, make eye-contact and blink slowly at me before you try again.

Chai tea bag + lil but of brown sugar + apple cider packet + 16 oz. mug of hot but not quite boiling water

it will not Fix You but like. maybe. maybe.

on fanfic & emotional continuity

Writing and reading fanfic is a masterclass in characterisation. 

Consider: in order to successfully write two different “versions” of the same character - let alone ten, or fifty, or a hundred - you have to make an informed judgement about their core personality traits, distinguishing between the results of nature and nurture, and decide how best to replicate those conditions in a new narrative context. The character you produce has to be recognisably congruent with the canonical version, yet distinct enough to fit within a different - perhaps wildly so - story. And you physically can’t accomplish this if the character in question is poorly understood, or viewed as a stereotype, or one-dimensional. Yes, you can still produce the fic, but chances are, if your interest in or knowledge of the character(s) is that shallow, you’re not going to bother in the first place. 

Because ficwriters care about nuance, and they especially care about continuity - not just literal continuity, in the sense of corroborating established facts, but the far more important (and yet more frequently neglected) emotional continuity. Too often in film and TV canons in particular, emotional continuity is mistakenly viewed as a synonym for static characterisation, and therefore held anathema: if the character(s) don’t change, then where’s the story? But emotional continuity isn’t anti-change; it’s pro-context. It means showing how the character gets from Point A to Point B as an actual journey, not just dumping them in a new location and yelling Because Reasons! while moving on to the next development. Emotional continuity requires a close reading, not just of the letter of the canon, but its spirit - the beats between the dialogue; the implications never overtly stated, but which must logically occur off-screen. As such, emotional continuity is often the first casualty of canonical forward momentum: when each new TV season demands the creation of a new challenge for the protagonists, regardless of where and how we left them last, then dealing with the consequences of what’s already happened is automatically put on the backburner.

Fanfic does not do this. 

Fanfic embraces the gaps in the narrative, the gracenotes in characterisation that the original story glosses, forgets or simply doesn’t find time for. That’s not all it does, of course, but in the context of learning how to write characters, it’s vital, because it teaches ficwriters - and fic readers - the difference between rich and cardboard characters. A rich character is one whose original incarnation is detailed enough that, in order to put them in fanfic, the writer has to consider which elements of their personality are integral to their existence, which clash irreparably with the new setting, and which can be modified to fit, to say nothing of how this adapted version works with other similarly adapted characters. A cardboard character, by contrast, boasts so few original or distinct attributes that the ficwriter has to invent them almost out of whole cloth. Note, please, that attributes are not necessarily synonymous with details in this context: we might know a character’s favourite song and their number of siblings, but if this information gives us no actual insight into them as a person, then it’s only window-dressing. By the same token, we might know very few concrete facts about a character, but still have an incredibly well-developed sense of their personhood on the basis of their actions. 

The fact that ficwriters en masse - or even the same ficwriter in different AUs - can produce multiple contradictory yet still fundamentally believable incarnations of the same person is a testament to their understanding of characterisation, emotional continuity and narrative.