Mcyt As Writing Prompts Pt. 11

the aquamarine au

Info about au below (or at least what i have so far)

-based on the 2006 move Aquamarine, a teen romcom about two teenage girls meeting a mermaid and helping her find love to achieve their wish of one of them not moving away (its my childhood). this au takes basic plot ideas from the movie but with major changes

Jimmy and Joel are both 17. Jimmy's family owns a small, local beach resort where he also lives. Joel lives next door and they're basically attached at the hip and spend all their time at the resort. It's tense between them because Joel is moving far away by the end of the summer.

Scar is 19. He's been working at the beach as a lifeguard since he was in high school. Local sweetheart, everybody loves him. Seems like he sucks at his job, but nothing wrong ever really happens on his shift. Known flrt.

Grian is an unknown age but closer to Scar than Jimmy and Joel. I'm still working out his part. He's a mermaid who ran away from home. The Watchers are a group who protect mermaid pods but have very strict rules and archaic views; such as there is no such thing as love and have arranged a marriage for Grian he doesn't want (The Watchers in this au are less Mega Evil and more Parents Who Don't Understand and Kind Of Suck). He runs away to prove love exists. In doing so, getting into a major fight with his sister.

Grian gets caught in a storm and washes up into the pool of the beach resort, where Jimmy and Joel find him. They are SUPER cautious at first, but immediately offer to help him find true love when Grian tells them that helping a mermaid grants them a wish. They're hoping to use the wish to make it so Joel's family doesn't move away.

Grian is a bit oblivious to the human world, but even more so to the concept of love, because it is not common in the mer world. This leads Grian to believe anyone can love you with a bat of an eyelash, which leads him to try to woo the first interesting person who catches his eyes; aka Scar. When it doesn't immediately work, he's actually quite pissed off and thinks its Scar's fault for not falling in love with him. Jimmy and Joel proceed to make a plan to match the two together because Scar is so nice and probably the only person willing to give this weird and off putting mermaid a chance.

Unlike the movie, which takes place over a couple days, this au takes place over the course of a month or two, so there is even more chemistry between the cast. Hijinks and cringey romcom shenanigans ensue.

The ending is very different from the movie (im still thinking about it i dont have a lot for this au please go watch Aquamarine tho its my childhood and i love it)

uhhhhh IDK WHO IS GOOD FOR A CECILLIA CHARACTER. ok in the movie theres a character named cecillia shes the typical mean girl trying to stop the main characters from getting together. i wanna put someone in this role bc shes iconic and has funny moments im inspired by but im having a hard time thinking of someone who fits the role. any ideas for this or any thoughts at all are welcome, this au is for fun!!!

wild life session 5

While I get people's desire to draw parallels within the final four of Secret Life, I really feel like a lot of fanon attempts to juxtapose Gem killing Scott with Scar sparing Pearl are unfair to either Gem or Scott.

I see people imply that either Scott or Gem did something wrong in some way- either Scott unfairly pressured Gem into killing him or Gem devalued her ally by agreeing- and attribute this as the reason they lost in the end while Scar and Pearl- Pearl being 'less pushy' and Scar 'caring more' about his allies- won. The thesis seems to be that Gem made the 'wrong' choice, Scar made the 'right' one, and that's why Scar won over Gem.

Which. No.

The truth is that there was no 'choice' to be made.

At the point where Gem killed Scott, both Pearl and Scar individually had more hearts than Gem and Scott did combined (this is not an exaggeration. gem had 6 hearts, scott had 2.5, pearl had 15, and scar had 17), Scott was an easy one-shot for whoever took the first swing at him, and he had no way to regenerate health at that point. Scar chose to spare Pearl, yes, but Gem didn't "choose" to kill Scott, there was no real choice in the matter. Scott was, practically, already dead, and Gem was close enough if she didn't take the final swing (honestly, even the hearts from scott probably never would have been enough to save her).

I've said this before, but I genuinely believe that Gem and The Scotts were doomed, probably starting from the fight with Grian (who took a frankly shocking amount of health from them all things considered). That fight just spread them too thin, took too much of their health. Impulse died shortly after, and what health Gem and Scott did have was whittled away fighting a team twice their size. Gem and The Scotts were a powerful and competent team with ample resources, but they took a hit the mechanics of the game wouldn't let them recover from, and everything from that point was them desperately fighting against the odds trying to get one of them to the end, even if they must have known how bleak those odds were.

People have called it poetic. 'Gem lost because she didn't value her ally enough, Gem ironically died to a 2v1 after killing the one who would have fought beside her, funny that she's so bitter about the 2v1 when she 'chose' to kill her teammate while Scott didn't, etc. '

And it drives me insane because Gem didn't choose to kill Scott out of some callous desire for an advantage, Gem killed Scott because the latter half of their finale was a slow steadily worsening case study in helplessness and Scott gave Gem everything as an act of love, in the desperate hope that she could find a way despite the odds, (only for it all to be wasted, because it was two against one, and they didn't give gem the chance, and of course that left her bitter)

I'm just so insane about this.

every life series season has a villain, but not in the way you might think. it's always a symbol of some kind. it's not a person, but a concept, an ideal, an overarching force. that is, in every season except wild life

third life had circumstance. everything was new and hard to grasp, and no one knew what to do. the villain of third life was the world itself; think of the animal extinction, for example.

last life had brutality. both physically and mentally. it was rife with betrayal and isolation; reds had to abandon teams, and the boogeyman mechanic's paranoia forced everyone apart.

double life had love. love, and the fate it tangled itself in. it was a complex villain, but love killed them again and again, and rewarded the single person who didn't give in to it.

limited life had time. the passage of time itself was the enemy and everything was driven by that. they clawed their way to every last second, and time ate them all in the end.

secret life had the secret keeper. unyielding, unrelenting, unmoving, all-knowing. when the secret keeper forced them to do awful things, no one disobeyed, but hated it all the same.

wild life has grian. grian is representative of every wild card the world plays. he runs the command, and stops it at the end of the day. he is transparent about that. he accepts bribes for information, and unabashedly uses his knowledge to his advantage. he is Other. the players treat him the exact way they did the secret keeper; he's not a player like them this season, he's a symbol, and one of every awful thing that's happened to them at that

which is to say, wild life's villain is a symbol and an overarching force. it's just, for the first time, simultaneously a person, too. everyone else is realizing that too and are pointing their blades at grian, slowly but surely. it is SO fascinating

Here’s a story about changelings: 

Mary was a beautiful baby, sweet and affectionate, but by the time she’s three she’s turned difficult and strange, with fey moods and a stubborn mouth that screams and bites but never says mama. But her mother’s well-used to hard work with little thanks, and when the village gossips wag their tongues she just shrugs, and pulls her difficult child away from their precious, perfect blossoms, before the bites draw blood. Mary’s mother doesn’t drown her in a bucket of saltwater, and she doesn’t take up the silver knife the wife of the village priest leaves out for her one Sunday brunch. 

She gives her daughter yarn, instead, and instead of a rowan stake through her inhuman heart she gives her a child’s first loom, oak and ash. She lets her vicious, uncooperative fairy daughter entertain herself with games of her own devising, in as much peace and comfort as either of them can manage.

Mary grows up strangely, as a strange child would, learning everything in all the wrong order, and biting a great deal more than she should. But she also learns to weave, and takes to it with a grand passion. Soon enough she knows more than her mother–which isn’t all that much–and is striking out into unknown territory, turning out odd new knots and weaves, patterns as complex as spiderwebs and spellrings. 

“Aren’t you clever,” her mother says, of her work, and leaves her to her wool and flax and whatnot. Mary’s not biting anymore, and she smiles more than she frowns, and that’s about as much, her mother figures, as anyone should hope for from their child. 

Mary still cries sometimes, when the other girls reject her for her strange graces, her odd slow way of talking, her restless reaching fluttering hands that have learned to spin but never to settle. The other girls call her freak, witchblood, hobgoblin.

“I don’t remember girls being quite so stupid when I was that age,” her mother says, brushing Mary’s hair smooth and steady like they’ve both learned to enjoy, smooth as a skein of silk. “Time was, you knew not to insult anyone you might need to flatter later. ‘Specially when you don’t know if they’re going to grow wings or horns or whatnot. Serve ‘em all right if you ever figure out curses.”

“I want to go back,” Mary says. “I want to go home, to where I came from, where there’s people like me. If I’m a fairy’s child I should be in fairyland, and no one would call me a freak.”

“Aye, well, I’d miss you though,” her mother says. “And I expect there’s stupid folk everywhere, even in fairyland. Cruel folk, too. You just have to make the best of things where you are, being my child instead.”

Mary learns to read well enough, in between the weaving, especially when her mother tracks down the traveling booktraders and comes home with slim, precious manuals on dyes and stains and mordants, on pigments and patterns, diagrams too arcane for her own eyes but which make her daughter’s eyes shine.

“We need an herb garden,” her daughter says, hands busy, flipping from page to page, pulling on her hair, twisting in her skirt, itching for a project. “Yarrow, and madder, and woad and weld…”

“Well, start digging,” her mother says. “Won’t do you a harm to get out of the house now’n then.”

Mary doesn’t like dirt but she’s learned determination well enough from her mother. She digs and digs, and plants what she’s given, and the first year doesn’t turn out so well but the second’s better, and by the third a cauldron’s always simmering something over the fire, and Mary’s taking in orders from girls five years older or more, turning out vivid bolts and spools and skeins of red and gold and blue, restless fingers dancing like they’ve summoned down the rainbow. Her mother figures she probably has.

“Just as well you never got the hang of curses,” she says, admiring her bright new skirts. “I like this sort of trick a lot better.”

Mary smiles, rocking back and forth on her heels, fingers already fluttering to find the next project.

She finally grows up tall and fair, if a bit stooped and squinty, and time and age seem to calm her unhappy mouth about as well as it does for human children. Word gets around she never lies or breaks a bargain, and if the first seems odd for a fairy’s child then the second one seems fit enough. The undyed stacks of taken orders grow taller, the dyed lots of filled orders grow brighter, the loom in the corner for Mary’s own creations grows stranger and more complex. Mary’s hands callus just like her mother’s, become as strong and tough and smooth as the oak and ash of her needles and frames, though they never fall still.

“Do you ever wonder what your real daughter would be like?” the priest’s wife asks, once.

Mary’s mother snorts. “She wouldn’t be worth a damn at weaving,” she says. “Lord knows I never was. No, I’ll keep what I’ve been given and thank the givers kindly. It was a fair enough trade for me. Good day, ma’am.”

Mary brings her mother sweet chamomile tea, that night, and a warm shawl in all the colors of a garden, and a hairbrush. In the morning, the priest’s son comes round, with payment for his mother’s pretty new dress and a shy smile just for Mary. He thinks her hair is nice, and her hands are even nicer, vibrant in their strength and skill and endless motion.  

They all live happily ever after.

*

Here’s another story: 

Keep reading

Trying to settle something with a friend.

I’M NOT USING MY ALTS, THIS IS AN HONEST POLL

Trying to settle something with a friend.

OK so I have. A headcanon that the previous winner will be the first to appear the most recent winner, in order to comfort them and calm them down and stuff.

Grian, the first, was all alone. But he knew what was going on.

When Scott won, Grian appeared to him. That makes sense, he's the administrator and the only player to win before.

When Pearl won, Scott appeared to her. Thst tracks, he had the most influence on her in that game and basically caused her death by killing himself.

Its around when Martyn wins Limited Life and Pearl appears to him that they realize the "previous winner" pattern. Because all they really had in common was going kinda insane towards the end. Fortunately Pearl is able to calm him down.

When Scar wins, Martyn clears his throat from behind him, raising an eyebrow. There's not a lot to say, they don't have much in common- but Martyn heaves a sigh and helps Scar stand up from his position kneeled in front of the Secret Keeper.

Scar is ecstatic when Cleo wins, jumping onto them a cheer and an excited yell. All of the bad feelings they had, if there were even any, melt away, and they are just happy.

Joel is clutching his head from the ender pearl death when Cleo appears in front of him, laughing so hard they keel over. Their laughter is infectious, and it takes a good twenty minutes for both of them to stop gasping for air.

I propose that whoever wins next nearly gets hit by Joel's car when he drifts into their world, and he rolls his window down, yelling for them to "Get in, we have so much to talk about!"

i am shrunken down and brought to the gnome world and when i attempt to assimilate to their culture I use an acorn cap as a hat and they all laugh cheerfully at my silly mistake of wearing what they use as a bowl like a cap and though this is a transgression that would have humiliated me in my human life I am instead laughing alongside them at my humorous misunderstanding