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24hr Novel Challenge: day 2 results
My total is currently up to 11hrs and 12,139 words
For today, specifically: 7 hours/ 7,110 words
Started feeling pretty fatigued around hour 6 but I’m happy with the work I was able to put in today!
Hate it when I’m writing a first draft and have to focus on Getting Words On The Page and not Making The Words Pretty And Perfect, I’m actually in hell
-someone who enjoys writing very much
24hr Novel Challenge: Day 1 results
Goal was 8hrs, I managed 4 (note to self: start earlier in the day and do longer bursts, lol)
Also, writing for that long is hella hard and with all the little breaks for stretching/eating/water it's also pretty long but I managed to keep a pretty even pace of 1-2k words per hour which is fairly solid for me
Total WC for the day: 5,029
2,948 words towards my original WIP called Sealed (info below) and 2,081 for a bkdk post-war fanfic WIP
Sealed WIP info:
Title: Sealed Genre: thriller/mystery, queer romance, coming-of-age
One line summary: In a town where ghosts abound and mediums are detested, four teenagers are thrust into the heart of a deadly mystery that forces them to decide who they are, who they want to be, and how much they’re willing to risk for it.
Slightly sillier one-line summary: Toss together a shunned medium, a secret-keeping prodigy, a spitfire Catcher-in-training, and her boyfriend who really doesn’t wanna be involved, then sprinkle in a string of mysterious attacks and watch as shit hits the fan. *in this WIP “Catcher” is the term for ghost hunter
Characters: Nishtha- a young medium living by herself who is only ever acknowledged by her neighbor
Veronica: a new transfer student from a very long and very talented line of Catchers who keeps her cards close to her chest
Cherry: A Catcher-in-training who’s struggling to become stronger even while her boyfriend pulls away and her leader keeps ditching her to Catch solo
Carter: A conformist that’s afraid of change and whose family is forced to take in the medium cousin who almost killed him as a child
reblog if you're completely okay with me asking stuff about your wip in your inbox! <3
sometimes I look back on my past writing and think it’s the worst thing ever written but occasionally there will be a killer line hidden in there that saves me from the depths of despair
like, yeah I wouldn’t write it that away again if given the chance but that one line?? etch it in stone, my guy
sponsored by this line from a merthur s1 ep03 re-write I wrote ages ago (you can find it here if you’d like)
“All he could see was Merlin walking peacefully from the room, his stupid neckerchief flowerless and hanging from his throat like a poor man’s noose.
When his father adjourned the council, Arthur was still trying to figure out where in the folds of that tattered fabric a part of himself was hidden because he had ceased to be whole the second his manservant disappeared around the corner.”
currently gearing up for the 24hr Novel Challenge but I'm unsure which WIP to focus on. any thoughts?
Option 1: An original story I'd have to start from scratch (queer romance/horror)
-focuses on religious guilt and societal pressure
Option 2: An in-progress fanfiction I have big plans for (but am missing the notebook I wrote some of said plans in, rip) (queer romance/ coming-of-age/ historical drama)
-focuses on isolation, mental health, and grief
Option 3: An in-progress fanfiction with a less clear vision but the need for a pretty substantial length (queer fantasy/romance)
-focuses on tyranny, morality, and sibling bonds
Fractal | Shouto & Touya Todoroki | poetry/prose | 580 words
Shouto’s world changed when he woke up in the hospital.
Touya’s world changed when he woke up in the hospital.
His face had been burned, the doctor told him.
He had burned his body, a stranger told him.
Shouto remembered the shouting.
Touya remembered the desperation.
The kind of argument that felt like it shook the walls around him.
The disappointment in his father’s eyes, twisting up his insides as Endeavor shouted and raged and forced Touya to stop.
(He was being burnt up)
(He was being replaced)
Long after the echoes of his father’s voice had faded, Shouto remembered walking into the kitchen.
He remembered watching his mother’s unmoving form while she refused to say anything- anything- and then Touya blazed out the door without looking back to see if her expression had crumpled with regret.
He remembered watching his mother’s face flit from terror to anguish in the span of a breath as he entered, looking like she had been shattered by his soft-footed, pattering approach.
By then, Touya knew better than to search for regret in his father’s eyes.
And then the woman before him became unrecognizable.
Endeavor didn’t think Touya was strong enough but he was. He could be.
Shouto burned with the memory of a pain more intense than any he’d ever felt before.
Touya remembered the screaming in his veins, remembered the burn- harsher than anything he’d ever felt before. Remembered a startling break in the anguish and thinking, with his last shred of clarity, that this had to be good enough for his father.
It left Shouto numb and shivering beneath the thin, white hospital sheets.
It had to be.
“Mom..?” Shouto croaked and the doctor shook his head no.
It had to be.
Shouto didn’t cry when he saw the scar marring his face, but something inside of him felt sick.
Touya didn’t cry when he saw his mottled, purple reflection held together by crude stitches. Or when they told him he had died.
Shouto let the shock pool over him like ice and held the freezing shards close to his chest, hoping that they might be enough to douse the monstrous pain in his chest.
The disappointment was his own when he realized that he hadn’t been enough, after all. That he never was and never would be.
Shouto thought of the heat that always seemed to lick at his father’s eyes and fists when he shouted- warm enough to be felt even when Shouto couldn’t see the flames through his closed eyes or hear the words through his ragged, warbling breaths.
The bitterness was his own, too, but the expression in the mirror was startlingly familiar.
Heat thrummed uneasily beneath Shouto’s veins and the second he realized that the fire within himself was nothing more than his father’s furious legacy, pawned off onto Shouto like a lead shackle, was the second that Shouto Todoroki decided to freeze.
The second that Touya realized he was wearing the face his father had always greeted him with was the second time Touya Todoroki died and left a rotten shell of himself to walk the earth.
Shouto cast his eyes downward and didn’t respond to the doctor.
He didn’t notice that his father couldn’t look him in the eye.
Shouto grew older and decided that he and his mother were both victims of Endeavor.
Touya grew smarter and decided that the world would soon know who had driven him to an early death.
Four dissolves
reblog with a spoiler for your wip with zero context. no context allowed.
Sometimes I think about putting my essays on substack or something but the idea of getting no views while actively feeding the ai scrapbot makes me want to
So.
Now Accepting Friendship Applications:
I need more Queer Creatives in my life. I am seeking:
Life long companions.
Weird Art Exchanges.
Rivals.
Enemies.
Freelance coworkers.
Lovers.
Haters.
Besties.
Pen-Pals.
Critics.
Contemporaries.
I am…
twenty four years of age, nearly twenty five.
a writer of poetry, fiction, essays, philosophy, music, art analysis, and otherwise unrelated articles.
someone who identifies as a witch. I read tarot, study magic, and hold rituals.
skeptical as fuck.
a bit of a pretentious snob.
ideologically punk, and involved with my community.
a supporter of body mods.
unabashedly queer. Nonbinary and a lover of women.
passionate beyond words. Everything I do is with my whole soul. I care about everything all of the time.
contradictory. For every rule there’s an exception. It keeps you on your toes.
Requirements for application…
21+
An intelligent and engaging conversationalist.
Queer, Creative, and believe you’re worth knowing.
Leave a comment, reblog, or DM telling me why we should become acquainted.
Some of my poems got accepted for the first issue of a lit magazine. I haven’t told anyone but my sister. I’m scared they’ll change their minds by the time the issue comes out, and I’ll have looked silly for thinking my work was worthy of publishing.
Thank you for your participation in this survey, you may find a virtual cookie on the desk on your way out.
Reason 2 to finish your manuscript:
Because you want to read it.
It’s post random shit on tumblr hours.
I’d apologize but why would I?
Reason 1 to finish your manuscript:
You can’t read fanfiction of your work unless you, actually, y’know, finish and publish it.
That moment when one of your MCs makes a decision you hadn’t planned on and now you both have to live with the consequences of her actions
things people do after having a nightmare that isn’t crying
struggle to catch their breath
grab onto whatever’s close enough to ground themselves in reality
become nauseous / vomit
shake uncontrollably
sweat buckets
get a headache
things people do to combat having nightmares if they occur commonly
sleep near other people so they can hear the idle sounds of them completing tasks
move to a different sleeping spot than where they had the nightmare
leave tvs / radios / phones on with noise
just not sleep (if you want to go the insomnia route)
sleep during the day in bright rooms
things people with insomnia do
first, obviously, their ability to remember things and their coordination will go out the window
its likely they’ll become irritable or overly emotional
their body will start to ache, shake, and weaken
hallucinate if it’s been long enough
it becomes incredibly easy for them to get sick (and they probably will)
add your own in reblogs/comments!
good traits gone bad
perfectionism - never being satisfied
honesty - coming off as rude and insensitive
devotion - can turn into obsession
generosity - being taken advantage of
loyalty - can make them blind for character faults in others
being dependable - always depending on them
ambitiousness - coming off as ruthless
optimism - not being realistic
diligence - not able to bend strict rules
protectiveness - being overprotective
cautiousness - never risking anything
being determined - too focussed on one thing
persuasiveness - coming off as manipulative
tidiness - can become an obsession
being realistic - being seen as pessimistic
assertiveness - coming off as bossy
pride - not accepting help from others
innocence - being seen as naive
selflessness - not thinking about themself enough
being forgiving - not holding others accountable
curiosity - asking too much questions
persistence - being seen as annoying
being charming - can seem manipulative
modesty - not reaching for more
confidence - coming off as arrogant
wit/humor - not taking things serious
patience - being left hanging
strategic - coming off as calculated
being caring - being overbearing
tolerance - being expected to tolerate a lot
eagerness - coming off as impatient
being observant - being seen as nosy
independence - not accepting help
being considerate - forgetting about themself
fearlessness - ignoring real danger
politeness - not telling what they really think
reliability - being taken advantage of
empathy - getting overwhelmed with feeling too much for other people
Your stories deserve to exist in incredible worlds. Build yours from scratch with this quick guide that simplifies the sometimes intimidating process.
Read my guide here!
hey i don't know what writer needs to hear this today but you can have characters in your work who exist only to move the plot forward. you can create an oc for a fanfic who exists to ask a question at the right time and is never seen again. you can create a novel and have random characters that exist to move the story. characters are elements of narrative. not every single one has to have a whole backstory and a life fleshed out. sometimes they can just be there for a scene and then never be involved again. isn't that how life works? don't we meet people and then they vanish? aren't our lives simply moments spent to drive forward the plots of others? your character can be pointless. you character can exist in a moment. your character can take up space. your character can exist, even if you don't know their birthday and their mother's favorite song.
characters are not people. you do not have to make them into people unless you want to. you owe them nothing. use characters however you want in your story. develop them as is relevant. otherwise, it literally does not matter.
Story Structures for your Next WIP
hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.
everything in life has structure and storytelling is no different, so let’s dive right in :)
First off let’s just review what a story structure is :
a story is the backbone of the story, the skeleton if you will. It hold the entire story together.
the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.
1. Freytag's Pyramid
this first story structure i will be talking about was named after 19th century German novelist and playwright.
it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.
Freytag's Pyramid structure consists of:
Introduction: the status quo has been established and an inciting incident occurs.
Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,
Climax: the protagonist can no longer go back, the point of no return if you will.
Return or fall: after the climax of the story, tension builds and the story inevitably heads towards...
Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.
this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.
2. The Hero's Journey
the hero's journey is a very well known and popular form of storytelling.
it is very popular in modern stories such as Star Wars, and movies in the MCU.
although the hero's journey was inspired by Joseph Campbell's concept, a Disney executive Christopher Vogler has created a simplified version:
The Ordinary World: The hero's everyday routine and life is established.
The Call of Adventure: the inciting incident.
Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.
Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.
Crossing the First Threshold: first steps out of the comfort zone are taken.
Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.
Approach to the Inmost Cave: hero approaches goal.
The Ordeal: the hero faces their biggest challenge.
Reward (Seizing the Sword): the hero manages to get ahold of what they were after.
The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.
Resurrection: a final challenge, testing them on everything they've learned.
Return with the Elixir: after succeeding they return to their old life.
the hero's journey can be applied to any genre of fiction.
3. Three Act Structure:
this structure splits the story into the 'beginning, middle and end' but with in-depth components for each act.
Act 1: Setup:
exposition: the status quo or the ordinary life is established.
inciting incident: an event sets the whole story into motion.
plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.
Act 2: Confrontation:
rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.
midpoint: an event that derails the protagonists mission.
plot point two: the hero is tested and fails, and begins to doubt themselves.
Act 3: Resolution:
pre-climax: the hero must chose between acting or failing.
climax: they fights against the antagonist or danger one last time, but will they succeed?
Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.
4. Dan Harmon's Story Circle
it surprised me to know the creator of Rick and Morty had their own variation of Campbell's hero's journey.
the benefit of Harmon's approach is that is focuses on the main character's arc.
it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don't know not a fan of the show.
the character is in their comfort zone: also known as the status quo or ordinary life.
they want something: this is a longing and it can be brought forth by an inciting incident.
the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.
adapt to it: of course there are challenges, there is struggle and begin to succeed.
they get what they want: often a false victory.
a heavy price is paid: a realization of what they wanted isn't what they needed.
back to the good old ways: they return to their familiar situation yet with a new truth.
having changed: was it for the better or worse?
i might actually make a operate post going more in depth about dan harmon's story circle.
5. Fichtean Curve:
the fichtean curve places the main character in a series of obstacles in order to achieve their goal.
this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.
The Rising Action
the story must start with an inciting indecent.
then a series of crisis arise.
there are often four crises.
2. The Climax:
3. Falling Action
this type of story telling structure goes very well with flash-back structured story as well as in theatre.
6. Save the Cat Beat Sheet:
this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.
Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you're writing a 110 page screenplay)
Opening Image [1]: The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.
Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?
Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.
Catalyst [12]. The inciting incident!
Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.
Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.
B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.
The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.
Midpoint [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.
Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.
All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.
Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)
Break into Three [85]. Armed with this new information, our protagonist decides to try once more!
Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.
Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.
(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)
7. Seven Point Story Structure:
this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.
this structure is about dramatic changes from beginning to end
The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.
Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.
Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.
Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.
Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.
Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.
Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.
(all information regarding the seven point story structure was copy and pasted directly from reedsy!)
i decided to fit all of them in one post instead of making it a two part post.
i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!
if you find this useful feel free to reblog on instagram and tag me at perpetualstories
Follow my tumblr and instagram for more writing and grammar tips and more!
I was getting pretty fed up with links and generators with very general and overused weapons and superpowers and what have you for characters so:
Here is a page for premodern weapons, broken down into a ton of subcategories, with the weapon’s region of origin.
Here is a page of medieval weapons.
Here is a page of just about every conceived superpower.
Here is a page for legendary creatures and their regions of origin.
Here are some gemstones.
Here is a bunch of Greek legends, including monsters, gods, nymphs, heroes, and so on.
Here is a website with a ton of (legally attained, don’t worry) information about the black market.
Here is a website with information about forensic science and cases of death. Discretion advised.
Here is every religion in the world.
Here is every language in the world.
Here are methods of torture. Discretion advised.
Here are descriptions of the various methods used for the death penalty. Discretion advised.
Here are poisonous plants.
Here are plants in general.
Feel free to add more to this!
if anyone has any tips or resources for writing pitches, taglines, etc, please share them with me and i will post a photo of my gremlin cat in whichever state he happened to be in the last time I took pics
Writing Theory - Conflict 101
THEORY
goal + obstacle = conflict -> plot
You may have heard that a story needs conflict, but what does that mean?
No, it's not explosions. Or murder. Or smut.
Your character wants something, that's the goal. Something is in the character's way, that's the obstacle. The way your character deals with the obstacle to reach their goal is what makes an engaging conflict.
You see this on a plot level as well as on an individual scene level: Character wants X, but obstacle Y, so they have to go do Z
Conflict is like the engine of the plot, so if it's missing in a scene, then it's likely to feel redundant, boring, as if the story came to a halt (because it did; the engine stopped).
The goal and obstacle pair generally appear in two orders, with a "reaction" element:
Character sets a goal, but an obstacle happens, so the character reacts by changing course
Something happens (obstacle), character reacts to it and decides on the next action (goal)
You can alternate between the two, then you get something like this: character tries to accomplish something, something gets in their way, forcing a new approach, character reacts to the changes and decides how to move on from here, sets a new goal, tries to reach goal, faces obstacle...
This can also keep your character active rather than passive. Even in a reactionary scene, your character is responding and making a decision, rather than being a puppet to external forces. It can be smart to not have too many reactionary scenes back-to-back, as this can also feel passive. The goal-obstacle-reaction type scenes don't really have this problem and you can intersperse them with reactionary scenes now and then for variation.
You can have one major goal and many smaller goals. The goal(s) can also shift over the course of the story.
If you struggle to think of an obstacle, ask yourself: what is preventing my character from achieving their goal right now? Why can't they walk up to the villain and defeat them? Why can't they pull their love interest into a kiss? Why is your story longer than two paragraphs?
Ideally, goals and obstacles (and conflicts) are interwoven with character development, theme, etc., making for a solid plot where all these elements form one smooth fabric together. As a beginner, it's alright to first pick one thing to exercise rather than trying to balance all these things at once. Learn to create these bare bones of a plot and then improve upon that foundation.
EXAMPLE: Revenge of the Sith
Anakin would like Padmé to not die. = goal; He doesn't know how to prevent it. = obstacle
Stop the Sith = goal; Not knowing who the Sith Lord is = obstacle
These form conflicts and they push the plot forward. There are several smaller goals, like defeating Dooku/saving the Chancellor, preventing Palpatine from dying, manslaughter, killing Obi-Wan...
A scene with the goal - obstacle - (reaction) order: Anakin wants to use Palpatine's knowledge (goal), but Mace Windu is about to make that permanently impossible (obstacle). Thus, Anakin needs to pivot from yelling to slashing in order to reach his goal.
A scene with the obstacle - (reaction) - goal order: Anakin, the superstar Jedi, has just helped a Sith Lord kill a Jedi master (obstacle/problem; goes against the bigger "stop the Sith" goal). This has an effect on him (reaction; "What have I done??") and leads to a decision: join Palpatine. This then sets him on his next goal(s): destroy the Jedi to prove he's worthy.
Here you see how those two "types" of scenes flow into each other.
EXERCISE
Write two short scenes - one for each type (reactionary and goal-obstacle-reaction). They don't have to be unrelated.
Now, write another two scenes, but this time make them successive.
See if you can do this in the form of a short story: write 5-10 successive scenes.
Celebrate that you've just written a story! :D
These techniques, like so often with writing, need practice to sink in. So write some fun short stories or wacky scenes, and you'll notice you get better the more you do it. Have fun!
So I just used ChatGPT for feedback for a writing piece. Just pasted the piece in and said 'critique this piece please'. (I have no-one else to get feedback from who I want to read this).
Since when is AI so.......so? ;-;
(I don't agree with AI being a replacement for a real person, this was just a spur of 'I want feedback').
"Adverbs pave the road to hell."
-- Stephen King
I have this written on a tiny spiral notepad next to my desk just in case I need reminding.
Citrus blues.
-------------
I climb mountains.
A resting place near a fountain
Under the willow tree.
Where you hear the shallow sea
Which scrubs the stony shore
Where sea urchins find home.
I have poppies around me
I snap their stalks and drink the milk.
The cobweb which is like the silk that stones me
Sometimes i have to.
Sometimes i don't.
But it's always there.
My flask with the teardrops for tomorrow. Sometimes worry, sometimes sorrow.
So may i borrow your time.
And put some lime in my eyes.
Until another day dies.
So I'm not saying goodbyes.
Im saying hello to your beautiful eyes.
And im asking for citrus blues.
Because i already have salt and tequila.
Hunches and cues with clues.
Left with tobacco crumbs and Shangri-La cruise.
-------
Poem by Marko Tivanovac
Background pic (pls if you know tell me)
One such soul is sometimes worth a whole constellation.
- Fyodor Dostoevsky
🐧 a funny quote (silly! laughs! jokes! puns!)
Uhm I don't think there are any funny quotes to be had in Stars of the Sky yet, but maybe-
Maybe this counts as a funny interaction? I dunno I lack the funnies.
"I'm Aphrodite!" The loud female rushes to Hades' side, hugging her arm. "How did you hear me? I was being quiet!" Aphrodite presses her plump breasts against Hades' arm, peering up at the younger girl with eyes of pure violet. Hades blushes slightly, tugging her arm free. The other girl is very pretty, which doesn't make suppressing the involuntary reaction easy. "And how did you fight while carrying all those bags? They look heavy! They didn't impede you at all?"
"You were right next to the door and talking much louder than the others. That's how I heard you." Hades scowls as Aphrodite tries to hug her arm again.
Aphrodite was just meeting Hades and has no sense of personal space.