Genuine question for future story research, which of all the IC members would be a nasty lawyer? Which of all other characters in general would be a good lawyer?

Uhhh.. fun Nightmare Before Christmas FNAF AU fact that is probably important for later.

William Afton is also Dr. Finkelstein.

Well, a hologram/recreated ghost version of him anyway.

There’s actual lore I’m working on that explains this but TL;DR is: Actual William/Sally-Scraptrap had to make this guy in order to self-restrict his own outdoor time at one point. That’s also because of lore reasons I’m not gonna dump just yet.

..There is the alternative option that it’s his own dad’s ghost, but Iiii’m not settled on this.

I'm getting so sick of major female characters in historical media being incredibly feisty, outspoken and public defenders of women's rights with little to no realistic repercussions. Yes it feels like pandering, yes it's unrealistic and takes me out of the story, yes the dialogue almost always rings false - but beyond all that I think it does such a disservice to the women who lived during those periods. I'm not embarrassed of the women in history who didn't use every chance they had to Stick It To The Man. I'm not ashamed of women who were resigned to or enjoyed their lot in life. They weren't letting the side down by not having and representing modern gender ideals. It says a lot about how you view average ordinary women if the idea of one of your main characters behaving like one makes them seem lame and uninteresting to you.

Expanding a thought from a conversation this morning:

In general, I think "Is X out-of-character?" is not a terribly useful question for a writer. It shuts down possibility, and interesting directions you could take a character.

A better question, I believe, is "What would it take for Character to do X?" What extremity would she find herself in, where X starts to look like a good idea? What loyalties or fears leave him with X as his only option? THAT'S where a potentially interesting story lies.

In practice, I find that you can often justify much more from a character than you initially dreamed you could: some of my best stories come from "What might drive Character to do [thing he would never do]?" As long as you make it clear to the reader what the hell pushed your character to this point, you've got the seed of a compelling story on your hands.

There is only one way to make a truly wonderful Avatar adaptation, not matter how bad it turns out to be:

A professionally shot, full length stage production of the Ember Island Players' Fire Nation propaganda version of the events

Hmmmmmmmmm except…

I really like the idea of having a deaf/hoh character but I’m not sure it works for JONATHAN. Too much of his character is… opinions/commentary on the overheard. And he’s really objecting to the amount of Looking At People he would have to do to hold a conversation if he’s deaf.

Maybe Grantham? (Still flipping a coin on Graham or Grantham)

Being a sort of surrogate father to Jonathan and Henry both, it would make sense for them to know/learn/have created a sign language to communicate with him in, so I could keep that aspect…

But that leaves me back at square one with keeping Jonathan more or less out of things for the first few arcs.

Of course I could lean into his avoidant tendencies/aspergers and have him just… not want to. No we’re not investigating that we’re not investigating anything we’re not investigators get back here you idiots you’re going to get yourselves murdered…

That could work.

And now that he’s back downstairs I have to come up with something for Eleanor’s blackmail box…

And it’s not like a don’t have a surplus of ideas for Jonathan’s tragic backstory, he’s my tragic backstory dumping ground character, but I’m trying to keep this slightly lighter fare than my usual… I could go back to the boxing idea, like, that he’s been moonlighting for extra cash, which is something that could get him fired, but not super dark/too soon, and I could leave the Big Horrible Thing mostly subtext in the way he interacts with the other characters.

Which just leaves me with giving him a profession. He could be the hotel handyman I suppose? Like if a light isn’t working or the pipes are making a funny noise he looks at it first to see if it’s something he can fix or if hotel management needs to call an actual electrician or plumber?

hear me out: moose in mlp

Jamanji: Hellvua Boss AU

**Cast: ** Blitz:  (Main Character: he disappeared into the game: In the game: he was known as (The Harelquin) Striker:   (The Cowboy) Cash:   (The Ringleader) Fizzorolli:  (The Jester) Crimson:  (The Killer) Moxie:   (The Assassin) Millie: Chaz: Barbie-Wire:  Blitzo's twin sister: (They Started playing a game together) (The Areialist) Drake Darling: Staz: Stolas:  The Dark Prince: (Owl Prince) Stella:  (The Dark Queen)  (Owl Piece)

favorite Angus Tully's quotes, The Holdovers (2023) dir. Alexander Payne

I saw someone in the comments of something Percy Jackson show related complaining about the “wokeness” and then they were just like, “I hope they don’t add any gay shit.”

Who wants to tell them?

i wish everyone who made kit connor feel he had to come out a very merry FUCK YOU. you forced an eighteen year old into coming out publicly, before he was ready, when he stated many many times he wanted to keep it private. how many more times does this shit have to fucking happen before some of you fucking clock that YOU CANNOT QUEERBAIT IN REAL LIFE. this is the natural end to the discourse of ‘if somebody is in the public eye playing a queer person they owe us their sexuality’, and it’s DEEPLY FUCKED UP, they do NOT owe you an answer, and this mindset JUST FORCED AN EIGHTEEN YEAR OLD TO OUT HIMSELF BEFORE HE WAS READY TO

let her go

Scary Sunset.

I'm concepting things way outta order in this story, but I'm sure you can piece things together. Context is for a storybeat where, after defeating and capturing Adagio (thus having all three sirens in her possession), Sunset enacts her revenge plot to release the sirens on Canterlot as Thea discovers she's been manipulated. In a confrontation, the two scuffle and fight over the siren orbs while Sunset struggles with her conflicting wants and emotions.

everyone stop. walker’s eyes noticeably take in the colour of his surroundings.

meaning he naturally canonises one of the oldest headcanons in the fandom.

PERCY’S EYES CHANGE COLOUR

In a way that sort of criticism, I think, comes from a certain failure of their own suspension of disbelief.

HAPPY 43RD BIRTHDAY HAYDEN CHRISTENSEN Born April 19, 1981 | Vancouver, Canada

But if I put Jonathan upstairs I lose the bulk of his friendship with Bertram and that’s REALLY important to me too. And the story, like, thematically, how friendship isn’t a lesser kind of love, I kind of need that bond between them to be there. Also their bickering.

So ok

So if I cast Alexander as the painter I keep the Shulamite Maiden painting sub/plot, Kelly can stay the cook because that clicked REALLY WELL for his character, putting Jonathan downstairs gives me his friendship with Bertram as well as their rivalry over Myrtle, (because Kelly was never in the running there, since he’s always been rump over teakettle for Therese…)

But I also really need to nerf Jonathan because… just. All of the reasons. He’s too hyper vigilant/overthinks everything and is too willing to throw himself under the bus to protect his people.

I could make him deaf or hard of hearing? That would bottleneck the amount of information he’s exposed to, and to give him a tie to Henry, since they’re no longer brothers—since Henry isn’t really allowed upstairs they’d be spending more time together than with anyone else… maybe Jonathan could be teaching him sign language or Henry went and got some books for them to learn out of? I like the idea of Henry and Jonathan being able to communicate privately/slightly too quickly for anyone else to really catch, but also it sort of spreading among the others, because sign language is just so USEFUL dagnabbit…