Yuuri barely has time to grab his jacket when he runs out the door, much less brush his hair or find a hat. Unfortunately, he’s sure that that means that his hair is an absolute mess. It’s been getting long again, but in between classes and helping Yura out with his routine on the weekends, he hasn’t had much time for things like haircuts. Besides, Victor doesn’t seem to mind it, and Yura likes to experiment hairstyles on Yuuri “so that if it looks stupid, I don’t have to see it on myself.”
It’s not that big a deal, except on days like this, when he sleeps in (thanks a lot Vitya) and doesn’t have the time to really get it under control. He usually meets up with his friends before class, and he doesn’t doubt that they’ll notice, and probably tease him about it.
“Yuuri!” Estephania gasps, sounding too scandalized for her words to be anything but teasing. “What on earth happened to your hair?”
Yuuri flushes. “I was running late,” he mumbles.
Richard snorts. “You sure? Because that looks more like sex hair to me, man.”
“Ooh, he’s right,” Estephania coos before Yuuri can protest.
He wonders if it’s possible to die of embarrassment (especially since they’re not entirely wrong). “No, really I–”
“We know, sweetie.” She reaches up and moves his hair around a bit, trying to make it look presentable. “You’re just too easy to tease.”
“You sure you’re really twenty seven?” Richard raises an eyebrow.
Yuuri just smiles at the ground in fond humiliation (apparently it’s not a common emotion, but it’s a little hard not to be used to the feeling when he’s married to the world’s biggest drama queen) and nods. “I am.”
His friends are too much sometimes, he admits. Richard is the embodiment of America in a lot of ways: loud, completely lacking a sense of social norms, a walking personification of testosterone. Estephania is less… everything… than Richard, but she’s very touchy and affectionate in an entirely platonic way that reminds Yuuri a lot of Christophe, only without all of the innuendo. But they’re both loyal down to their very core, and they’re not bad people.
His phone starts ringing, Stammi Vicino playing loudly. Yuuri picks up, keeping his phone away from Estephania’s hands. “Да, Vitya?”
“Dude! You speak Russian too?” Richard looks like Yuuri just smacked him in the face. The school year just started, so they’re all still learning about each other.
Yuuri just smiles, since Victor is in the middle of one of his usual mid-morning crises. “Vitya, calm down,” he says in Russian. “Makkachin is probably out with Yura. You know he takes her for walks sometimes. Have you seen him today?”
He manages to get Victor off the phone just before class starts, flipping his phone to airplane mode since he’s sure that this isn’t the last he’ll be hearing from his lovable trainwreck of a husband.
For people who want more genre anime with LGBT+ characters like Yuri!!! On Ice
Samurai Flamenco. Please.
It’s got an adorably dorky, enthusiastic, and justice-loving main character named Masayoshi Hazama. He’s a gorgeous model, but he dreams of being a superhero. And he does it! Kinda.
He meets cynical cop Hidenori Gotoh, who chastises him for being a vigilante, but the two grow closer and closer. (And closer, and closer…)
There’s also an important side character, Mari Maya, who is an idol. She is bisexual, and is in a relationship with Moe Morita, who is a lesbian. (There’s a third member of their group, Mizuki Misawa, who I believe to be coded asexual, though anybody can headcanon otherwise.)
(this happens multiple times!!!!)
The show is incredibly silly in nature (up until a certain point), and both pays homage to and parodies the conventions of the superhero genre. From the western vigilante, to the Japanese sentai, it’s got it all. (Even magical girls!)
However, it also deals with toxic relationships, conflicting ideas of justice, and mental illness. It takes all of these ideas very seriously, and treats all of its characters with respect.
So anyways, if you love Yuri!!! On Ice, and want to watch more genre anime with respectfully treated LGBT+ characters and canon relationships, I HIGHLY recommend Samurai Flamenco. It’s a wild ride, but Samurai Flamenco is an incredible show that deals with justice, morality, relationships, mental illness, and love, and puts all of these issues in the limelight. The romance between Masayoshi and Gotoh isn’t even the main focus of the plot, but is still developed incredibly naturally as they become closer and closer.
So go watch Samurai Flamenco!
EDIT: It has been brought to my attention that some people are indignant about me using the phrase “coded asexual”. One person explained to me that this is because it seems like I am trying to erase a character’s sexuality, and that they cannot ONLY be asexual.
So let me explain.
I have watched Samurai Flamenco 5 times, each time with an even more analytical mindset. (Because I just love it so much). The character in question here is Mizuki Misawa, and yes, I believe she is coded to be asexual.
There is a very large cast of characters, and almost all of them are shown at some point or another seeking romance and sex. This heavily includes the other two members of the idol group, Mari Maya and Moe Morita.
However, Samurai Flamenco deliberately shows Mizuki refusing and showing no interest in those same pursuits. The show purposefully showed her as uncomfortable in sexual situations, and she frequently refuses the poly advances Mari and Moe make.
Since this is very deliberate, I am still firmly behind my phrasing, because she is implied to have no interest in sex and no sexual attraction.
So, because I’ve watched SamFlam so many times, each time has only cemented that feeling in me. Any other part of her identity is up to headcanon, as that is the only aspect really shown about her.
My best friend has become essentially homeless. Being a black queer femme, getting a job while dealing with constant instability is, needless to say, extremely difficult. It would be really appreciated if you could donate to her paypal here: firstname.lastname@example.org
Please share around. Additionally, if anyone knows of any resources for job/housing opportunities, especially QPOC friendly, in the NYC area, please let me know.
Thank you all. Much love.
If you would like more information, please private message me directly.
Edit: I know a lot of you use Venmo. She doesn’t have a Venmo, but you can send it to mine (@Lin-Katz) and I will Paypal her. If you make note of it, I can send you screenshots to show your money goes directly to her.
RED QUEEN EDITS: My two favorite female characters in King’s Cage
“Thank you,” I whisper. Words I never thought I would say to her. They unsettle us both. “You want to thank me, Barrow?” she mutters, kicking away the last of my bindings. “Then keep your word. And let this fucking place burn.”
I’ve met Chloe at two cons, and the encounters were just as perfect and magical as you’d expect.
The first time (Wizard World Cleveland) I made Chloe a gift bag full of stuff, and when I gave it to her she immediately started rummaging through it, pulling out each piece with matched enthusiasm.
“Yessss I need hand sanitizer.”
“Silly string? OH MY GOSH.”
“And chocolate! AHHH”
Whether or not she was THAT excited about a bunch of junk I got from the dollar store, she was making sure I felt great about giving it to her. She even thought to ask if I wanted to take a picture of her! This was after she asked to take a picture of me in my Quake shirt I’d made. So I left with the thought that I had a picture of her on my phone that I took myself, and she even had a picture of me!
The second time was HVFF Chicago, just in the end of March. Again Chloe asked to take a picture of me, but just my neck this time as she got a kick out of my daisies choker. When she saw my shirt she she said “hey your shirt has us on it. OH MY GOD WE’RE ALL SMILING”. We said how it doesn’t happen very often anymore on the show, and she just started showing us a bunch of pics from her phone to show how happy they could be! I said “well it just makes editing funny videos hard…” Next thing you know, (with the help of Zoe aka SunnyVids) Chloe is WATCHING A VIDEO I MADE RIGHT IN FRONT OF ME. I was so shocked and excited. But the best part was the photo op.
We couldn’t decide on a pose so we thought we’d let Brett and Chloe decide, and Chloe took the reins by saying “Oh! I’ve always wanted everyone to just stand at different angles… awkwardly.” So she posed us, and we got the best picture I could ever imagine.
Best fan encounters I’ve ever had, and I really hope I get more opportunities to see her!
I am going to do my best to give you tips on how to create effective dialogue, as crafting effective dialogue is a very difficult thing for many writers, including myself, to do. Back in December I did a high school visit. The teacher told me her creative writing students had issues creating effective dialogue, so I played an activity with them. I’m not sure how successful it was, but I hope they took something away from it. In any case, I’m going to draw upon that activity to lay out some tips here.
Dialogue should reveal something about the character. Dialogue is an effective way of showing something about a character, or conveying how a character is feeling. Here is a line of dialogue from my novel, When Stars Die. A little bit of context first: Amelia is currently spying on shadows she has been seeing for a few weeks. She has no idea why she has been seeing them, but something in her tells her that they are real.
Colette’s voice rises behind me, a quiet thing in the tremors of my mind. “Are you searching for those shadows again?”
This conveys a few things. The line before it shows that Amelia is terrified, that not even Colette’s presence is enough to calm her. Colette is her best friend. Colette’s dialogue conveys that she knows Amelia has been seeing these shadows for some time, but that she doesn’t believe they’re real. After this dialogue, Amelia thinks how she has no reason to tell Colette that she is seeing them. Now I could have had Amelia simply say that Colette doesn’t believe the shadows are real, but instead I follow up with another line of dialogue that has Colette trying to ease Amelia’s worries by telling her that it’s stress for the impending trials that Amelia will have to face if she wants to become a professed nun.
Dialogue should reflect a character’s personality. If your character is a well-read person, that character’s dialogue should reflect that he or she is. If your character skips school a lot, lives a troubled life, and wanders the streets a lot, your character is probably going to cuss more than usual, have a more cynical way of speaking, and your character is probably going to be more honest and forthright when others are asking for opinions from said character. But don’t fall into stereotypes, either.
Dialogue should be authentic, but should be an edited version of a way a person would speak. Listen to how people speak. People tend to put a lot of ‘umms,’ ‘ers,’ ‘likes,’ ’yeahs,’ and pauses and breaks between sentences, which is not something readers want. You want dialogue to be real, but you don’t want to litter your sentences with these inflections. For example:
“Um…I, uh, want to order some fries, and uh…what’s that up there? Oh, a burger. Yeah, um. I want that.” She nods. “Yeah, yeah. That sounds good, and uh, um…oh…that’s it.”
That’s how a real indecisive person would talk. Let’s edit it down to something like this.
“Um…I want to order some fries.” She pauses, looking up at the menu. “What’s that up there? Oh, a burger. I want that, too. That sounds good.” Her eyes pass over the menu, then she looks at the cashier. “That’s it. Thanks!”
Just listen to the way an actual person speaks and edit out any inflections. Read your dialogue out loud, too. If it sounds funny, it will probably read odd to your readers.
Show the tone of your dialogue. You want to limit your use of adverbs when writing a story. Period. You especially want to try to avoid them in dialogue. Strong verbs are often best used in place of adverbs, but let me give you an example to show you what I’m talking about when I say show the tone of your dialogue.
“I am so pissed!” he said harshly.
This is basically me telling readers that he said it harshly. Now let me show you:
His finger tensed on the screen of his smartphone. He wanted to smash the phone so he could forget she ever sent him that text. “I am so pissed!”
It’s wordier, of course, but the fact that he wants to smash his phone conveys how angry he is without having to use an adverb. I didn’t even have to use a dialogue tag because of the preceding sentences. If there is plenty of context before your dialogue, you can simply write “I am so pissed!” and that will be enough to let readers know that, obviously, he’s saying it harshly.
Dialogue should stand on its own. You don’t want to weigh it down with exposition. For example:
“Remember last summer when I kissed that guy and you were there? You were totally stunned when I kissed him, and you told me I was an idiot.”
“Yeah, and we were in the 9th grade, too! Now we’re in the 10th grade, and there’s this other guy you want to kiss, and you’re not going to be an idiot this time, because this guy is cute.”
Can you tell this dialogue is actually talking to the reader and not the characters talking among themselves? You shouldn’t have to have the characters tell readers about what happened last summer, that they were in the 9th grade when it happened, now they’re in the 10th grade, and now there is another boy this person wants to kiss.
It reads and sounds unnatural. Exposition only works when the other character has no knowledge of the thing being explained. Otherwise, it’s an info dump, and you don’t want that in your dialogue.
Your dialogue should have purpose. Dialogue should build toward something or reveal something. You don’t want your characters to spend too long, bantering back and forth about something that may be completely irrelevant to the plot. Your characters must speak for a reason. They shouldn’t talk just to talk, like people tend to do in real life.
Use gestures, actions, and dialogue tags. Dialogue tags should be used when readers have no clue who is speaking, or when an action is proceeding the dialogue spoken. Nodding, smiling, laughing, glaring, pointing, ect., ect., ect., are all forms of gestures. Use these to convey the tone of dialogue. Have your characters interact with the environment, too, while they are speaking. That is considered an action. Refer to the dialogue examples above for examples of actions I use to strengthen dialogue.
Dialogue should be surprising. You don’t want readers to be able to know what a character is going to say next.
That’s it for my advice on dialogue! Any questions on anything in the post, feel free to message me.
My next post will be advice on how to handle your editor once you have signed a contract with a publisher, for those aspiring authors—or how to handle edits period with either your agent or editor.
A/N: This is the last part of this series unless you can convince me to do more. I mean it took one demand to prompt me to start writing this in the first place so I guess I’m easily swayed, but yeah for now I want to leave it at this and focus on getting the rest of the stuff I’ve written edited and posted. Ugh my resolve is already breaking and I haven’t even posted yet. Okay just enjoy the thing and let me know what you want next. My ask box is more available than me circa 2008-2011.
Shade, whispering:</b> Don't let Farley fool you, she used to do ballet.<p><b>Kiliorn:</b> *shocked* No way.<p><b>Farley, smiling sweetly:</b> Which gave me the physical skills I need to strangle you with my feet, Warren.<p>
I remember when you scolded me in Junior High. You said the same thing. It was right after we got crushed in a practice match before the tournament. I figured we were destined for failure in the real tournament. “Even if we’re not confident that we’ll win, even if other tell us we don’t stand a chance, we must never tell ourselves that”. End quote.
I kinda lowkey expressed how I feel about Hinami’s point of view through the edit I made [x], but let me put it in writing.
Even though Hinami is the youngest person involved in this Mado conflict, she is the one that is facing it in a healthy manner, if I were to use the term. In the recent chapters, many characters seem somewhat forgetful, somewhat emotionally numb, somewhat so forgiving. This comes across as being unhealthy (*cough* Tsukiyama *cough*). Hinami is suffering, which is the normal way around this.
The introduction of this struggle that Hinami is withstanding began a long time ago, from the first series, however light was shed on it again in here:
Hinami personally came to check up on Akira. For her, a member of a ghoul family who has always been peaceful towards humans, Akira, like any other human, is not an enemy. Furthermore, Akira is someone important for Kaneki. Even though Banjou reminded her that Akira is the daughter of Mado Kureo, Hinami kinda was stepping on her feelings, and hoping Akira would get better.
In a sense, Hinami was already struggling with this conflict in mind. It can be seen by her expression. However, we finally got an insight to that conflict that she is experiencing, in written form, in the recent chapter.
Akira’s presence is a constant reminder for her that her parents have been violently murdered, with no justification. Akira’s presence will always light feelings of misery (and of revenge?) in her being. It’s a constant stimulus that she can’t merely discard. At the same time, she wants to accept her, and accept her parents death, because Akira, herself, never harmed her. Even more, Akira helped and looked after Kaneki, someone we know Hinami cherishes deeply.
This conflict is understandable. If anything, its existence is healthy. It is normal for Hinami to be torn between hating her and accepting her. It’s somewhat that conflict we normally have between what our mind wants us to do and what our heart feels. She is torn between the ideals she has internalized from her family (accepting all other life forms, co-existence, peace) and feelings of loss, anguish, and grief. If she were to follow the former, she would be, somewhat, “disgracing her parents’ memory”. If she were to follow the latter, she would be pursuing the endless cycle of revenge and chaos, and abandoning the ideals her parents stood for. This is why this conflict exists. This is why:
Somehow, this symbolizes the ultimate conflict that is at the core of the Tokyo Ghoul series. It looks like Hinami is one of the few characters that is showing us the real nature behind this conflict, and that it is not as easy to solve as it is being thought by other characters.
Summary: Reid x Reader. The Reader is a writer, who struggles to find the right words. But after a rough case, those words are all he wants to hear.
Author’s Note: This is my piece for @passionate-hedgehog‘s fic exchange! I was so excited when I saw I was lucky enough to be given the incredible, lovely, and ever-kind @reiding-and-writing, who gave me a lot of free reign in terms of plot. So here you are, dear! I hope you like it!
Words are all she has sometimes. Not that she minds, her
whole world is constructed in syllables and letters, series of meanings strung
together. Language is something she is especially grateful for when Spencer is
away. Phone calls and text messages are the best forms of communication when
he’s out in the field. Those words are her lifeline, letting her know that he’s
okay, that he’s thinking of her, that he’ll be home soon. Sometimes she’ll slip
handwritten notes into his bag, and he will tuck cards into random places
around their apartment for her to find. It warms her heart each time she opens
a drawer or turns the corner only to discover a piece of paper covered in his
She has always been a writer, a teller of stories and
chronicler of tales. It hasn’t always been easy. Copywriting, freelancing,
editing. More often than not, her work has been putting words into someone
else’s mouth for them. After months and months of rejection letters however,
she finally received her first acceptance a month ago. Her own novel will soon
be published, a work of her own to grace the shelves of bookstores and
libraries. It’s her biggest accomplishment, but at times it’s hard to feel
proud when her boyfriend quite literally saves lives for a living.
Today is one of those days. All morning and all afternoon
she has spent at her desk. Occasionally taking a break to pace the living room
or grab coffee and a pastry from the café below them. She sits, she waits. The
right words do not come. They are elusive, just out of reach, taunting her. So
close and yet so far. With Spencer gone, it’s lonely to be in the apartment. A
perpetual state of waiting and wondering and hoping for time to pass quickly.
For the return of the things she loves most. Her words. Her love. Her confidence
in her own abilities.