i guess this isn't really about writing but writers read a lot

anonymous asked:

I've literally being going through the river dale tag and you are the first person to mention jugheads asexuality..... why couldn't they make it apparent in riverdale, I'm so upset he isn't it in the series.

a lot of aces have given up on watching the show so I’m not surprised that I’m the first person you came across mentioning jughead’s asexuality. tho I am surprised that you even found me, or that I was even in the tag cause I never tag my liveblogs directly. 

Anyway, the show has A LOT of issues, like the bad writing (why do you have to finalise things now, in such a final way? -archie in ep 11) and the bad plot ideas (incest???) so I’m not really surprised that they fucked up jughead. I mean, look at kevin, he literally said that moose should ‘stay in the closet’ like what self respecting queer person tells another (struggling) queer person to stay in the closet??!?!

The thing with jughead is that he has always been ace, always. there was just never a word for it until the 2011 iterations. and I guess when the riverdale writers came together, they figured that queer-baiting on multiple levels was ok??? Honestly, the writer’s just aren’t as progressive as they think they are (I mean, do we even have to mention the beronica kiss in ep 1??). so erasing jug’s asexuality I think was always going to happen, because the writers aren’t going to be praised by wider society for adding in an ace character. let’s be real here.

The issue for me is that in a lot of instances throughout the series, he can still be read as ace. even in the Hell Scene in the finale. because lets face it, I have been in those positions, doing what jughead did, and the only thing that’s missing is the panic attack at the end. They queer baited me through terrible writing!!! (Also like somehow the series managed to one up incest by personally attacking me???? like that scene was such a call out???) I mean, those kind of scenes and the Hell Ship could be useful to jughead’s character, but only in the journey of jughead coming out as ace. The writers honestly don’t have the balls for that.

and the fandom itself isn’t great either. you get a lot of bughead shippers that say that they only ship bughead in the universes where jughead isn’t ace. And unfortunately for them that’s all the universes, its just that the writers didn’t want to do anything truly amazing. so I suspect in the next few weeks we will be getting bughead shippers coming out of the woodworks to justify the Hell Ship.

in summary, the writer’s didn’t want to tackle asexuality cause they wrote in their token gay and figured they had don’t enough for queer rep cause that’s what everyone else was doing. and if they get renewed they will continue to not look at jughead’s asexuality because they don’t want to do anything truly progressive. The show is trash and the fandom is trash. support neither. actually just read the comics

take care anon, and if you want ace-friendly riverdale blogs I would recommend @aspecs-for-jughead and @qprjarchie

anonymous asked:

U know what still bothers me about the penny dreadful finale is they turned Vanessa into a helpless damsel all the way to her grave. That gave into the darkness after fighting so damn hard, she just gives in? Why? Cos Ethan isn't there to stop her? She went to confirm Dracula she was angry, she was going to fight and then nothing. Same with Lilly, Frankenstein changes her by kidnapping her and Dorian helps not just that but kills her friend and she did nothing? Why? Because Frankenstein (1/2)

(2/2) helped her see her violence and anger was pointless? Idk, the show runners made these strong women all of a sudden dependent on the men when they weren’t before. Yes, Ethan helped Vanessa the first time but the rest was all her helping herself. So how do they justify it? Sorry, that made me angry, eneveryone had closure except Vanessa & Lilly. Even John had some kind of closure. They did them truly truly wrong. If she was gonna die all along why couldn’t she die fighting? :/


Hey, I completely understand your anger and i agree with you. But consider this, maybe the answer to all of your questions is because the show was written by a man. I know this may sound harsh but i always end up in the same exact conclusion which makes me really sad. 

You would say, 2016 male writers would know how to write female characters but i guess, in most cases, this is very difficult. Yes, in PD case they have created some powerful women (i was so happy seeing them!), women who can hold their own but at the final season we end up seeing a very familiar pattern. As powerful as a woman can be, as free in many ways as she wants to be, she will always have to be around men to save her, fix her, control her. Because the power, the independence, the freedom of the body and soul women want (you know the things most men have given!!) is something a man will never understand. 

Gothic literature** at its birth shows us exactly this. Women created by men are mostly naive, powerless, pure in body and soul. The “perfect woman” for a close-minded, mysogynist society. 

After Vanessa gave in to Dracula and into the dark side, i felt a bit betrayed mostly because i sat down and watched for 3 years a tortured woman who was only looking for salvation, a liberated, good soul who was ready to help everyone, being dragged into darkness so willingly and easy that’d made me question a lot things. Did her previous torments meant nothing? Did her momentarily reliefs from her pain made her forget her demons? Why after all the fighting she gave up so easily? Maybe the show had more levels that i am not aware of… Maybe her end was after all her happy ending…

Maybe the writers wanted yet an other tragic female figure to sacrifice. Τhe end aside for making me cry my eyes out, made me also very angry for many reasons. One of them was seeing a very testosteron-y funeral for Vanessa. Everyone was there, damaged from her lose, sure, but alive and yet Vanessa after all the struggle and the pain, she was lying there free (i suppose!) but dead. To me, season 3 seemed so rushed.. So rushed to end soo many potentials… Or maybe i have very high expectations from everything i invest on…

But in general and for me, Penny Dreadful had it all. It took major taboos from the human history and made them normal, it created so many beautiful characters and so many different roles. The darkness and the macabre, the sexuality and the romance, the science and the religion!!! It was such a promising show.

**  Now, i am not an expert on Gothic literature but let’s take this a few centuries back since i’ve mentioned that above. 

Women seem to always take a backseat when men receive the front role into a story. Women end up being the holy trophy, the tragic figure, the maiden, the dream, the virgin, the ideal, pure, untouched woman for the main character, for the man. We read classic gothic literature and we can somehow understand the times these pieces were written - at least at its earliest beginnings as a literature genre. Then as years go by, we read novels with more liberated women embracing their sexuality and then we understand that a literature genre can not stay still while centuries and ideas move forward. You know who created these women? Women writers.. That is why maybe a well written woman can only stand if she comes from a woman writer… But of course, that is only my opinion!! :)

anonymous asked:

Forgive me if i seem slow, but i still don't understand the kudos/hits thing. I know having lots of kudos is a good thing, but isn't it more important that a lot of people actually read the fic? Like, for example, if a story has 15,000 hits, that means a lot of ppl read it. What's it matter if they leave kudos if you can clearly see the story has a strong readership and lots of comments? I guess i'm asking why kudos matter so much when a story's viewer count and comments are so high?

Hi, and it’s okay. Happy to explain, to the best of my understanding.

Hits don’t really tell a writer anything. All those hits could very well be people who clicked through to read, decided not to, and closed the window. Just because a lot of people click through doesn’t mean any of them actually read it all the way through, or even enjoyed it.

I’ve done this. Seen a link to a story that looked interesting only to then see one of the tags is a major Nope Issue for me and closed the window without reading a single word. Some Super Popular fics are like that. I mean, I’m probably responsible for at least 2 or 3 clicks through to T&S, but I never got past the first chapter as far as reading goes. Not my thing. ¯\_(ツ)_/¯

Also, as I said in that other post you’re probably referring to here, multiple hits can come from one single reader. I mean, I’m one of those awful people who opens fics up in tabs to read later (I have nine currently open please save me from myself :P). Any time I close Chrome and it reloads, it generates another hit. On fics I haven’t even READ yet.

The proof of this is if you check your “History.” It says in a little grey bar below the fic when it was last viewed, if there have been updates to the fic since you viewed it before, and how many times you’ve viewed it (i.e. generated a hit on it). For example, this is a fic I read about 20 minutes ago, Stay, by @randomdestielfangirl. (go read it, it’s a lovely little 12.02 coda!)

But here’s the info on a fic I’ve had open in a tab for about a week:

I’ve only “opened” it once, but I had to close Chrome for various reasons (computer updates, whatever) and every time it’s reloaded, it generated another hit.

And here’s the one on The One With The Fanfic Competition, which is WIP by @tenoko1.

SEVENTEEN HITS? JUST FROM ME? Because not only have I read each of the 7 chapters (so far) when they were published, I’ve also opened it a few other times to comment, reply to comments back from the author, to get the link to give to other people, etc. All of those actions generated hits. So a hit count is a WILDLY inaccurate measurement of whether or not people are even reading or enjoying your work.

As far as comments go, most people who read do not leave comments. Some people are just shy and nervous about saying anything. Some people just don’t know what to say and are worried the author won’t appreciate yet another “I LOVE THIS STORY THANKS!” Kind of comment (hint: we love those kinds of comments). Some people don’t have time, or read it on a mobile device or a kindle and just… never get around to coming back and leaving a comment later (which, again would generate another hit that doesn’t really mean anything anyway).

And that’s OKAY! I mean, I get that! I don’t even leave comments on everything I read. Sometimes I just can’t for whatever reason. BUT AO3 IS AWESOME BECAUSE THERE IS A ZERO EFFORT OPTION HERE!

Like the thing? Read it all the way through? CLICK THE BUTTON TO SAY THANK YOU.

It’s ridiculously easy. It requires no interaction with the author. But every day AO3 generates an email with a list of all our stories that received kudos in the previous 24 hours. THAT IS LIKE MY DAILY CUP OF COFFEE AS A WRITER.

Hits are meaningless. Knowing someone actually read all the way to the end of the story, didn’t bail out, and hopefully enjoyed it? *CLICK*

IF YOU READ A STORY ALL THE WAY THROUGH AND DERIVED EVEN A MODICUM OF PLEASURE FROM THE EXPERIENCE IT COSTS ZERO DOLLARS TO CLICK THE BUTTON AND WRITERS EVERYWHERE WILL SING HYMNS TO YOUR NAME.

The kudos button is the tip jar that doesn’t cost you anything. It’s the THANK YOU FOR WRITING THIS button. It’s the HAVE AN INTERNET COOKIE button. It’s the I APPRECIATE THE TIME AND EFFORT IT TOOK YOU TO CREATE THIS FOR MY ENJOYMENT button. Heck, it could just be the I ABSORBED ALL THE WORDS ON THIS PAGE WITH MY EYEBALLS button. We don’t really care how you think of it, but to the writer who spent hours/days/weeks/months writing that story you just read and enjoyed 100% free of charge, it’s kind of a dick move not to spend half a calorie worth of energy to click the lil heart button.

My dcbb this year (shameless self-promotion time! If you like fun, go read it.) has close to 2000 hits. Which is pretty good, because yeah it’s a really long story, and I know not everyone has the time to read a Really Long Story, but so far it has 98 kudos. So out of 2000 times it’s been opened, apparently only 98 people were appreciative enough of the fact that I spent six months writing them a novel-length story (101k words) that I charged them nothing to read, ONLY 98 OF THEM THOUGHT MY EFFORT WAS WORTH A WIGGLE OF A FINGER TO PRESS A BUTTON. It’s… kinda disheartening as a writer, you know?

Yeah, it’s also got 113 comments (and I AM SO SORRY I AM TERRIBLE AT RESPONDING TO COMMENTS Y’ALL I SWEAR I’M GETTING AROUND TO IT SOONER OR LATER!), which is incredible, but I don’t expect every reader to comment on every chapter. A “Nice job!” is nice to get once in a while, but really that’s what the kudos button was invented for. It’s SO EASY. WHY WOULDN’T YOU CLICK IT?!

pizzatimemychickens  asked:

Sooo, I think my agent may be a #shmagent. It isn't that they're a bad person trying to deceive vulnerable writers, but they don't seem to be good at selling books. Long story short: I was really excited to work with this agent, even though they were new. That was a year ago, but since then they've only sold one book (to a press that accepts submissions from unaccented authors). Now they've signed a bunch of authors, and I'm not sure when I'm going on submission. Do I run now, am I paranoid?

If you are REALLY worried they are a #schmagent… they probably are. I know how hard it is to admit that your “dream agent” might not be so dreamy, so if you are thinking it there is something off…. well.

There are two varieties of #schmagent: The truly duplicitous scamster, and the much more common merely ineffectual. (There are certainly hybrid breeds as well, but let’s assume good intentions for most.) How can you tell? Here are some warning signs:

* DEFINITE SCAMSTER: If they ask you to pay them anything. ANYTHING. “Reading fees”, “Editorial fees” etc. RUN. If they offer to act as a publisher for you. RUN. (This is different from agent-assisted SELF-Publishing, which is a thing. But the AGENT isn’t the publisher in that case. YOU are.) If their website has a lot of talk about “revolutionizing publishing” but no actual BOOKS on it? RUN. If they won’t tell you who else they rep, or what books they’ve sold? RUN. Poor communication from the beginning - typo or grammar-ridden or otherwise strange emails or phone calls? RUN. 

Actually, keeping it a buck, if I got any messed up / shady vibes at all, I’d RUN, because guess what: I don’t want to put my professional and financial life in the hands of somebody who SEEMS shady, even if they aren’t actively DOING anything shady.

* POSSIBLY PROBLEMATIC: If they are listed as bad in Preditors and Editors, or on the Absolute Write Water Cooler, they are very likely problematic, or at least worth doing due diligence on. These sites are not infallible by any means… but they are a great place to start.

* VERY LIKELY USELESS: Brand new, no background in publishing, and at an agency nobody ever heard of? Maybe a problem. Many clients and no sales after a year or more, or their ONLY sales seem to be to micro-presses or digital only? Maybe a problem. The agency seems to have been started very recently, and/or started by people who themselves have no background in publishing or experience with a larger agency? Probably a problem. 

* PROBABLY FINE!!! Everyone starts somewhere. If you are looking at a brand new agent with few sales, that’s not a big problem… IF they are with a well-established agency and have successful mentors.

Agenting is an apprentice business. You can’t learn it from the ether. You can’t learn it in a class. Anyone can SAY they are an agent. But that doesn’t mean they will be able to actually help you, even if they have the best intentions in the world.

To succeed as an agent, it helps to be smart and a clear communicator, and it doesn’t hurt to have a bold personality. But IMO, every agent MUST start with at least two of the following: 1) A strong, multi-year background in publishing; 2) A healthy network of established connections, or an agency with the same; 3) Engaged and successful mentors.

A smart person can probably figure out how to succeed without ONE of these before they start… after all, you can make connections if you start with the right background and mentors. You might not need mentors if you have the background and connections. And you might not need any background in publishing, if you have great mentors and strong agency connections. But without two, I guarantee they will fail as an agent. And bring any client unlucky enough to sign with them down in the process.

Now – maybe you have read all this and realize, no, they aren’t a #schmagent… but I’m still not happy. It could be that they are fine, they just aren’t the right agent FOR YOU. If you are not seeing success and you don’t feel like you are able to communicate with this person, or you aren’t seeing eye-to-eye about your career – that doesn’t mean they are bad OR you are bad. It just might be time to part ways. And that’s OK too. 

Anyway. If you want to DM me their name, I can do some digging. But… yeah. Good luck!

dandymot  asked:

Firstly, I looove your College AU! :3 Second, I've been writing a Rhack Au (it's an apartment-highschool thing, it's weird) and I wanted to know if you ever think you're not writing in-character or whatever. When I'm writing I always think 'oh goddddd this sucks and nobody will like it, this probably isn't something they would say' which is why I haven't actually uploaded it yet. Do you have any advice or whatever for when you think your writing sucks? (this is a really stupid question SORRY)

Ahh goodness, thank youu!!

Also this is absolutely not a really stupid question, it’s a very good and natural question! As writers, it’s pretty natural to second guess ourselves on lots of things, characterization being a hugeeeeee thing that sets a lot of writers back. And a huge reason for that is because we’re all in our own heads so much, it’s hard to see what our writing looks like to someone on the outside and sometimes even harder to get yourself into your characters’ heads.

One thing that I’ve learned to tell myself as a writer: your writing is usually, nine times out of ten, better than what you’re perceiving it as.

But here’s a few things that I suggest if you’re still unsure. 

  • Get someone to go over your writing. It can be a friend or just someone that takes up your offer for a beta reader. Ask them how it appears to them in their characterization. I know that can be a scary thing to offer your writing up to someone else’s critical eye, but it helps! So! Very! Much!! You can never grow if you don’t get at least some constructive criticism here and there.
    (Hell, I used to write in blocks of text when I was like 13. Blocks of fuckin’ text, NO paragraphs. Until someone told me I shouldn’t do that and told me how to break up paragraphs. Thank God, right?)
  • Go back to the source material. The three important R’s of writing fanfiction material: rewatch, replay, and research. Study a character, make notes (mental or otherwise) on how they act, how they say things, why they’re saying/doing things, their motivations, their goals, their everything. Soon enough, you’ll nail down their personalities and quirks. No shame in going back to check though!
  • Go back and read some of your older writing if you think your writing right now sucks. And I’m talking as far back writing as you can find. I do that sometimes when I’m feeling iffy about my writing, and holy shit does it make me feel better (block of text, remember?). Like miles better because I know how far I’ve personally come. You’re always improving, so it’s good to have those older things to go back to. If you don’t have older writing, then start keeping everything you write right now! All of it!! It’ll be useful later, I promiseeeeeee.
  • Lastly, just. Keep. Writing. Don’t proofread until the end, don’t even go back and read more than a paragraph or two of what you’ve written unless you need to for reference. Don’t! Do! It! Just keep going! Not only will your story flow better, but you won’t have second thoughts. Usually our first thoughts in writing are some of the better ones. That’s not always the case, of course, but you can always, always go back later once you finish that chapter and change things up then. And only then!

Soooooooo yeee I’m gonna go ahead and stop there because when it comes to writing stuff, I could go on and on honestly. If you ever want any help with characterization and whatnot, I’d love to help you there as well. Or if you just want anymore tips in general, I’m your friend, friend.

Happy writing! Sounds like the one you’re working on is super fun so have fun with it! Don’t stress too much~ <3

anonymous asked:

I think, too, the subtext debate can tear the fandom into two groups: those who are happy for it to stay subtext and don't require more to see it as valid, and those who are invested in it becoming textual canon. To the second group, eps like the finale can be very disheartening, because the casual viewer is going to hear "oh, well, they're brothers." And if the show, at this point, isn't laying out more easy breadcrumbs for the GA to catch, it doesn't look good for textual canon.

Hi there. I feel like this is addressed to the line I wrote in a reply yesterday, saying that I was happy to wade around in the subtext… and while that is factually accurate, that’s not to say that I’m not invested in it becoming canon, or that I will be content if it remains forever in the subtext and never addressed in the text.

Yeah, I’m splitting hairs, because these are hairs which, as you pointed out, seem to be dividing the fandom. I think it’s an artificial “divide,” and we all want the same thing, but our approaches differ.

For ME, PERSONALLY (and I am ONLY speaking for MYSELF and not issuing a blanket statement to cover anyone else, so PLEASE don’t try to twist this around), I simply don’t have the mental and physical energy to stake my entire investment in the show on this singular outcome, i.e. Destiel becoming explicitly, textually canon. I just… can’t. The show would essentially lose all its power to entertain and engage me if I allowed myself to become bitter because that one singular thing was just not happening RIGHT THIS VERY MOMENT.

And as I have also said before, I have a very limited understanding of how the GA actually engages with the show. I’ve come to the point where the way I personally engage with it, reading the subtext, recalling parallels with past episodes, understanding the characters through the filter of my past experiences of them and having watched the entire series through probably 25 times… It’s like asking someone who writes the Tax Code to translate it into plain English, and they have no idea what you’re talking about, because to them, that IS plain English.

To me, I don’t understand how the show makes sense without understanding that subtextual layer, and I tend to assume everyone IS picking up on it, at least to a certain extent. Even Mr. Mittens does.

And I’ve said it before, and I guess I have to say it again: The subtext isn’t stagnant. It’s evolving. It’s become more consistent, and shown more development over the last few seasons. If the GA isn’t picking up on it, I’m left to seriously wonder if they’re not picking up on it because they *are actively refusing* to pick up on it at this point. And that’s not a function of the writing, but a function of the audience.

10.05 literally pointed to the subtext, used the word “Destiel” and “CasDean” and involved Sam and Dean having a DEBATE ABOUT WHICH TERM WAS BETTER, and then finished up with the approval of Real Actual God endorsing that reading of the show.

The GA was handed a platinum-engraved invitation to take a second look and put all the sub into that text. If they’re not at least peripherally reading a God-Approved layer of the story, THAT IS NOT THE FAULT OF THE WRITING.

They’re telling their story, they’ve literally told us that this other story is happening in the subtext and that hey, lookie here, this might be important *wink wink*

What I’ve also come to realize is that, to a certain extent, the writers are going to write the story the way they want to. They have an understanding of fandom, they understand that a lot of us are heavily invested in the relationship between Dean and Cas. They’ve TOLD us this by mentioning it in canon. They told us that subtext isn’t there by accident.

We also know it’s taken eight freaking years to get to THIS point, where both Dean and Cas are of sound mind and body at the same time, are both free of obligations or duties to save the world or fix heaven or anything else. Neither is being mind-controlled or manipulated. Neither is dying or cursed. (Well, Cas thinks Dean’s dead, but he’ll find out in 12.01, or 12.03 AT THE LATEST that he’s definitely NOT dead… so.)

We know they’ve been aware of and utilizing the subtext to tell us this story going back AT LEAST TWO SEASONS. And what have they be doing with that much subtext? Mostly they’ve been using it to tick off a checklist of obstacles that would make bringing the destiel out of the subtext either impossible, or squicky, or contestable by ANYONE.

They established Castiel’s sole ownership of his vessel, overcoming consent issues surrounding using that vessel. They’ve taken it one step further, having Cas and Dean both acknowledge it’s not even Cas’s “vessel” but HIS OWN BODY.

They established Cas’s loyalty with humanity over his heavenly family. And now they have Dean fully accepting Cas as a member of his own family specifically. Cas has a home. He’s no longer adrift.

They have both established that not only would they be willing to die for each other, they’re ALSO both willing to LIVE for each other. (and yeah, I had one angry anon upset because Cas offered to go die with Dean in 11.23, but that’s not what he was offering, and in the end Dean gave him a continued purpose in looking after Sam for him, and Cas accepted that, and there’s far more to it than just that surface reading, but that’s beyond the scope of this particular reply).

So in effect, they’re going to keep telling this story. They’re going to keep progressing it, and evolving it, and developing it, even if it’s “just” in the subtext for now.

And BECAUSE I see that progress, I refuse to give up hope that they do eventually intend to make it textual canon. But I also refuse to make myself angry and miserable on an ongoing basis because they didn’t make it textual canon TODAY. Because I really don’t enjoy being angry and miserable.

anonymous asked:

I have a question, what do you think it means that the writers in the scripte (from the people are posting their copies rn) write Dean and Cas as "brothers" or otherwhise platonic? Including in Carvers era? Cause I like many, didn't think romantic Destiel was intentional before that but do the scripts "prove" that it isn't in Carvers era as well? I dont have any idea how the backround of a TV show works so I'm not sure what an inside these glimpses into write give or what we can take away fromit

I assume that the only “glimpses” we’ve seen have been were of 8x02, right?  Those are the only ones I’ve seen, so I’m going to go based on those.

Look.  I honestly believe that we shouldn’t take anything from it- except for maybe that the writers are still very fond of spelling it Cass instead of Cas.  There are three reasons why I really don’t care that the script said Dean was hugging a lost brother, rather than the romantic scene that we all saw.

1. This script was from the very, very beginning of season 8.  There have been two full seasons worth of episodes between then and now.  A lot changes in terms of the direction of the show in that time- hell, even in just half a season.  And you know when the Dean/Cas subtext really picks up in season 8, with very pointed parallels?  Not until at the earliest 8x05.  By the time 8x05 was being drafted, they had already started filming season 8, and had already gotten the woah-hey-this-is-romantic scene that had been written as brotherly.  And by the time the really romantic overtones started, somewhere between 8x07 and 8x11, 8x02 had already aired and gotten the reception within the fandom that it did- namely an explosion from a side of fandom that had essentially been sidelined for an entire season while Cas was off the show.

Basically, 8x02 was still coming off of Gamble’s era, still finding its feet.  Honestly, the entire first half of season 8 comes across as finding its feet, struggling a little with pacing and the direction the show should go, and eventually getting into stride after the midseason break.  I mean, take the difference between say, 8x02 and 8x08, both of which were written by Andrew Dabb (cowritten, I should say, as Dan Loflin cowrote 8x02 before their duo was split and Loflin eventually left the team).  Or better yet, take the difference between what we know was in the 8x02 script (ie the “brotherly” hug) and what we know was in the 9x22 script, also by Dabb (ie Metatron mocking Cas’ heaven with a bunch of naked Deans slapped on the walls).  That’s a huge change in the tone of the script, and pretty indicative of the direction the show has been moving.

2. The script isn’t what ended up on our screen.  We’re talking about canon here, right?  Since what we’re all concerned with is whether or not Dean and Cas are canonically romantic with one another, then that stands to reason.  Well, the bottom line is that the script isn’t canon, the show is.  What ends up on screen is often drastically different than what it started out as on paper.  Seriously, there are screenplays all over the internet- find the one for your favorite movie and you will see the difference between what’s on the page and what’s on the screen.  And at the end of the day, what you care about is what’s on the screen, because that’s what media this is.

And the thing is, what ends up on screen has to be approved by the showrunner.  So if you’re thinking about this in terms of what will happen or what interpretation the show is encouraging, then the showrunning is pretty much the guiding light of the whole thing.  In light of that, I invite you to look at this less as “oh no they called Dean and Cas brothers in the script oh no Destiel will never be canon oh no” and more as “Holy shit, even with a script describing them as brothers Jeremy Carver decided that he liked the version of the scene where Dean caresses Cas’ face and there’s romantic overtones on every shot.”  Trust me, it’s a much more accurate way to look at it.

3. I’ve spoken before about my opinion of the word “intent,” but I guess it bears repeating.  Personally, I don’t give a shit what was the intent.  Intent is the excuse of a teenager who doesn’t want to do their English homework and so they argue that the author couldn't possibly have intended the red curtains to symbolize the character’s anger (word to the wise, high schoolers who happen to read this- the author is most likely well aware of what the color red symbolizes, thank you very much).  Especially with TV shows, the word intent doesn’t even make sense to use.  Because whose intent are you talking about?  The showrunner?  The writing team as a whole?  The network?  The directors?  The actors?  The set designers?  The costume designers, the location managers, the cinematographer, the editor, the composer, the unpaid fucking intern who brings everyone coffee?  Because not a single one of those people has complete creative control over what happens in the show.  Not a single one.  Not even the showrunner- yeah, even with what I said before, the showrunner still has to submit to the network execs who tend to be pretty pig-headed.  There is no single intent that goes into even one moment on a TV show.  There’s no interpreting based on intent because intent is so fucking impossible to define that it might as well not exist at all.

But Sara, you might hypothetically say, don’t we have to know intent in order to predict what will happen in the show?  And my hypothetical answer to that is no fucking way, of course we don’t need to know intent.  We need to know how to look at trends, and at the structure of the show, and the tendencies of the writers- but like I said before, a lot changes over the course of a season, let alone a few years.  Intent changes.  I’m pretty sure that the first time they introduced Spike onto Buffy TPTB didn’t sit there stroking their beards saying “Ahh yes, Spike and Buffy will fuck like bunnies in about four seasons.”  They thought they were going to kill Spike off- and yet in the end, Spike saved the day as a redeemed hero, then went off to be on Angel for an entire season after Buffy ended.

The point is, intent is utterly useless no matter what way you look at it.  You’re better off enjoying the show the way that you see it, rather than trying to figure out some mystical “real” way the show should be watched.

Why I Like Zelena

So I know that a majority of this fandom dislikes Zelena for what she’s done and the people (and ships) she has hurt. I wanted to make this post to provide a different perspective on her, into why I feel as though this character and actress was one of the best things that could’ve happened on this show. This may change your opinion of Zelena, it may not. But hopefully you’ll get something out of it.

I guess I should start with the beginning: Cora. The Millers Daughter, the woman who gave up her firstborn child to salvage the life she always dreamed of.

In twisted a way, leaving Zelena was probably the best thing she could have done for her, considering how Regina’s life with her mother turned out. Of course after discovering the truth about her family, Zelena didn’t think so. Not one bit. And why should she? Here this young woman was, alone in the world, with a so-called younger sister in a different land who is living the life Zelena never dreamed she could have. Yet she in Oz didn’t even have a father who loved her. Now, i’ve heard some say that Zelena’s true nature is envious. I don’t think that’s the case. Zelena wasn’t green before finding out about Regina, meaning she was not born naturally jealous of her sister’s life. But more importantly than the color of her skin is the look on her face when she first found out about Regina and Cora, just knowing that they were out there. Seriously. Go watch that scene again. Rebecca Mader kills it. 

To me, Zelena’s true nature is not envy, but wild emotion. Think of it like this: Zelena probably lived her whole life not even knowing that there was something more to achieve, to gain. Thats just how it was in Oz for her. She is at first emotional over the discovery of another sibling, she’s emotional that this woman has the life that (arguably) she rightfully deserves, and she’s pained. So horribly, horribly, pained at the truth that no one wanted her wickedness. Her pain getting turned to power that she can actually control? Well, look out world and Regina Mills. Zelena’s coming to take what’s hers. That, that raw emotion is what makes her entertaining. It’s also what makes her more human. Zelena lived her entire life in misery then she finds out her younger sister’s some queen? Who WOULDN’T be pissed? It’s easier to relate to her, for me at least. 

I guess that was my mistake, connecting with this character. Because when she tried to harm the child and kill a loved one (Neal) no matter the reason or how you slice it it’s still wrong. I understand that. What makes it difficult for me to accept her “death” is that Rumplestiltskin, Regina, and Hook all got their fair share of chances, to go back to the people they once were. Zelena never got that chance. Rumple went behind Belle’s back and specifically did what she told him not to (yes i’m still peeved).

Yet that’s fine. Its okay Rumple did what he did because Zelena killed Neal. 

Yeah well, here comes opinion time!!!

Neal never even said to kill Zelena, he just wanted her DEFEATED. Which she WAS. In jail. Even Regina was willing to give Zelena another chance. Regina. The sole reason for Z’s mission. She wanted Zelena alive to give the woman who’s never had a good life another shot. Rumplestiltskin? Not so much.

I guess Rumple killing Zelena made logical sense writing wise as a way to kick her to the curb, but… damn she deserved better, and so did the amazing woman who plays her. Adam and Eddy really screwed me over here. Even if you don’t like Zelena, even if you thought she deserved what she got, there was all this build up for nothing. Just the CHARACTER in and of itself is iconic. To conclude this long ass thing which no one’s going to even read, I think The Wicked Witch of the West deserved more of its writers. Killing her was a cop-out for someone who’s lived their whole life waiting for something greater, and a cop-out for a character trying to be a better man.