To Be a Miracle

Hi!

I have been away… for a long, long time. And busy. Whoops… haha…

Well, now that I’m back (maybe) I bring you this translation of a fan song called The Story of Glory. The song is not mine, nor are the voice and lyrics.

It’s a pretty emotional song, very beautiful. I didn’t translate it as artistically as I hoped I could :(

The Youtube video attached at the end has a Japanese CV for TKA thing before the actual MV (which is hand drawn). The music starts at 2:14. There’s also the bilibili link which doesn’t have the Japanese CV thing, but doesn’t have the same MV either. For the bilibili link, it’s not really an MV, but like a cool background animation, subtitles (Chinese) and very faint pictures that fade in and out.

Warning for spoilers as it basically tells the entire story of TKA, including prequels!!! ESPECIALLY THE YOUTUBE VIDEO!!! Actually the song is vague enough, except for this one part, that it gives nothing you wouldn’t know away, but the video is beautiful and heart-wrenching and FULL OF SPOILERS especially if you can read Chinese

Enjoy!

Writer: Air shot between the toes, it’ll look like a heart attack.

Serial killer: anywhere from 2 to 30 minutes

Now fast forward a bit and the author has managed to get their first book published, with loving support from the serial killer who helped them fine tune all the murder scenes, and it’s a big hit. Enough so that a detective with the local police department has noticed some disturbing similarities to several active cases, including details that were never released to the press. Obviously he brings this up to his superior and convinces him that there’s something to the theory, but it’s all circumstantial right now. He stakes out the author’s home and is super convinced that the author is the murderer, but they don’t seem to do anything??? Like they literally are at the house all day, that’s it. Most they do is leave for groceries.

“You need to stop seeing them. I think they are a serial killer.”

Writing and reading fanfic is a masterclass in characterisation. 

Consider: in order to successfully write two different “versions” of the same character - let alone ten, or fifty, or a hundred - you have to make an informed judgement about their core personality traits, distinguishing between the results of nature and nurture, and decide how best to replicate those conditions in a new narrative context. The character you produce has to be recognisably congruent with the canonical version, yet distinct enough to fit within a different - perhaps wildly so - story. And you physically can’t accomplish this if the character in question is poorly understood, or viewed as a stereotype, or one-dimensional. Yes, you can still produce the fic, but chances are, if your interest in or knowledge of the character(s) is that shallow, you’re not going to bother in the first place. 

Because ficwriters care about nuance, and they especially care about continuity - not just literal continuity, in the sense of corroborating established facts, but the far more important (and yet more frequently neglected) emotional continuity. Too often in film and TV canons in particular, emotional continuity is mistakenly viewed as a synonym for static characterisation, and therefore held anathema: if the character(s) don’t change, then where’s the story? But emotional continuity isn’t anti-change; it’s pro-context. It means showing how the character gets from Point A to Point B as an actual journey, not just dumping them in a new location and yelling Because Reasons! while moving on to the next development. Emotional continuity requires a close reading, not just of the letter of the canon, but its spirit - the beats between the dialogue; the implications never overtly stated, but which must logically occur off-screen. As such, emotional continuity is often the first casualty of canonical forward momentum: when each new TV season demands the creation of a new challenge for the protagonists, regardless of where and how we left them last, then dealing with the consequences of what’s already happened is automatically put on the backburner.

Fanfic does not do this. 

Fanfic embraces the gaps in the narrative, the gracenotes in characterisation that the original story glosses, forgets or simply doesn’t find time for. That’s not all it does, of course, but in the context of learning how to write characters, it’s vital, because it teaches ficwriters - and fic readers - the difference between rich and cardboard characters. A rich character is one whose original incarnation is detailed enough that, in order to put them in fanfic, the writer has to consider which elements of their personality are integral to their existence, which clash irreparably with the new setting, and which can be modified to fit, to say nothing of how this adapted version works with other similarly adapted characters. A cardboard character, by contrast, boasts so few original or distinct attributes that the ficwriter has to invent them almost out of whole cloth. Note, please, that attributes are not necessarily synonymous with details in this context: we might know a character’s favourite song and their number of siblings, but if this information gives us no actual insight into them as a person, then it’s only window-dressing. By the same token, we might know very few concrete facts about a character, but still have an incredibly well-developed sense of their personhood on the basis of their actions. 

And this is why many people who discover fic stop reading other stuff. Once you find the genre you prefer, you tend to read a lot in that genre. Some people love mysteries, some people love high-fantasy. Saying you love “fic” really means you love this character-driven genre. 

So when I hear people be dismissive of fic I used to think, Are they just not reading the good fic? Maybe I need to put the good fic in front of them? But I think it turns out that fanfiction is a genre that is so entirely character-focused that it actually feels weird and different, because most of our fiction is not that character-focused. 

It turns out, when I think about it, I am simply a character-based consumer of pop culture. I will read and watch almost anything but the stuff that’s going to stick with me is because I fall for a particular character. This is why once a show falters and disagrees with my view of the character, I can’t just, like, push past it, because the show *was* the character for me. 

Right now my big thing is the Juno Steel stories, and I know that they’re doing all this genre stuff and they have mysteries and there’s sci-fi and meanwhile I’m just like, “Okay, whatever, I don’t care about that, JUNO STEEL IS THE BEST AND I WANT TO JUST ROLL AROUND IN HIS SARCASTIC, HILARIOUS, EMOTIONALLY PINING HEAD.” That is the fanfiction-genre fan in me coming out. Someone looking for sci-fi might not care about that, but I’m the type of consumer (and I think most fic-people are) who will spend a week focusing on what one throwaway line might reveal about a character’s state of mind. That’s why so many fics *focus* on those one throwaway lines. That’s what we’re thinking about. 

And this is what makes coffee shop AUs so amazing. Like, you take some characters and you stick them in a coffee shop. That’s it. And yet I love every single one of them. Because the focus is entirely on the characters. There is no plot. The plot is they get coffee every day and fall in love. That’s the entire plot. And that’s the perfect fanfic plot. Fanfic plots are almost always like that. Almost always references to other things that clue you in to where the story is going. Think of “friends to lovers” or “enemies to lovers” or “fake relationship,” and you’re like, “Yes. I love those. Give me those,” and you know it’s going to be the same plot, but that’s okay, you’re not reading for the plot. It’s like that Tumblr post that goes around that’s like, “Me starting a fake relationship fic: Ooooh, do you think they’ll fall in love for real????” But you’re not reading for the suspense. Fic frees you up from having to spend effort thinking about the plot. Fic gives your brain space to focus entirely on the characters. And, especially in an age of plot-twist-heavy pop culture, that almost feels like a luxury. “Come in. Spend a little time in this character’s head. SPEND HOURS OF YOUR LIFE READING SO MANY STORIES ABOUT THIS CHARACTER’S HEAD. Until you know them like a friend. Until you know them so well that you miss them when you’re not hanging out with them.” 

When that is your story, when the characters become like your friends, it makes sense that you’re freed from plot. It’s like how many people don’t really have a “plot” to hanging out with their friends. There’s this huge obsession with plot, but lives don’t have plots. Lives just happen. We try to shape them into plots later, but that’s just this organizational fiction we’re imposing. Plot doesn’t have to be the raison d’etre of all story-telling, and fic reminds us of that. 

Everyone who’s experienced in reading fic has their little ‘trope plots’ we are willing to read or even prefer in order to spend time with our favorite characters. We know how it’s gonna end and we genuinely don’t care, because the character is the whole point of why we’re reading. And that is unique. That’s just not how mainstream media publication does things.

But there are also hundreds of thousands of fics people might call ‘plot driven’ and they have wonderful, intricate plots that thrill their readers.

But they’re not at all ‘plot driven’ in the same way as other mainstream genres.

The thing about ‘plot’ in fic is that it tends to ebb and flow naturally. There’s not the same high speed, race to the finish you’d get from a good action movie. There’s no stop and start of side plots you get in TV genre shows. The best fic plot slides from big event to restful evening to frantic activity to shared meals and squabbles and back, and it gives equal time and attention and detail to each of these things.

Like @earlgreytea68 said, “There’s this huge obsession with plot, but lives don’t have plots. Lives just happen. We try to shape them into plots later, but that’s just this organizational fiction we’re imposing. Plot doesn’t have to be the raison d’etre of all story-telling, and fic reminds us of that.”

Fic plot moves at a pace similar to the life of whatever character it’s about. Not the other way around. There’s a fundamental difference in prioritization in fic.

I think this only adds to the case of ‘fic’ as its own, distinctive genre. Stylistic choices of writing that would never work in traditional, mainstream fiction novels work for novel-length fic. Fic adventures spend as much time fleshing out the little moments between romances and friendships as they do on that plot twist. The sleepy campground conversations are as important to the plot as the kidnapped princess, because that’s how the characters are going to grow together by the end of the story. It’s not a grace note, it’s not a side episode or an addition or a mention - it’s integral and equal.

That’s just accepted as fact by fic writers and readers. It’s expected without any particular mention. And it gives a very unique flavor and pace to fic that makes a lot of mainstream stories feel like stale, off-brand wonderbread. They are missing something regular fic readers take for granted (and it isn’t just the representational differences, because we all know that’s a whole different conversation). There’s a fundamental difference in how ‘fic’ is written, detailed, and paced that is built on its foundations as a ‘character driven’ genre.  

And it isn’t only action/adventure/mystery plots that have this difference in fic. Those ‘everybody’s human in today’s world’ AUs, those ‘friends to lovers’ slow burn stories have it too. They have a plot, but it’s the life - the grocery shopping, the dumb fights and sudden inescapable emotional blows, those moments of joy with that person you click with, managing work and family and seasons - that’s the whole plot on its own.

And that’s almost impossible to explain to someone who hasn’t really experienced fic as a genre, who’s used to traditional person A and person B work together/overcome differences/bond to accomplish X. In fic accomplishing X might be the beginning or the middle, not the end result of the story, and A & B continue to exist separate from X entirely. X is only relevant because of how it relates to A & B, not the other way around.

I was always fond of saying, about my own fics, that my plots show up about two-thirds of the way through, because it takes me that long to figure out where I’m going, and then I would lol about it, because, ha, wouldn’t it be great if I organized it better. 

And now I read this and I’m like, WAIT. YES. THAT’S WHAT’S HAPPENING. IT’S BEEN HAPPENING ALL ALONG. I NEVER REALIZED IT. The idea that the primary importance is the throughline of the characters, and that’s what we’re following, and the plot is what’s dangling off the side of their story, that is SO IMPORTANT. You’re right, that usually we’re told as writers to construct stories from the plot outward. “Here are the beats your plot needs to hit, here’s the rising action to the climax to the falling action, now make sure your Character A makes this realization by Point X in order to get your plot into shape for Point Y to click in.” It’s *such* a plot-centric way to write and I am *terrible* at it. And I’ve always said, whenever I sit down to “outline” a story, like, How do you this? How do you know where the characters are going until they tell you where they’re going???

It’s focused, absolutely focused, on the characters. On who they are as people. On their emotional journey. The time-portal radio is important only because it allows John to build a relationship with the father who died when he was a small child. The murder case is literally only important to the plot because it affects John’s mother. They don’t save the world. All they want to do is save their family, and to them that IS saving the world. Saving their relationships. John being a less broken person. Frank and Julia living to see their son grow up. THEIR CONVERSATIONS ABOUT BASEBALL ARE REPEATEDLY PIVOTAL TO THE PLOT.

Engagdget

DailyTech

Researchers physically DELETED ALL TRACES of the HIV virus from a human cell.

ALL OF IT.

【 往昔之荣耀 | Glory of the Past 】

Author: MTKiseki

Genre: Fanfiction

Synopsis

I’m so far behind qwq

Why did I decide to take a packed course load this quarter? I’m dying

Random Snippets down below as a sneak peek

I will be adding more to this in the future

Abellio - Celtic God of the apple tree. 

Aine - Celtic Goddess of love and fertility, later known as the fairy queen. Goddess related to the moon, crops, and farms or cattle. Aine is revered among Irish herbalists and healers and is said to be responsible for the body’s life force. A woman of the Leanan Sidhe (Sweetheart of the Sidhe). Some said she was the daughter of Manannan, some said she was the Morrigan herself. There was a stone, Cathair Aine, belonging to her and if anyone sat on the stone, they would be in danger of losing their wits, sit three times and they would lose them forever. Aine was very revengeful, and it was not a safe thing to offend her.

Airmid  - A healing Goddess of the celtic order of Tuatha de Danaan, Goddess of medicinal plants and keeper of the spring. Regenerates, or brings the dead to life again.

Amaethon - Celtic God of agriculture, husbandry, and luck.

Angus Og -  Celtic (God of youth, love, and beauty. One of the Tuatha De Danaan, name means “young son”. He had a harp that made irresistible music, and his kisses turned into birds that carried messages of love. His brugh, underground fairy palace, was on the banks of the Boyne River. Variants: Angus or Oengus of the Brugh, Angus Mac Oc, Oengus Mac In Og. 

Anu - Manifestation magic, moon, air, fertility, prosperity. Celtic (Irish) Goddess of plenty. Mother earth Goddess and maiden aspect of the Morrigu. 

Aoibhell - Another woman of the Sidhe, she made her dwelling in Craig Liath. Legend has it that she gave a golden harp to Meardha, Murchadh’s son, when he was getting his schooling at the Sidhe in Connacht and learned of his father’s death. Whoever heard the playing of the harp would not live long afterward. It was this harp that Cuchulain heard the time his enemies were gathering against him at Muirthemne, and he knew by the sound that his life was near its end.

Arawn - Celtic God of the underworld, terror, revenge, and war. Invoke during element of earth. Only when Christian conversion, did the Welsh look on the underworld as hell.

Arianrhod - “The Silver Wheel”, “High Fruitful Mother”. Celtic Goddess, the sister of Gwydion and wife of Donn. Deity of element of Air, reincarnation, full moons, time, karma, retribution. The palace of this sky Goddess was Caer Arianrhold (Aurora Borealis). Keeper of the Silver Wheel of Stars, a symbol of time and karma. Her ship, Oar Wheel, carried dead warriors to Emania (Moon-land).

Artio - Celtic wildlife Goddess.

Babd Catha - Celtic Goddess of war. Mother aspect of the triple Goddess. Symbolizes life, enlightenment, wisdom and inspiration. Sister of Macha, the Morrigan, and Anu, the name of this Goddess means “boiling,” “battle raven,” and “scald-crow”. Known as Cath Bodva in Gaul. A Mother Goddess and Triple Goddess and part of the trio for which Ireland was named including Eriu and Fotia or Fodla, Badb’s cauldron boiled with the ever-producing mixture that produced all life. Variants: Badhbh, Badb, Banba

Balor - Although he was born with two good eyes, one was ruined in an accident; the eye is so hideous that he only opens it in battle so that its venom will slay whoever is unlucky enough to catch glimpse of it; his daughter marries Cian. Also known as Balor of the Evil Eye.

Bel - Celtic Fire and sun God, also God of purification, science, fertility, crops and success. Symbolizes element of fire, health. A sun and fire God closely connected with the Druids and the festival of Beltaine (May 1). Variants: Belenus, Belinos, Beli Mawr (Wales). 

Blodeuwedd - Celtic Maiden form of the Triple Goddess. She was changed into an owl for committing adultry and plotting to kill Lleu. Symbolizes wisdom, lunar mysteries, initiations. Known to help a garden or a child grow. Known as the Ninefold Goddess of the Western Isles of Paradise and Flower-Face, Goddess was created by Math and Gwydion as a wife for the God Lleu.

Boann - Celtic Goddess of the River Boyne and mother of Angus Mac Og by the Dagda. She was the wife of Nechtan, a god of the water. Likewise, Boann was herself a water-goddess, and one of her myths concerns the water. According to legend, there was a sacred well (Sidhe Nechtan) that contained the source of knowledge. All were forbidden to approach this well, with the exception of the god Nechtan (as was noted, Boann’s husband) and his servants. Boann ignored the warnings, and strode up to the sacred well, thus violating the sanctity of the area. For this act, she was punished, and the waters of the defiled well swelled and were transformed into a raging river, a river that pursued her. In some versions, she was drowned; while in others, she managed to outrun the currents. In either case, this water became the river that was known henceforth as the Boyne, and Boann thereafter became the presiding deity.

Another aspect of the myth of Boann is that she bore Angus. She and the All father of the Tuatha De Danaan, the Dagda, engaged in an illicit affair that resulted in the birth of this god of love. However, since both Boann and the Dagdha wished to keep their rendezvous a secret, they used their divine powers to cause the nine month gestation period to last but a single day - or so it seemed, for the sun was frozen in the sky for those nine months, never setting and never rising. On this magical day, Angus emerged into the world. She held the powers of healing. Variants: Boannan, Boyne.

Bran - Celtic God of health. A beautiful woman appeared before Bran and told him to search for a group of islands where there was no sorrow, sickness, death, or evil. He voyaged until he found these islands, most importantly the Isle of Women. He eventually was lured away by a friend, but when he found he was unknown in his native Ireland, he left again. Brother of Branwen and Angus Mac Og. Also known as Bran the Blessed.

Branwen - Celtic Goddess of love and beauty. The sister of Bran the Blessed and Manannan mac Lir, daughter of Lir, and wife of the Irish king Matholwch. Died of a broken heart after Bran’s death. Known as Venus of the Northern Seas

Brighid - Celtic. One of the triple Goddesses of the Celtic pantheon. She is the daughter of The Dagda, the All Father of the Tuatha de Danann, one of the most ancient people of Northern Europe. Some say there are actually three Brighids; one is in charge of poetry and inspiration; one is in charge of midwifery and healing, and the last is in charge of crafts and smiths.

She probably began as a sun Goddess. According to legend, she was born at sunrise and a tower of flame beamed from her head.

As Goddess of fire and water, she is immortalized by many wells and springs. Most important of her monuments, though, was a shrine at Kildare where there was a perpetual flame burning for Brighid. It was tended by nineteen virgins called the Daughters of the Flame, wearing deep crimson habits and bearing swords. They would not talk to men, nor could men come near the shrine. Her feast is St.Brighids Days in Ireland and is the Pagan Festival of Imbolc

When Christianity began its onset, so loved was Brighid that she was made a saint. However, the upkeep on her flame was considered pagan by the church and it was extinguished out of more than a thousand years of burning. St. Brigit remains one of the most popular Irish saints today, along with Saint Patrick.

Identical to Juno, Queen of Heaven. Symbolizes human potential. Also known as Brigit, Brigid, Brigindo, Bride.

Caer Ibormeith Celtic - Celtic Goddess of sleep and dreams; and perhaps a less violent version of Mare; daughter of Ethal Anubail, a faery king of Connacht. She often took the form of a swan who lived on a lake called Dragon’s Mouth, and wore a copious golden chain with 130 golden balls on a silver chain about her slender neck.

She was loved by Aengus MacOg, God of young love. When he awakened from a dream of her he sought her out. After he found her, he too became a swan, and the two of them flew and sang the sweetest, most restful music ever heard upon this earth. Together they flew away to Bruigh na Boinne, his megalithic site north of Tara, where they sang so wonderfully that the whole of Ireland fell into a peaceful sleep for three days and three nights.

Cailleach - Celtic Goddess of disease and plague. A Destroyer, or Crone, Goddess, she was also called “Veiled One”. As the Crone, she ruled with the Maiden and the Mother. Monsterous Dogs guarded the gates of her afterworld realm where she received the dead. Celtic myth has her gatekeeper dog named Dormarth “Death’s Door”. Irish bards who could curse with satire were often called cainte “dog”.

Camalus - “Of the Invisible Sword”, “Heaven”. Celtic God of war and sky. Similar to Mars, only more vicious. 

Cernunnos - Celtic God of virility, fertility, life, animals, forests and the underworld. The Horned or Antlered God is born at the winter solstice, marries the Goddess at Beltane, and dies at the summer solstice. He alternates with the Goddess of the moon in ruling over life and death, continuing the cycle of death, rebirth and reincarnation.

Symbolizes element of earth, love, fertility, death the virile male aspect and the dark half of the year. The two fold aspect of the God year with the Greenman or Jack o’ the Green being his light aspect. This takes on a similarity to the Oak King and Holly King legend. Leads the wild hunt at Samhain, hence the day best associated with the Dark Lord.

Also A consort to the mother Goddess. Druids knew him as Hu Gadarn, the Honored God. Ancient Celtic images show him seated in a lotus position, naked, with antlers or horns on his head. Christians demonized this benevolent God for easy conversion and is where the image of the Christian devil comes from (Couldn’t be further from facts nor truth but alas yet another tragedy of misdeed and “bearing false witness”, to quote a commandment).

Animals that were sacred to him: bull, ran, stag, and horned serpents. Variants: Cerowain, Cernenus, Herne the Hunter.

Cerridwen - Celtic Moon, Grain and Nature Goddess. Cerridwen’s symbol is a white sow. Patron of the poets, greatest of all the bards.

She prepared in a cauldron a magical brew which stewed for a year and would yield three precious drops. These would bestow on the receiver the wisdom of the past, the knowledge of the present, and the secrets of the future.

Cerridwen symbolizes luck, element of earth, death, fertility, regeneration, inspiration, inspiration, the arts, science, poetry, astrology/zodiac.

Cian - The father of Lugh

Creidhne - God of metalworking; one of the trio of craft-gods of the Tuatha De Danaan.

Creiddylad - Celtic Goddess of flowers, love. A daughter of the sea God Lir, connected with the festival of Beltane and called the May Queen. Variants: Creudylad, Cordelia.

Cyhiraeth - Celtic Goddess of streams, her scream fortells death. Coincides with the Beansidhe or Banshee

The Dadga - Celtic (God of the Earth and All Father. He mates with his wife The Morrigan or Raven on the Celtic New Years Eve (Samhain) Also had a secret love of Boann. Also a God of death; the father of Brighid.

A formidable fighter, but a God of simple tastes who dresses in a brown tunic, hooded cape and leather boots. Dagda had a club which could slew nine men with one end, but could bring back life with the other end. He possessed two swine, one of which was perpetually roasting, the other perpetually growing. His other symbols are the bottomless cauldron of plenty and a harp with which he controls the seasons and is the harp that is seen on many Irish flags and symbolizes Ireland to this day(Hehe, Including the signature symbol for Guiness Beer). God of the arts, knowledge, magic, music, prophecy, prosperity, regeneration. Known as the “Good God” and “Lord of the Heavens,” he was one of the high kings of the Tuatha De Danaan and had four great palaces under hollow hills.

Danu - Celtic Goddess, the mother of The Dagda the All father, Creation Goddess, and Mother of the Tuatha de Danaan. Aspect of the Morrigan or Triple Goddess. Considered to have been an early form of Anu, the Universal Mother. Patroness of wizards. Symbolizes rivers, water, wells, prosperity, magick, and wisdom. Tuatha de Danaan literally means Children or Clan of Danu. The Tuatha de Danaan are the Fae folk of Ireland. EXTREMELY potent Goddess form I easily connect with and work very closely with, personally for most of my rituals and castings. Her celebrations were either Beltane and/or Litha (Summer Solstice)

Dewi - An old Celtic God represented by a red serpent or dragon.

Diancecht - Celtic God of healing and medicine. Once saved Ireland. Held sacred to the Druids due to healing powers and often called upon for such castings and rituals.

In the first battle of Moy Tura, Nuada lost his hand. Diancecht fashioned a new one of silver and joined it to Nuada’s arm. One day, Diancecht’s son Miach took what remained of Nuada’s original flesh hand, placed it next to Nuada’s arm, and spoke an incant. After three days and nights the hand was rejoined to the arm seamlessly.

Nuada rejoiced, but Diancecht was furious that his son was a better healer than he was. Diancecht struck Miach thrice on the head with his sword. Miach was able to heal each wound. Diancecht, more furious now, split Miach’s head in two, killing him. From Miach’s grave grew 365 herbs, each one with curative powers for one of the 365 nerves in the body. Miach’s sister, Airmid, picked these herbs and arranged them according to their curative powers.

Diancecht became so enraged that his son rivaled him even after death that he scattered the herbs about, hoplessly confusing them. If Diancecht hadn’t done this, man would be immortal.

Dis Pater - Celtic God, originally of death and the underworld, eventually the chief of Gods. It is said that Dis Pater is the ancestor of all the Gauls.

Don - Celtic Queen of the Heavens and Goddess of air and sea. Ruled over the land of the dead. Corresponds to the Celtic (Irish) Goddess Danu. Symbolizes control of the elements, the moon.

Druantia - “Queen of the Druids”. Celtic Fir Goddess and Mother of the tree calender. Symbolizes protection, knowledge, creativity, passion, sex, fertility, growth, trees and forests. Her feast day was Beltane.

Lleu - Celtic God of harpers, healing, poets, smiths, sorcerers, and waters. Son of Arianrhod and raised by his uncle Gwydion. A curse prohibited him from having and earthly wife, so his uncles made him one out of flowers and named her Blodeuwedd. She and her lover, Gronw Pebr, plotted Llew’s death, but because of Llew’s divine origins, the death simply became an annual duel between the two men. His symbol is a white stag, and is celebrated on August 1, the Celtic ceremony of Lughnasadh. Variants: Llud Llaw Ereint, Llew, Lleu, Lugh

Macha - Celtic Goddess of war, life, and death. Goddess of cunning, death, sheer physical force; protectoress in both battle and peace. Known as the Crow or Raven as she wore a cloak of RavenÆs feathers, often appeared as a Raven or Crow, Queen of Phantoms, and the Mother of Life and Death, she was honored at Lughnasadh or Samhain. Variants: Mania, Mana, Mene, and Minne.

Myrrdin - “Merlin”, Celtic (Britania, Irish & Welsh) Sorcerer, Druid, Wizard and Magician. Originally an ancient Welsh Druid, priest of the old religion, and great magician. He was transformed in the later Arthurian sagas. Tradition says he learned his powerful magic from the Goddess in her forms of Morrigan, Viviane, Nimue, and Lady of the Lake. Legend says he now lies sleeping in a hidden crystal cave. Variants: Merddin, Merlyn.

I’ve finally built up a nice series of essays on writing asexuality and asexual characters in fiction. Here they are, all together in one place. They’re intended to be useful for asexual and non-asexual writers alike. They are also meant to be inclusive of gray-asexual and demisexual characters, although my knowledge is limited there.

These essays assume you already have a basic knowledge of what asexuality means: a general lack of sexual attraction to other people. This is not Asexuality 101; for that, check out the links on my resources page.

Character Development Questions

Demisexual Characters and Relationships

Glossary of Words and Concepts Used in Asexual Communities

Fetishization of Asexuality

How to Show That a Character is Asexual

Negative Responses Asexual Characters May Get When Coming Out

Plot Ideas

Potential Sources of Conflict For Asexual Characters

Sex Scenes with Asexual Characters

Stereotypes to Avoid

Other potentially relevant topics

Aromanticism 101

Aromantic Representation, or Lack Thereof

Lithromantic Story Prompts

Relationships That I Want to See More of in Fiction

Sherlock Holmes as an Asexual Character - May be useful if you need an example or inspiration for how asexuality can influence a character and their relationships.

Character Help

MBTI Personality Test

MBTI Personality Descriptions

123 Character Flaws

Character Trait Cheat Sheet

List of Personality Traits

Character Virtues And Vices

Underused Personalities

7 Rules For Picking Names

Character Names

Character Name Resources

Surnames Masterpost

Types of Voice

Showing Character Emotion

Writing Characters Of Colour

More On Writing Characters Of Colour

All Characters Talk The Same

Character Description

100 Character Development Questions

Character Development Questionnaire

30 Day Character Development Meme

Character Development Check List

Character Development Through Hobbies

List Of Character Secrets - Part 1 - Part 2

Mysterious Characters

Flat Characters

European Characters

Creating Believable Characters

Writing A Drunk Character

Writing Manipulative Characters

Writing Witty Characters

Writing Natural Born Leaders

Writing Rebellious Characters

Writing Indifferent Distance Characters

Writing Bitchy Characters

Writing Popular Characters

Writing Child Characters

Writing Villains

Villain Archetypes

Avoiding LGBTQ Stereotypes

Writing Homosexuals as a Heterosexual

Writing Males as a Female

Writing Convincing Male Characters

Writing Characters Of The Opposite Sex

Revealing A Characters Gender

The Roles Of Characters

Creating Fictional Characters From Scratch

Creating A Strong, Weak Character

Writing Characters Using Conflict And Backstory

Switching Up A ‘Too-Perfect’ Character

Help I Have A Mary-Sue!

Dialogue

Dialogue Tips

Realistic Dialogue

Flirty Dialogue

On Dialogue

General Help

Alternatives To Said

Avoiding Unfortunate Implications

Begin A Novel

Finishing Your Novel

Creating Conflict

Show Not Tell

Words For Emotions Based On Severity

Getting Out Of The Comfort Zone

A Guide To Writing Sci-Fi

Naming The Story

The Right Point Of View

Essential Story Ingredients

Writing Fantasy Masterpost

Five Rules For Thrillers

Pacing Action Scenes

Writing Races

Using Gender Neutral Pronouns

Dos and Don’t of Writing

General Writing Tips

Plotting

Outlining Your Novel

Creating A Compelling Plot

The Snowflake Method

Beginning and End, But No Middle!

Prompts and Ideas

Prompt Generator Lists

Creative Writing Prompts

Story Starting Sentences

Story Spinner

Story Kitchen

Writing Prompt Generator

Quick Story Generator

Dramatic Scenes

Plot Bank

Masterpost of Writing Execrises

Research

Survival Skills Masterpost

Mental Illness

Limits Of The Human Body

Stages of Decomposition

Body Language Cheat Sheet

Importance Of Body Language

Non Verbal Communication

Depression

Obsessive Compulsive Disorder

Post-Traumatic Stress Disorder

Anxiety

Schizophrenia

Borderline Personality Disorder

Degrees of Emotion

List Of Phobias - Part 1 (A - L) - Part 2 (M -  Z)

Psychology In Writing

Psychology Of Colour

Mob Mentality

How Street Gangs Work

Street Gang Dynamics

How To Pick A Lock

Death Scenes

Realistic Death Scenes

Fighting and Self Defence

Fighting Scenes

Problems With Fighting Scenes

Every Type of Fight Scene

Fantasy Battle Scenes

Body Language Of Flirting

Flirting 101

Kissing

Sex Scenes

Ballet Terms

Torture Guide (Trigger Warning)

Sibling Abuse (Trigger Warning)

Dream Sequences

Kleptomania

Psychiatric Hospital

Understanding issues, -isms and privilege

Revision

Cliché Finder

Reading What You’ve Wrote So Far

Synonyms For Common Words

Urban Legends On Grammar

Common Grammar Mistakes

Revising A Novel 

Setting

Average Weather Settings

Apocalypses

World Building 101

Bringing Settings To Life

Creating A Believable World

Mapping A Fictional World

Mapping Your World

Religion in Setting

Sounds to listen to whilst writing

Coffitivity

August Ambience

Rainy Mood

Forest Mood

SimplyNoise

SoundDrown

iSerenity

Nature Sound Player

myNoise

Tools

Tip Of Your Tounge

Write Or Die

Online Brainstorm

Family Tree Maker

Stay Focused

Like I thought I was just acquaintances with this person because they never told me details about themselves and we just talked movies and writing . But then they made time to have coffee with me and they showed up out of breath because they ran. Like. RAN to be on time for coffee with me?

And I was like “i don’t mind waiting” cause I never want to run

But they said they wanted every minute they could get because I’m so busy usually

Which is when it clicked that I didn’t get how much they considered me a friend because I just straight away didn’t see MY signs of affection in them and went “cool! Casual buds it is.” But now that I’m seeing their signs of affection, I feel a little silly for dismissing them like that even though I felt like we could be best bros.

TOUCH got a bro that likes to give high fives? Back slaps? Are they a hugger? Do they not blink an eye at cuddles?

QUALITY TIME this bro will (as op stated) sprint to spend every minute possible with you. Every second that you guys are together is a declaration of affection.

WORDS does your bro tell you how amazing and great and fantastic and wonderful you are all the time? Guess what…?

GIFTS do they buy you coffee? Snacks, energy drinks, spot you at the restaurant? Did that one key chain removed you of them? Ding ding!

ACTS are they always doing things for you? Ie: Nah bro, I got this, I can do that, need me to get anything for you, I can help with…?