With over 20 years in fandom, I dedicate myself to binding the stories I like: with more passion than talent 😂. I also reblog the work of others as a way of celebrating fandom and these beautiful works of fan art that are bound fan fiction. For other ficbinders' work, I always use the same hashtag so that they can be found easily: "Fantastic ficbinders and where to find them"
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In a previous post, I stated that the term “unlikable character” is usually a misnomer, and I think it should be swapped out for more descriptive alternatives. However, there are certain things that make me dislike a character so much that it's distracting. This series examines some examples of those situations.
Title: God's Gift to Humanity
Description: This character has a grand total of two vaguely positive qualities, acts like a snake, and yet everyone seems to think they’re the best thing to happen since the wheel was invented.
Clarification: This character hasn't leveraged their wealth, charisma, or looks to come off as a better person. They don't divert attention away from their less desirable traits. They've never done or offered anything to win people over. They're just magically loved by everyone, except there is no magic, because this is just bad writing.
Why It's An Issue: In the real world, whether through altruism or deceit, you have to earn people's admiration and attention. It's distracting to read a story where no one questions or explains why an objectively terrible character is seen as a saint.
What To Do Instead: This character needs to earn their reputation. We need to know why people like them and how they prevent people from questioning their bad behavior.
An Improved Example: Quincy is a rebel leader. He's violent and power-hungry, yet everyone praises his resolve. They don't question his cruelty, despite the sacrifice he demands. He acknowledges their suffering and gives them something to hope for while quietly reaping the benefits of their desperation. Is he any better than the tyrant they just escaped? Perhaps not, but he's certainly more appealing.
Every single character needs to want something. That is more important to know, as the author, than even their physical appearance or most quirks of personality!
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Developing your characters is very important. I see fictional characters as people that only exist on page and in art. They should feel real, human.
Know your characters like you are their closest friend.
Developing characters is more than just a tragic backstory, strengths, and weaknesses. It's knowing their desires, passions, interests, hobbies, and small habits. It's knowing their demeanor and how it shifts in different scenarios and others.
Personally, I believe that characters should be as real and complex as real people.
never forget when I had jury duty and the judge was asking us questions to decide if we were gonna be on the panel and he asked for hobbies so I said “reading, writing, watching movies etc.” and he asked “oh what do you like to write?” And I just said “just short stories yk?” anyways we break for lunch and I go sit on the bench and one of the other tbd jurors sits next to me, looks me dead in the eyes and says
first thing you might want to consider: is the pain mental or physical?
if it’s physical, what type of pain is it causing? — sharp pain, white-hot pain, acute pain, dull ache, throbbing pain, chronic pain, neuropathic pain (typically caused by nerve damage), etc
if it’s mental, what is the reason your character is in pain? — grief, heartbreak, betrayal, anger, hopelessness, fear and anxiety, etc
because your character will react differently to different types of pain
PHYSICAL PAIN
sharp and white-hot pain may cause a character to grit their teeth, scream, moan, twist their body. their skin may appear pale, eyes red-rimmed and sunken with layers of sweat covering their forehead. they may have tears in their eyes (and the tears may feel hot), but they don’t necessarily have to always be crying.
acute pain may be similar to sharp and white-hot pain; acute pain is sudden and urgent and often comes without a warning, so your character may experience a hitched breathing where they suddenly stop what they’re doing and clench their hand at the spot where it hurts with widened eyes and open mouth (like they’re gasping for air).
dull ache and throbbing pain can result in your character wanting to lay down and close their eyes. if it’s a headache, they may ask for the lights to be turned off and they may be less responsive, in the sense that they’d rather not engage in any activity or conversation and they’d rather be left alone. they may make a soft whimper from their throat from time to time, depends on their personality (if they don’t mind others seeing their discomfort, they may whimper. but if your character doesn’t like anyone seeing them in a not-so-strong state, chances are they won’t make any sound, they might even pretend like they’re fine by continuing with their normal routine, and they may or may not end up throwing up or fainting).
if your character experience chronic pain, their pain will not go away (unlike any other illnesses or injuries where the pain stops after the person is healed) so they can feel all these types of sharp pain shooting through their body. there can also be soreness and stiffness around some specific spots, and it will affect their life. so your character will be lucky if they have caretakers in their life. but are they stubborn? do they accept help from others or do they like to pretend like they’re fine in front of everybody until their body can’t take it anymore and so they can no longer pretend?
neuropathic pain or nerve pain will have your character feeling these senses of burning, shooting and stabbing sensation, and the pain can come very suddenly and without any warning — think of it as an electric shock that causes through your character’s body all of a sudden. your character may yelp or gasp in shock, how they react may vary depends on the severity of the pain and how long it lasts.
EMOTIONAL PAIN
grief can make your character shut themself off from their friends and the world in general. or they can also lash out at anyone who tries to comfort them. (five states of grief: denial, anger, bargaining, depression and eventual acceptance.)
heartbreak — your character might want to lock themself in a room, anywhere where they are unseen. or they may want to pretend that everything’s fine, that they’re not hurt. until they break down.
betrayal can leave a character with confusion, the feelings of ‘what went wrong?’, so it’s understandable if your character blames themself at first, that maybe it’s their fault because they’ve somehow done something wrong somewhere that caused the other character to betray them. what comes after confusion may be anger. your character can be angry at the person who betrayed them and at themself, after they think they’ve done something wrong that resulted in them being betrayed, they may also be angry at themself next for ‘falling’ for the lies and for ‘being fooled’. so yes, betrayal can leave your character with the hatred that’s directed towards the character who betrayed them and themself. whether or not your character can ‘move on and forgive’ is up to you.
there are several ways a character can react to anger; they can simply lash out, break things, scream and yell, or they can also go complete silent. no shouting, no thrashing the place. they can sit alone in silence and they may cry. anger does make people cry. it mostly won’t be anything like ‘ugly sobbing’ but your character’s eyes can be bloodshot, red-rimmed and there will be tears, only that there won’t be any sobbing in most cases.
hopelessness can be a very valid reason for it, if you want your character to do something reckless or stupid. most people will do anything if they’re desperate enough. so if you want your character to run into a burning building, jump in front of a bullet, or confess their love to their archenemy in front of all their friends, hopelessness is always a valid reason. there’s no ‘out of character’ if they are hopeless and are desperate enough.
fear and anxiety. your character may be trembling, their hands may be shaky. they may lose their appetite. they may be sweaty and/or bouncing their feet. they may have a panic attack if it’s severe enough.
and I think that’s it for now! feel free to add anything I may have forgotten to mention here!
The Long Way Home: Using Cinema Paradiso and The Odyssey to deepen oyur character arcs.
Ever feel stuck trying to write a character who’s haunted by their past and can't quite reconcile who they are now with where they came from? Sometimes, the key to unlocking a character’s growth isn't a crazy new plot twist, but a lesson from the classics. The 1988 film Cinema Paradiso nails this feeling. It follows a famous filmmaker named Salvatore who returns to his old Sicilian village for the funeral of Alfredo, the local projectionist. The movie is a beautiful love letter to memory and the way we turn our childhoods into myths. It really shows how we have to face the "ghosts" of our past before we can truly move on and start living our own lives.
The director, Giuseppe Tornatore, brilliantly weaves themes from The Odyssey into the story without just retelling the old epic. Think of it like a mirror: just as Odysseus spends years trying to get back to Ithaca only to realize that the home he left is gone and he’s a completely different man, Salvatore has to go on his own "long way home." The village cinema is his Ithaca (it’s the place that shaped his path) but he eventually learns that his journey was really about moving forward, even if that meant leaving behind the version of himself that felt most comfortable.
When you’re writing fanfic, you can use this to avoid the "nostalgia trap." Tornatore doesn't treat the past like a perfect museum; he shows it as a beautiful, flawed memory that you have to step away from to survive. If you’re writing someone like Remus Lupin, try looking past just his trauma as a werewolf. Use this Cinema Paradiso lens to frame his own "Odyssey." Imagine him going back to a place from his youth, like the Shrieking Shack, and realizing he can't go back to being the boy he was before everything changed. Characters like Sirius or James were his "projectionists" who provided the light he watched by, but his real arc is finding the strength to stop watching the "film" of his past and finally exist in the present.
For your own work-in-progress, ask yourself: who is your character’s Alfredo? Who taught them how to see the world, and what happens when they finally have to step out of that shadow to find their own truth? By building their growth around the realization that they can never go home as the person they used to be, you give your characters a deep, relatable quality that mirrors the timeless nature of Homer’s epic. It isn't just about the destination; it’s about accepting that the journey itself is what changes them.
If you want to watch a beautiful Italian film with a nostalgic, postmodern feel, check out Cinema Paradiso. Then, see if you can write a short ficlet based on those ideas.
P.S. These two works are separated by over 27 centuries of human storytelling, yet they use a similar structure to narrate a profound human experience.
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The Burroughs Method: William S. Burroughs and the Cut-Up Junkie Mind...which David Bowie copy.
If William S. Burroughs wrote Percy Weasley, he would strip away the "earnest bureaucrat" trope. Instead, Percy becomes a terminal patient of the Ministry, a man whose nervous system is hardwired into the bureaucratic machinery of the state. He does not want to work for the government because he is ambitious; he wants to work for the government because he is terrified of the void. He sees the Ministry as the only thing preventing the world from dissolving into a chaotic, unorganized smear of biological rot.
In a Burroughs-style narrative, Percy’s ink-stained fingers are not just signs of hard work. They are the stains of the transmission, the physical evidence that he is slowly being digested by the filing system.
Burroughs would treat the narrative not as a linear tale, but as a series of intercepted transmissions, cut-ups, and recurring, hallucinatory images of societal rot. The protagonist is not a person with a "soul" to be saved; they are a recording device, capturing the static and the nightmare of a world that is fundamentally broken.
The Burroughs Blueprint for Your Fic:
1. The Algebra of Need
For Burroughs, everything is a transaction. Whether it is junk, power, or validation, the character is defined by the "need"—a cold, mechanical hunger. The protagonist isn't driven by complex Dostoevskian morality, but by the biology of withdrawal and the desperate, frantic search for the next fix, which acts as the only thing keeping the "Control Machine" from tearing them apart.
Writer Tip: Describe the "need" as an external entity. Don't just say the character is craving something; describe it as a parasite with its own voice, commanding the character to bypass their own ethics.
2. The Cut-Up Reality
Burroughs believed that language is a virus. In your writing, break the flow. Inject non-sequiturs, technical jargon, medical descriptions, and fragmented street slang into the prose. Reality for a Burroughs character is a collage of sensory overload where the past, present, and future bleed together.
Writer Tip: Use sensory disorientation. Shift tenses suddenly or insert a completely unrelated thought in the middle of a sentence to mimic the fractured consciousness of someone who has lost their grip on objective reality.
3. The Architecture of Control
Every setting is a cage. Burroughs’ worlds are filled with "Interzone" spaces—liminal, nightmarish places like bureaucratic offices, hospitals, or back alleys that serve as transit points for sinister authorities (the "Flesh Gardeners," the "Liquidators"). The protagonist is always trying to escape a system that is constantly watching them.
Writer Tip: Make the environment aggressive. Buildings should feel like they are trapping the character; the police or authority figures should feel like faceless, interchangeable automatons.
4. The Virus of Language
Burroughs viewed lies and propaganda as infectious agents. The protagonist’s internal monologue should be unreliable, filled with the "virus" of societal conditioning. He isn't rationalizing; he is repeating the slogans of his oppressors until he believes them, even while his body is rejecting the truth.
Writer Tip: Use repetition. Have the character repeat a phrase or a lie until it loses all meaning and becomes a mantra of their own enslavement.
The TL;DR for Your Next Fic
Focus on the sensation, not the emotion. Cold, clinical, visceral descriptions of physical states.
Use the "Cut-Up." Interrupt the narrative with sudden shifts in setting or perspective to reflect a shattered psyche.
Emphasize the System. The character is never alone; they are always part of a larger, sinister network of control that they are trying—and failing—to manipulate.
Inspired by the Master
Burroughs' influence on pop culture is profound, particularly in the realms of science fiction, rock music, and counter-culture literature.
David Bowie: Bowie famously used the Burroughs "cut-up" technique to write many of his lyrics, including the fragmented, surreal narratives on Diamond Dogs and beyond.
Kurt Cobain: Cobain was heavily influenced by the raw, nihilistic grit of Junky, eventually collaborating with Burroughs on a spoken-word piece called "The 'Priest' They Called Him."
Patti Smith: Often cited as a mentor figure, Smith channeled the visceral, rebellious energy of Burroughs into her poetry and music, blurring the lines between the physical body and spiritual decay.
The Cyberpunk Genre: Without Burroughs' vision of a high-tech, low-life world dominated by "the system," authors like William Gibson (who coined the term "cyberspace") would have had a significantly harder time imagining the dark, dystopian futures that define the genre.
Do you want to write your character as a victim of this "Control System"—someone who is being actively erased by the world around them—or as a small, parasitic cog in that same system, trying to seize control by becoming part of the corruption?
I recently got into bookbinding, and I was really excited to do a Twilight-themed project. So what better book to rebind than Dracula?
My middle-school-self would be happy to know that all those hours practicing the Twilight font did not go to waste. I did the title in silver nail polish, which was nerve-wracking, but it ended up looking very bright and sparkly. The author and pull quote on the back were done with paint markers. The rosary on the cover is a glossy paper with a slight shimmer to it that doesn't show up well on camera.
I wanted to incorporate blood splatter somewhere, but still keep the minimal aesthetic of the original covers, so I opted for the suggestion of blood drops in the rosary beads, and tiny blood drops in nail polish over the d and l of the title that kind of look like fangs.
The endpapers are taken from an out-of-circulation (har har) library book about the circulatory system that had really cool pictures of blood cells. I used scraps from the endpapers for the endbands. And I had the perfect red ribbon for a bookmark to finish it off.
This was my most detailed bookbinding project so far. The precise fonts and minimalistic design left me very little room for error, but it was a fun challenge and overall I'm happy with how it turned out.
The Simone de Beauvoir Method: Lily Evans and the Burden of the "Chosen"
If Simone de Beauvoir wrote about Lily Evans, she would not see her as a saintly mother or a romantic prize. She would see her as a woman who fought to define her own existence in a world that insisted on defining her by her "blood," her "talent," and her "attachment" to men.
De Beauvoir was the philosopher of transcendence versus immanence—the idea that women are often forced to be "the Other" (the object) rather than the "Subject" (the agent of their own lives). In this view, Lily’s story is about the struggle to remain a subject in a world that keeps trying to turn her into a symbol.
The Beauvoir Blueprint for Your Fic: Lily Evans
1. The Myth of the "Born" Heroine
De Beauvoir would dismantle the idea of Lily as a "natural" prodigy. She would show Lily’s magic not as a gift, but as an act of will. Lily’s decision to study, to engage with the world, and to reject the dogma of the Death Eaters would be framed as a constant, exhausting choice to exist for herself rather than for the patriarchal structures around her.
Writer Tip: Focus on the labor of her intellect. Show her books, her experiments, and her long hours of study as an assertion of her own mind. She is not a "genius" by fate; she is a woman who has claimed her own cognitive space.
2. The Conflict of the "Second Sex"
In the Wizarding World, Lily is defined by the men around her—Snape’s obsession, James’s pursuit, and Voldemort’s focus. De Beauvoir would write scenes where Lily is forced to navigate these gazes. She would explore the rage and the suffocating frustration of being the "center" of a narrative she did not write, and the ways she navigates these male expectations without losing her own agency.
Writer Tip: Give Lily a private interiority that has absolutely nothing to do with the war or the men in her life. Show her reflecting on her own philosophical questions, her own fears about the future, or her own desire for autonomy that exists entirely outside of the "Lily Evans/Harry Potter" narrative.
3. The Choice of the Mother
De Beauvoir famously analyzed the "maternal" role as a trap for women—where they are reduced to their reproductive function. For Lily, her sacrifice for Harry would not be framed as an "instinctive" act of motherhood, but as the ultimate, radical political choice. It is the moment she finally asserts her own power by deciding that her existence (and her child's) matters more than the dictates of a tyrant.
Writer Tip: When you write the final moments, frame them as an intellectual and existential decision. She chooses to act; she is not a passive victim of a curse. She is a woman who uses her own agency to create a future for someone else.
4. The Struggle against "The Other"
Lily is constantly told she is "The Other" because of her blood status. De Beauvoir would emphasize how Lily uses this position to see the flaws in the Wizarding social hierarchy. Because she is an outsider to the "pure-blood" tradition, she sees the absurdity of it more clearly than anyone else.
Writer Tip: Use her perspective to dissect the Wizarding world. Let her be the one who asks the uncomfortable questions that expose the hypocrisy of the structures she is fighting against.
The TL;DR for Your Next Fic
Focus on Agency. Every action Lily takes should feel like a deliberate choice, not an obligation.
Deconstruct the Gaze. Show the world looking at her, and then show how she refuses to be defined by what they see.
Prioritize Intellect. Give her a life of the mind that is independent of the brewing war.
Since De Beauvoir was deeply interested in the way we "become" who we are rather than being born that way, would you write Lily as a woman who is constantly re-evaluating her own path, or as someone who finds a firm, unshakeable sense of self by rejecting every label the Wizarding world tries to pin on her?
The second (and positively delightful) fic by @theopteryx that I've finished binding, as well as the first book I've done with leather! With the Indiana Jones-esque story, I really wanted to do a book bound in brown leather... and so I finally caved in purchasing a bunch of leather and some leather working tools and paint for leather bookbinding. I also in classic fashion of remaining true to the images I've cooked up deliriously in my brain decided I wanted to have a stone set in the center (also cardinal to the story) to further complicate matters (as well as doing cordage on the spine). I also rummaged through an old box of semi precious stones from my childhood, and to my delight found one that would work, although it certainly was not flat on one side; which is why I set it within a raised platform after also trimming part of the way through the cover bookboard as well, but I quite like the little elevated platform it is now on. Overall, I really enjoyed the process and am quite pleased on how it turned out, and am excited to continue to do leather bookbinding. As it was my first time working with leather, I've certainly learned a few tricks in which I'll apply to later books, as occurs whenever learning a new medium.
Can Never Wrong This Right (23.5k, E)
Written for the hc_bingo challenge, for the square of 'forced soul-bonding.'
It's 1949 and Dr. Way is a professor of Archeology and Frank is his constantly exasperated (and secretly pining) assistant. When their latest trek takes them to South America to locate the fabled Blood Stone, however, they both find more than they bargained for.
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This ficbind is a gift for a friend who requested it, but I read it before I bound it and it was amazing! Definitely recommend it. Binding details underneath the pics. It's a really enthralling fic where Jason Todd and Tim Drake get sucked into a situation where they have to rely on each other and develop an understanding while their family deals with their loss. All the Batfam feels and emotional trauma of a tortured past, basically.
Amazing typeset by @sammialex who also did her own awesome bind of this one!
Black bookcloth from Amazon, metallic (chrome-finish) silver and red foil, key charms from Amazon. Endpapers from Hollander's I believe although they might be from Sustain and Heal on etsy. Maybe hard to tell with the glare but there are little Red Hood and Red Robin symbols in the o's on the title. I think my Cricut blade is getting dull which made weeding all that text that runs through the labyrinth a nightmare -- the letters kept coming up and I could not get them back down again perfectly straight, but I think the wobbliness adds a little something to it in the end so I'm going to chalk that up to a happy accident despite the amount of cursing I did in the process.
Who knew that me being a bumbling bumpkin and accidentally breaking @sibylofthebes immaculately placed rock in ACNH would lead to being added last minute to the second (annual? 👀) Animal Crossing x Dramione/HP Exchange hosted by @thebinderwholived
(For the record, Sibyl I’m sorry about that. 🙏🏻 Forgive please?)
And then bam. Next thing I know, I draw @floralbearies , one of the very first binders I ever followed. No biggie. No stress for my bind to be immaculate or anything. It’s fine. Everything’s fine. I said it’s FINE! 🫣
A Marriage Of True Minds - Lomonaaeren
Dust Jacket: ACNH screenshot from my lovely island and @pinkbowbindery coming in clutch for the outfits and the extra character for Draco. And yes, she assisted me in this endeavor while in a cast, with a broken bone from our Seattle trip. So who’s the real MVP here?
Cover: designed with the animal crossing leaf 🍃 as the main focus and octopus 🐙 tentacles (peep the little sea creatures) because of the violent, soul devouring tentacle like tendrils of dark creature magic crazy that Harry has to deal with in the fic. Is it a stretch? Meybeh. But it was a good design element. 🤷🏼♀️ really relying on the “green leaf” to pull this “into theme”.
🪡 Hand sewn end bands - chaos is always part of the process.
Fonts: Yes I tracked down the ACNH fonts for the cover and chapter headers.
📝 I made a little DIY recipe notecard to hold my fancy typewriter note, a boarding pass full of embarrassing typos, Polaroid photos, and some stickers and a magnetic bookmark. (I couldn’t get it out of my head that this exchange was due on the 20th and I totally messed up ALL the dates. 🤪 Early is better than late right? Sorry Beth for giving you heart attacks.)