I wanted to put all of it together in one place, so I hope youâll indulge me in a celebratory post. I wrote 130,000 words this year and Iâm quite proud of a lot of them. Good Things Come was a fun secret project while I was a stay-at-home Mom with my son, it was an enormous source of confidence and joy once I started posting, a needed distraction in âthese trying times,â and most of all it has been a vehicle for me to meet some really amazing people who have become a very important part of my life.Â
I appreciate everyone who took the time to read it, and I have treasured every comment, kudo, playlist, and recommendation. Those of you who drew art - I hope I have been able to convey how much it has meant to me that you took any minutes of your time to create something based on my story. âĄ
Writing is something I enjoy and it is a secret ambition to one day be published, so now that itâs over and done with, if anyone has constructive criticism I am open to hearing your thoughts.Â
Good Things Come (AO3)
ART:
@epbaker drew for Chapter 20 and Chapter 46.
@theartofdreaming1 drew for Chapter 24 and Chapter 28.
@favlie drew for Chapter 25 and Chapter 26.
@feistypaants drew for Chapter 48 and Chapter 49.Â
@gabiwnomagic drew this with my story in mind, though based on the trend above looks like you owe me a second haha (kidding ily).Â
And @ahtohallan-calling did the lovely calligraphy at the top.
PLAYLISTS:
^both by @leaves-of-laurelin (the first one she added suggestions from other people's comments as well) because I'm spoiled :)
tl:dr - I have emotions, Iâm all over the place, but just lots of love and gratitude.Â
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The best type of fanon is âthis is obviously a mistake on the part of the creator but we are going to continue to create in-universe explanations for it with a seriousness that approaches spiteâ
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As a writer, I have a really bad habit of beginning all of my sentences with âI walked across the room⌠I looked around⌠I grabbed this⌠I breathe deeplyâŚâ and so on. My entire story begins to become very monotonous. Any suggestions on how to break this habit? Thanks!
I think a lot of writers feel this way sometimes, especially because there are only so many ways you can begin a sentence when writing first person point of view. However, I would suggest trying to describe the events of the scene by starting more sentences with âthe vase felt heavy in my hand when I lifted itâ instead of âI picked up the vaseâ or âThe room was dingy and dark with no hint of there being a living person there in agesâ rather than âI looked aroundâ.Â
This is really more of a showing vs. telling issue, I assume, because if youâre describing everything in the form of âI did this, I saw thatâ you are probably missing a lot of opportunities to use imagery, which helps break up those uniform sentences so that they donât sound as monotonous.Â
So a few suggestions:
Vary sentence length, structure, and rhythm
Try using the âOnly start a sentence with a certain word once in a paragraphâ for a while until you donât need to force the variation in sentence style anymore
Describe what the person is doing or seeing or hearing etc. without actually telling the reader that the character is using their senses, as that is usually assumed by the reader once the first person P.O.V. has been established.
Break up âI did thisâ and âI saw thatâ with imagery
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Prompt 30 â âI donât wanna to hurt you.â - Downton Abbey/ Edwardian AU
He helps her out of the car, in the politest manner as possible of course. Though, he wishes he could do more in this moment. It had been his fault that she had gotten hurt.
Kristoff had genuinely thought he was bringing the youngest daughter of the Lord of Preston to a womenâs committee meeting, not the by-election count. He had managed to wrangle her out of there, but not before some men near her had gotten into an altercation, knocking Anna and causing her to hit her head hard against the ground.
By the time he had reached her, the young chauffeur was grateful to see her eyes open, still conscious of her surroundings. The auburn-haired woman had insisted that she was fine on the drive back to the estate.
Even still, they both agree that she needs to clean the gash on her forehead before going to dinner that evening. The last thing she needs is another lecture from her father regarding her opinion on the right to vote.
Anna walks across the motor house toward the chair where Kristoff often takes his breaks to rest. She finds herself lucky that the family chauffeur-turned friend keeps a basin of water nearby for his hands throughout the day.
She watches him as he brings it close to her, placing it onto the straw-covered ground next to her. Shyly the lady manages a smile. âThank you, I very much appreciate it.â
âOf course, I wouldnât want you gettinâ in trouble on account of me.â He responds, taking the rag and ringing the excess water out into the basin.
âBjorgman, reall-â
âKristoff, please.â He corrects, urging her to use his Christian name.
âKristoff.â She gazes at him, taking the damp cloth into her hands from him. âItâs not your fault, you had no idea what I was doing. I deceived you.â
âBut even still, I encouraged this.â He shakes his head, watching as she attempts to press the cloth to her injury, missing every time. âHere, let me.â
The blonde man takes it from the English Ladyâs hand, lightly pressing it to the wound. She barely winces at the contact. âYou donât have to be gentle with me, you know.â
âItâs justâŚâ He sighs, withdrawing the rag from her skin. âI donât want to hurt you.â
âDonât worry about all that.â She reassures, cringing as the cloth returns to her injury with slightly more pressure than previously. Anna watches the Irishmanâs features as he tends to her wound, noticing how his eyes crinkle as they focus on the task at hand as well as how his brows furrow.
Momentarily he pulls away the rag to check the gash, noticing how the redness around it slowly fades. He purses his lips, dipping the rag into the basin to wash out the blood. He glances up at her with a polite smile.
In that moment she is unable to help herself, she leans forward, pressing her lips against his. The rag drops from his hand, surprised at the action thought it is most welcome. His hand comes to cup her cheek, leaning into the embrace.
He withdraws first, panic instilling into his chest, standing abruptly from the ground and turning from her. âIâm sorry.â
âFor what?â She responds, her brows knitting together in confusion. Anna stands from the chair, inching closer to the chauffeur.
âWe shouldnât be doing this.â He clarifies, walking back toward the car as if to do maintenance on the vehicle.
âNobody will know, at least not fro-â
âYou should be returning back to the house.â He cuts her off, unbuttoning the jacket of his uniform. He couldnât bear to look back to see the look of hurt and shame crossing her features.
Without another word Anna leaves the motor house, not wanting to cause any more trouble for the two of them.
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So... I found this and now it keeps coming to mind. You hear about "life-changing writing advice" all the time and usually its really notâbut honestly this is it man.
I love the lawyer metaphor, because whenever I see âJohn knew that...â in prose writing I immediately think âhow? How does he know it?â Interrogate your witnesses. Cross-examine them. Make them explain their reasoning. It pays dividends.
hm. im REALLY against any variation of âthis rule is true in any contextâ because it defeats the point of creativity, but this is good advice for a) beefing up your descriptions and b) communicating emotional tension (eg, the MC has not admitted or processes this feeling but you want to show them having it)
That said, sometimes you would want to just state the characterâs opinion. (& maybe contrast it with their actions, the situation) or use a shorthand when itâs like an introductory side detail.Â
What I like about it though is that itâs NOT stated as a âdonât ever do this in any contextâ rule - itâs not a rule, itâs a challenge. Donât ever do this for the next six months and see how it changes your writing. Not never do it again, just try it and then you can go back to using them but youâll probably do it way more sparingly because youâve built up other tools to use instead of those words.
My favorite relationship in Avatar definitely has to be Zuko with his uncle.
Hereâs a piece I made for the @quarantinefanzine for-charity multi-fandom zine imagining how characters would deal with a quarantine situation. I just illustrated team Avatar chilling on their balcony on a summer day just so it would be more universal and not limited to quarantine.
One of my favorite things is modern adaptations that leave people with the same careers they had in the original material, because unless youâre a cop or a doctor that practically never happens.
Irene Adlerâs an opera singer. We still have those! They donât have the same subtext exactly, but nothing is going to because we arenât the Victorians. She could continue to be an opera singer. I have never seen this happen.
Jonathan Harker can still be in real estate. Thatâs a job people have. A modern story that still involves Dracula contacting his firm to help him purchase property sounds amazing actually.
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[ID: two digital drawings of Sokka and Katara from Avatar: the Last Airbender, depicted as silhouettes sitting in front of sunsets. The first is from Ember Island. The sun and its rays illuminate the clouds in front of a gradient blue-orange sky. Low mountains are on the horizon. Second is from the South Pole, with Sokka and Katara wearing coats. The sun sets in front of a navy blue, orange, and purple sky with prominent stars. There are large mountains and a reflecting ocean in front of them. End ID.]
sunsets arenât quite the same as they are back home.