The Astrophile Architect

For this same reason, I need to take a step back before I finish my outline. My thought process is becoming monotonous, which means I’m losing my excitement. When you start a project, you have the idea in your head as perfect, and when those ‘vibes’ become tangible, it is less exciting. That’s unavoidable. But I just need to take a step back, so when I return, I have fresh ideas, and the plot becomes more exciting to me.

So today, I’m going to start brainstorming a new idea I had, which I don’t have an alias for yet, and I have an idea to essentially bind every project I have together, but not in Grishaverse- or Shadowhunters-style where you need to read ten books just to read the one you want. Just a nod to anyone who does read multiple, like when Aelin falls through worlds and sees Rhys and Feyre for a split second.

So. Let’s brainstorm.

My plan, I think, is to alternate weekly. This week, I’ll work on the new one, next week I’ll do FSB. I could just take this new idea and apply it to FSB, except I just don’t see how that would work. I have different worlds in mind, and this new one is a fantasy where FSB is sci-fi(/fantasy. It’s kinda both).

16/05/2021 07.07 I really wish I was a pantser. Even though I haven’t got to the editing stage, my favourite part of writing is implementing new ideas and making changes, but I’m just not a pantser. I need to know where each part is going. Instead, I have to sit here, brainstorming, for days, to figure everything out.

18/05/2021 07.06 I did a lot of work on the 16th, but I was busy yesterday, and didn’t get any writing done, because, when I was free, I was just reading. So, I’ve decided I’m going to at least write before I leave the house, which gives me about 45 minutes this morning. 

23/05/2021 18.30 Based on the fact it has been five days, I think you can tell how good I’ve been about keeping writing. The problem is that I don’t actually have much past a concept for my new project, so I’m trying to figure out how, precisely, I could merge the two projects. FSB is interesting, but doesn’t have a huge amount of depth, which adding the characters from the new project would absolutely do, while the new project is lacking plot, which FSB (at least the first book I’ve planned) does. So, I’m going to start a new Scrivener project, and consider how I can merge the two concepts while implementing both plots.

Is it too much? I have only two main characters in FSB, but five in the newer one, which gives me seven main characters, divided into three groups. And do I want to write a book with so many separate storylines? I know readers (myself included) always end up favouring one storyline over another, getting annoyed when certain POVs come up. I don’t know what to do.

I could keep the new project, but implement FSB? Hold up. New Project (NP) has two protagonists who could undergo a similar development to the protagonists of FSB... I had a plan for the male protagonist of FSB, his arc, which wouldn’t work for NP’s male protagonist, but would work perfectly for its female protagonist...

Tumblr’s glitching. It wouldn’t let me reblog a post earlier, and now it won’t let me save this draft. Please, no.

Okay, so I had to copy what I’d written for today, disconnect and reconnect to the Wi-Fi, then wait for my drafts to load to paste it. Going great!

21.00 So I didn’t get a huge amount done, because I caught up doing ~evening things~, but I at least have a plan going forward, which is an accomplishment

30/05/2021 09.29 I’ve spent the last couple weeks doing everything I can to avoid writing, but i now have an insane amount of free time, so I have no excuse. I want to use this time in a productive way, and, for me, that means writing.

03/06/2021 10.31 I swear to god, I’ve had ‘writing’ on my to-do list every single day, except not doing it is probably my own fault, because it’s been so far down on the list. Also, I’m doing a buddy read, but am also unfortunately descending into a reading slump, so even reading 50 pages takes me about 90 minutes--they’re not even long pages.

I actually went back onto my old Wattpad account earlier, where I found a load of old, unfinished stuff, but none of it was as bad as I thought it would be, and the ideas weren’t bad. I just really have no idea what it is I’m writing right now, and I hate trying to figure it out.

11.30 There are so many Ss in the word ‘assassin’ this is not okay.

This is actually going so well. I have two storylines in my head, a complex cast of characters, and I’m so looking forward to plotting this.

04/06/2021 08.04 Look at me, two days in a row. Anyways, I’m thinking I ought to name these characters ASAP, because it’ll be easier to shape them to their names than it will be to find a name which fits them once they’ve been shaped.

14.41 Here’s what I’m realising: I like to pants plots, but I can’t do that while I’m actually drafting, so I think my plan is actually to bullet point everything that happens, then revise that, then start drafting, so the story is basically set in the first draft.

I’ve actually gone through a lot of stuff--I have workable plot material!

17.16 So, me being me, I’ve semi-outlined (I say semi-, it’s more like a tenth) a trilogy, meaning I have ideas for three books following this storyline, and it... makes sense. It’s the kind of story where I can follow multiple arcs, a few at a time, instead of several overarching ones, or maybe it’s just that I’m letting myself.

07/06/2021 16.44 I don’t have a damn clue what I’ve spent the day doing. I haven’t done anything in a couple days because it was the weekend and I was busy, but I’m back now. The thing is, I haven’t spent the day reading, watching, drawing, or doing anything, really--it’s escaped me. But, at the very least, I’ve relaxed, so who cares?

I’m not applying story structure to the ideas I’m having quite yet--rather, I’m just developing them to see how they bloom on their own, then I’ll fit it in; it just seems like a more natural and effective way to develop.

Yeah, no. It’s too late in the day for this. I have zero motivation.

08/06/2021 09.49 Maybe I’ll accomplish something today; who knows? Certainly not me.

I’m now applying the 3-act structure, but I’m realising I have way too many details worked out for this--switching to more acts.

22.20 Why am I doing this to myself? I wish I could say I’m not entirely sure, but it’s because I can’t sleep, because this project, and my character Lihan, are the only things I can think about, so here I am. I don’t want to be a night writer, but que sera sera (I wish I could type accents on an English keyboard).

23.22 I accomplished more in the last hour on this project than I have in the last four days.

09/06/2021 - 1,115 words 09.29 I really hope I don’t prove today that night-writing is my sweet spot--I don’t want it to be. Can the world just let me have a functional sleep schedule??

Anyways, so, as I’ve mentioned before, I use Scrivener, which enables me to sort which documents are part of the manuscript from the ones that aren’t. I’ve been working outside of the manuscript, but I think I’m going to move them into it--I have a plan I believe will be more effective for my own drafting. I think I very much need the events to be set in stone before I begin writing in actual prose, so how can I do that? Especially when I also enjoy pantsing, but not in prose?

Here’s the plan: I plot out the main events, then bullet point everything in very high detail, similar to what many people call a zero draft, in which they draft a book in short form. I’ll sort the bullet points into chapters (but not scenes, because as I discovered with Bay Tree, I find scene-blocking makes the narrative less natural), leave it alone a while, then revise, so I can have my plot more-or-less set in stone before I work on prose.

As a result, I’m going to shift my plotting into the manuscript section, because it is, essentially, an early draft, and also I want a word count as a progress metre.

13/06/2021 - 1,611 words 8.18 Alas, I have been busy the last few days, but I’m here now.

9.20 The amount of secrets and who-knows-what in this story is genuinely absurd, but I’m sure I’ll clean it up eventually.

14.01 A few days ago, I came across a post about balancing large casts, which is exactly what I have, and the first thing it mentioned was the two-trait rule, in which every character has two traits completely unique to them, to help both reader and writer differentiate. Which I’m now going to implement.

14.42 I have these two characters, and I know exactly what I want their dynamic to be, except I can’t decide who should be which part of it.

I have made my decision. It probably works better now, but it does alter their roles, so I need to fix that.

I literally swapped them round solely because I decided one was taller than the other and thought it would be more interesting if the short one was the sadist. Why do I make my own life so difficult?

14/06/2021 - 1,574 words 11.08 I didn’t make an enormous amount of progress yesterday, but I did make some, and made notes of ideas for relationship arcs last night, so I count that a victory (forced optimism--surprisingly effective). I’m currently just working through bullet-pointing book one, while making notes of events I want in the rest of the series (I’m projecting three books, and telling myself I will finish them). I’m currently fiddling with one of my storylines to see how I can mould it to FSB’s and OH MY GOODNESS I JUST HAD A GREAT IDEA must take notes, one moment pleaseeee.

Okay, so I have four bullet points for relationship arcs and an idea to adjust one of the storylines--I’d say I have six main characters, two of whom are really the protagonists, two of which are my favourites, and the other two are fun, but in need of development. They’re split into a group of four and a pair, and I’m definitely more into the storyline of the four, mostly because the four contains my two favourites, and it’s more developed than that of the pair.

I’ve been keeping a list of things to add: motivations, loose plot threads, plot points I want to include--I really need to re-organise it.

On another note, I am so glad I named the characters as early as I did. I’m debating having two of the characters swap names, but I don’t think I will, because I will absolutely mix them up, and one of them is part of the perfect ship name.

My mouse isn’t working. I changed the batteries, but it’s not working, so now I get the joy of trying to figure out if the batteries I put in are just old or if the mouse no longer works, which would suck.

Yes, I’m going to describe this. Mostly because when I changed the batteries the first time, it took a minute to stop working, and this will waste a minute. So, first set of batteries, which we’ll call set 1, don’t work. I don’t know if it’s both or just one, but if it’s one, I don’t want to throw away both. I take out set 1, I put in set 2. Set 2 works perfectly. So it’s not the mouse. Now I take out battery 2B, and replace it with 1A, so I have 1A and 2A in here. I know 2A works, but I’m not sure about 1A, but the mouse works, so 1A is fine. Let’s replace 1A with 1B.

Yep. 1B is the problem child. 1A works fine, but 1B doesn’t. Lovely. Crisis averted. It would’ve really sucked it I had to get a new mouse. And back to writing!

12.13 I’m bouncing between documents as I organise, which means my word count is actually decreasing, so I feel like I’m making significantly less progress than I am.

I just realised my two protagonists are cousins. I’ve had it in my head that one’s father was the brother of the other’s father, but somehow I didn’t realise that makes them cousins.

I’m about to delete a list because I’ve reformatted it--my word count is currently at 1,958, but is really about to drop.

AND NOW WE’RE AT 1,572. My session word count is -32. Minus thirty-two. I hate it here, but it’s fine, because we’re ~developing~.

15/06/2021 - 2,113 words 09.39 It’s not even technically summer yet, but it’s too hot, and I hate it here. All the windows are open, so everything’s cool, there’s a nice breeze, and lots of light, but the birds are so loud, and I have to keep all the doors closed because the open windows send them swaying and slamming. You know when you close a door when all the windows are open and it slams? Yep. Not into it. 

I feel like every day I try a new way to organise my plotting. I’m unsure as to whether that’s helping me or holding me back, because it forces me to review what I have, which usually sparks new ideas, but I’m not convinced I’ll ever get to the end as long as I keep doing this.

21/06/2021 13.40 I spent the latter half of last week with zero motivation, then I was busy at the weekend, but I’m here now. I’ve been trying to make myself write basically all day--I have a plan, and a list of things I’ve come up with the last few days, but I just couldn’t make myself do it. I’m not in a good mood, but maybe this will help.

I have, however, just reminded myself that I need to prepare this week’s post, because I sincerely doubt either this or my ongoing Recent reads will be ready for Friday. Actually, if I do quite a bit of writing this week, this post might be, but I’m not willing to bet on it.

And oh, crap, now I just want to write a blog post.

No. No I don’t. I started looking at the list of ideas I had, and now I’m just not feeling it. I’m pretty sure when I open my document for this project I’ll lose all motivation too, but it’s worth a shot.

There’s a specific relationship in an anime I recently watched that I want to pull apart--there’s this ship, and the author of the manga has called the two characters ‘soulmates’. There’s just this huge amount of tension between the two, and I want to re-watch the show because I love it, but also so I can take notes to figure out what was so effective about it.

13.53 I’ve been doing this for 13 minutes, but I do think I need to leave this project/outline alone for a bit, give it an opportunity to ruminate, to evolve. In truth, I may not even come back to it until I’ve re-watched the anime I was talking about so I can tear that ship to pieces.

17.33 So I just learned brainstorming is apparently significantly easier on paper. Hm. I’ve just worked out so damn much, stuff I’ve been struggling with.

18.00 I have successfully tied up so many plot threads, simply by working with pen and paper. This is revolutionary. (I know, not really, but it is for me, someone adamant about working with a keyboard and monitor)

22/06/2021 09.42 Seriously, why did I never try actually working on paper before? Something about holding a pen to paper and scribbling and drawing a mindmap--it just works. I’ve been obstinate about avoiding working on paper because I hate physically writing, yet here we are.

25/06/2021 11.09 I’m really not managing much reading at the moment--since I started reading manga, my attention span has just gone down the drain. I’m currently reading Mister Impossible by Maggie Stiefvater, and I don’t think it helped that I had to stop less than a third of the way in to do a buddy read, but I just don’t have much motivation to read it, though I do so want to. I haven’t been listening much to audiobooks lately either, because when I’d usually listen--when I’m getting dressed, waking up, going to bed etc.--I just want to listen to music, because I also recently fell down the well of k-pop, and the group whose discography I’m getting to know at the moment is BTS. Basic, but they’re the fifth group I’m doing, and they have so many songs. Which would happen after eight years, but still.

I want to read so, so badly, but I just don’t feel like reading Mister Impossible. But I do want to finish it before reading anything else. I think I’ll finish my current audiobook, then if I’m still feeling stagnated in Mister Impossible, I’ll switch to the audiobook of that, then just take a break from reading until I’m ready to actually read. 

But this post is for writing, not reading. I did write on the 23rd, but I just didn’t update this post. The 24th I was busy, but my wall is now covered in post-it notes of world-building, characters, gods, plot points, and a whole load of other stuff.

Also, I had an idea for a book title this morning--not for this one, just in general--and when I went to add it to my list, I found a title that would so suit this project. I don’t want to say it, but let’s just say this project will be called ItLotG--or not. That’s a hideous combination of letters. I promise it is actually a good title.

11.52 I’m having another crisis over these two characters. I’m thinking it would make more sense to have L’s betrayal ‘arc’ initiated before the catalyst, or rather have it be the catalyst, except the problem there is that they’re not in the city they need to be in to receive that offer.

UNLESS,,,, what if this point happens just while they’re in the capital.... I’ve got it. 

17.16 I’ve been taking notes this whole time of everything I want to happen in books 2 and 3, and I have so much now i think they’ll be so much easier to plot than this one.

The downside of working mostly on paper is that my plans on Scrivener have been refined to one document, which is now only 878 words.

Right now, there’s a glaring hole between the midpoint and the ending, but my climax is one of those where the climax itself is a very small part of a bigger event, so if I figure out what I want to happen in this big event which is essentially the whole of the third act, I should be able to fill in the rest of Act Two with the setup for that.

So I’m leaving it there for both today and this post. In the last month or so, I decided to start over and mash two projects together, which created a whole new storyline I love, and now I’m mostly done with the first outline. I want to treat outlines as more than just preparation for drafts, because I find notes so much easier to edit than actual prose, and I hate writing without a clear idea of where I’m going. 

I think I’m going to call these ‘runs’--an outline is a run through, a draft a run through, so I’m nearly done with my first run, and I’m very proud of that, so go, go write the idea you have, drink some water, take a nap if you need one, eat if you haven’t eaten in a few hours, and I’ll be back with another writing update innnnnnn probably august, honestly.

Just to clarify, this is not a Death Note review (though I will be mentioning it a lot) but just a ramble about my introduction to manga. I’ve now finished Death Note (which is only 12 volumes) and am planning to read others next, along with watching one of this friend’s favourite animes (because I wanted to read the manga, but then she sent me videos of the characters using their powers, and I just can’t say no to that.

So my friend started Shadow and Bone, and I read the first Death Note volume. At least in this manga, each volume was around 200 pages, containing 8-10 chapters, and I read the first one in its entirety in just over an hour. It was a great feeling--a 200 page prose book would take me about three hours start to finish, and I enjoyed it too. I now know this was partly because it was just the first volume, but it was fast-paced, it set up storylines and mysteries, the story was interesting, and I did like the art style.

I read it so quickly, and was able to log it on Goodreads. This year, I initially set my reading goal at 30 books, because I only read 23 books in 2020 in comparison to my 79 in 2019, but I surpassed that halfway through March, mostly thanks to audiobooks. However, it gave me the ambition to read 100 books this year, but I didn’t want to set that as my goal until i was much nearer it, in case my reading speed decreased (which I was confident it would). I read 12 manga volumes in two weeks. While there is a clear difference between the value of a 200-page manga volume and that of an 800-page book in the context of my reading goal, it was a good feeling. Which means as of today, May 26th, my reading goal is 120 books in 2021, and I have read 60. I’m halfway there, and it’s not even June. (I also would not consider 12 volumes to hold the same value as 12 prose books, but I don’t really care.)

Death Note is set in the early 2000s, when one day, top student Light Yagami looks out of the window in class and notices a black notebook on the ground. After class, he picks it up, and it’s a Death Note, a book in which a person can write somebody’s name with their face in mind, and that person will die. And so, Light takes it upon himself to rid the world of criminals, and becomes the infamous, all-powerful killer ‘God’, Kira. Throughout the series, characters are haunted by Shinigami (Japanese death gods), lose memories, and there is so much deception. In all honesty, I understand like 55% of what happened in the climax, because one person explained how they executed their plan, then the other explained how they undermined them, then the first one explained how they undermined them, and it was just very, very complicated. 

Volumes 7 and 12 killed me. They killed me.

And the biggest shock to me: I loved the format. Reading ‘backwards’ took some getting used to--as in the original Japanese, it is meant to be read right to left, top to bottom, which was surprisingly easy to remember. I was impressed at the character design and the ease with which I could differentiate them. What in prose would have been told in narration was told in imagery, which sent the pace through the roof--and Death Note is apparently a slow manga.

This had a very different structure to typical prose books--where novels in prose have one climax, and the last book in a series has a final, overarching climax, this had several climaxes throughout the series. Sure, they built in intensity with every volume, but not every volume really had a climax. Where I tend to think of stories following a however-many-act structure as ropes, in which various threads are introduced, woven together, dropped and picked back up, Death Note followed more of a domino effect, the issue with which is that very few things mentioned early on foreshadow anything. For example, in the first volume, the Shinigami haunting Light, Ryuk, mentions a deal which will give Light Shinigami eyes, allowing him to see people’s names and lifespans when he sees their faces, at the cost of half his remaining life. This does come into play, but Light denies it and says he would make the deal for Ryuk’s wings--this is never mentioned again.

Also, I hate that I’m putting this bit last, because it means we’re ending on a bad note, but I do have to address it: the sheer misogyny in this series, published primarily in the 2000s, is astounding. The only reason I could put up with it was the sheer lack of female characters (which is not a good thing). Shall we review all the female characters in this series (at least the ones I remember)? It certainly says something that I can think of only four. (And this bit will have spoilers.)

First, Naomi Misora. Misora is female because she is the fiancee of an FBI agent, who obviously had to be male, which makes her female, because heteronormativity. Misora dies in the same volume she’s introduced. She investigates her fiancee’s death (after he was killed by Light), and Light kills her. Simple. That’s it.

Number two. This is the big one: Misa Amane. She’s the most major female character, and is kind of the worst character ever. She’s girly, obsessed with Light, and dislikeable. Also hate the fact she’s significantly shorter and generally smaller than any other character, male or female. At one point, it gave her measurements, and her wait was twenty inches. Twenty. Yes, some people have that, but for 99% of people, it’s impossible. 

Amane has no agency. The vast majority of her actions are under orders by Light, except during her introduction, in which she does what she does with the intention of meeting Kira--AKA Light. Her motivations are to get Light to love her--which he never does. She kills hundreds of people for him, retires in her early twenties to marry him, and does everything he says at the drop of a hat. She gives up three quarters of her life, making the deal for Shinigami eyes to aid Light not once, but twice, after she loses her memory and the eyes in volume 4 or 5. On the plus side, she survives to the end.

Number three: Kyomi Takada. Takada is introduced early on, then dropped, and picked back up. She primarily acts as a middle man, when Light becomes unable to continue Kira’s killings, between Light and the acting Kira. She’s only female because Light communicates with her under the guise of dates, and could literally be replaced by a phone. Also, she dies. Light kills her to save his own hide.

Number four: somebody Lidner. I don’t remember her full name. She is female because she was one of Takada’s bodyguards, and they apparently thought it would make more sense to give Takada female bodyguards. Lidner doesn’t die, but is merely a plot device, as is every other female character.

Four female characters, fine, but when compared to every male character I can name, not so much: Light Yagami, Soichiro Yagami, Ryuzaki, Watari, Near, Mello, Ide, Aizawa, Matsuda, Mogi, Rester, Higuchi, all of whom have more agency alone than the women do combined.

The characters who are women are only women because heteronormativity deems they have to be. Even if we accept heteronormativity, not every other character had to be male. L could be female. Mello could be. Near. Higuchi. Matsuda. Aizawa. Mogi. Ide. Almost every one of them. But, hey, sexism.

Cognitive functions are essentially mental processes, like the algorithms your brain uses to respond to situations. There are eight functions; introverted and extroverted versions of each intuition (N), sensing (S), thinking (T), and feeling (F), abbreviated to the function’s letter followed by either a lowercase e or i for introversion or extroversion.

Each type’s letters determine its function stack, which is the order in which they can access the functions. Every type has all eight, but your function stack is made of your first four, and 5-8 are sometimes referred to as shadow functions, because they are significantly weaker that those in the stack. Your first function is called your dominant, second your auxiliary, third your tertiary, and fourth your inferior.

You can simply google the function stack for your type, but this is how you work it out:

First, if you are a J type, your third letter is extroverted, eg. xxFJs have an Fe function, xxTJs have a Te function. For P types, your second letter is extroverted: Ne for xNxPs; Se for xSxPs. Because this function correlates to one of your middle two letters, it must be either your dominant or your auxiliary function. However, an extroverted (Exxx) type must have an extroverted function as their dominant, and introverted (Ixxx) types must have an introverted dominant. 

I’m going to use, say, ESFP, and INTJ as my examples here. ESFP is a perceiving type, meaning its second letter, S, is extroverted. Se is then one of its first two functions. ESFP is extroverted, as is Se, so an ESFP is Se dominant. INTJ is judging, so its third letter, T, is extroverted, giving it Te. However, INTJ is introverted, meaning Te cannot be its dominant function, and is therefore its auxiliary.

Your function stack alternates between extroverted and introverted. The other of your middle two letters is also one of your top two, and is introverted or extroverted based on this pattern. For example, ESFP, Se dominant, must have a feeling auxiliary function, and has an extroverted dominant, meaning its auxiliary must be Fi, introverted feeling. INTJ, Te auxiliary, must have an intuitive dominant function. Its auxiliary is extroverted, so its dominant is introverted, therefore Ni, introverted intuition.

Your tertiary function is the exact opposite of your auxiliary, and your inferior is the exact opposite of your dominant. Therefore, an ESFP, Se dominant, Fi auxiliary, is Te tertiary, and Ni inferior. An INTJ is Ni dominant and Te auxiliary, so is also Fi tertiary and Se inferior. 

Just to clarify, ESFP’s function stack is Se, Fi, Te, Ni. INTJ’s function stack is Ni, Te, Fi, Se. As seen in this example, types with completely opposite letter codes actually have all the same functions, just in opposite order.

Shadow functions, 5-8, correspond to 1-4, only the introversion or extroversion is opposite. For example, INTJ’s first is Ni, so its fifth is Ne. Its second is Te, so its sixth is Ti, etc. etc.

Because of this, the type with an exactly opposite order of functions is not its complete letter opposite. For example, an INTJ’s ‘opposite’ is actually the ISFJ, who has Fi as their first where INTJ has it eighth, Se as their second where INTJ has it seventh, etc. etc..

The last letter, J or P, in a type’s code has the most impact, because it determines which functions are extroverted or introverted. The second and third letters determine which are one and two, and the first letter. I or E, only determines whether a function is the type’s dominant or auxiliary. This means, functionally speaking, any Ixxx type is most similar to its Exxx counterpart, and vice versa.

When presented with anything, each type will first try to comprehend it with their dominant function, then subconsciously move down the list. 

Take Ti versus Fe. A Ti dominant type (INTP and ISTP) will first tackle a thing with this function, and will reach Fe last, while a Ti auxiliary (ENTP and ESTP) will reach Fe immediately after Ti (though it will first act with its dominant). This means a type’s auxiliary and tertiary functions are far more balanced than its dominant and inferior. For example, an ENFJ is Fe dominant and Ni auxiliary, so its Ni and Se functions are far more balanced that its Fe and Ti.

As for what the functions each mean, they actually act very differently based on its position in the stack, but this summarises them well:

If you search for a specific type’s functions, you can also find how each function acts in its position, eg.

If your type is difficult to determine, function comparisons such as these can help you to differentiate. For me, there was no question that I was an INTx. I act more like your typical INTJ, and many of the descriptions do apply to me, but I think like an INTP, so that is what I am.

1. Bridge of Souls by Victoria Schwab (Cassidy Blake #3)

This is book three in Schwab’s Cassidy Blake series, a middle grade series focused on a twelve-year-old girl who recently had a near-death experience, and, ever since, has been able to see ghosts. More than that, her parents have started filming a TV show about haunted places, and Cassidy has to learn to navigate the Veil beyond the world of the living while trying to fend off malevolent spirits.

Book one takes Cassidy to Edinburgh, book two to Paris, and this brings us to New Orleans. It’s just a short, easy read, without complicated subplots or hundreds of pages of build-up. It’s not one of those books where you have to reread the series to understand the sequel, because it gives you a recap, and it’s just great. Great for someone of middle grade age, and great for a reader who just loves Victoria Schwab.

Rating: 4 stars.

2. The Name of the Wind by Patrick Rothfuss (The Kingkiller Chronicles #1)

This book is absolutely enormous, and reads like the longest prequel ever written, despite the fact it’s the first book in a series.

I listened to the audio version of the first book in the Kingkiller Chronicles, and I don’t even know how to blurb it. I liked it, but not enough for a 28-hour audiobook. I liked it, but not enough to listen to its 42-hour sequel. I want more from such a long book.

This book has insanely high ratings and is so raved about, so I gave it until about halfway through before I realised it probably wasn’t going to pick up. But, I’d already invested so many hours in it, I had to get that one extra for my Goodreads goal, which I now realise makes no sense considering it took me an entire month to get to the end of this, in which I can usually read four or five.

It didn’t feel like it followed a typical story structure, and it felt less like a series of plot lines weaved together than a domino effect, which feels to me very much like a prequel. It was well written, with interesting characters and an interesting world, but I expect more from a book so long.

Rating: 3 stars.

3. Rule of Wolves by Leigh Bardugo (Nikolai Duology #2)

Oh. My. LORD.

This is the second book in the Nikolai Duology in Bardugo’s Grishaverse, and I can barely breathe (speaking of which, Shadow and Bone, out now, on Netflix). Book one, King of Scars, was enjoyable, but not especially exciting, especially as the successor to Crooked Kingdom, speaking of which: I was unaware there was going to be a fourth Six of Crows book. As I was reading this one’s denouement, it definitely felt like Bardugo was setting up at least one more book in this world, another heist, starring my beloved, Kaz Brekker. Nina Zenik, the Crows’ resident Heartrender (ish) has had a perspective throughout this series, but the other Crows (bar Matthias, for obvious reasons) were also in it, and I was trying to figure out the relevance, but I suppose it’s for the next Crows book.

ANYWAY. This was so much more exciting than book one, though there were certain things that felt irrelevant aside from as the set-up of the next book, but it was so entertaining, and I liked how it wrapped up--a note though: I don’t see how Nina could be involved in the next Crows book, but we’ll see.

I just barely even know what to say, except that King of Scars was relatively standard, but this blew it out of the water (not quite Six of Crows level, but I just love the grey morality of that duology).

Also: yay for trans rep.

Rating: 4.75 stars.

4. Scythe by Neal Shusterman (Arc of a Scythe #1)

I read this a couple years ago, got bored, and finished it as an audiobook. It was pretty standard, but then the last book in the trilogy, The Toll, came out, and I realised just how big this series is, so I wanted to give it another shot.

Scythe is set in a utopian future, in which death has been eliminated and immortality has been reached. The population still increases, but the AI that governs Earth can provide for it. However, people still have to die eventually. Citra and Rowan are taken on as apprentice scythes, the Reapers of the world, the only sources left of death. But one scythe has never had multiple apprentices before, so it is decided only one of them will be ordained, and when they are, they will have to glean the other.

I’m so glad i reread this. Initially, I felt very similarly to how I did the first time round: the characters were flat and unlikeable, and there was too much telling. However, this bothered me less over time, the characters became more interesting, more likeable, and oh my lord the ending. Rowan really reminds me of Julian Blackthorn, except i actually like Rowan. But not Julian. Screw Julian.

I would still argue this book is a little overrated, but this time, I’ll definitely be moving onto the sequel.

Rating: 3.9 stars.

5. The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid

Oh, my Lord. This book is so hyped up, and I wasn’t expecting it to be nearly as good as it was. I didn’t particularly enjoy Monique’s part of the story, but I was so invested in Evelyn’s story, I listened to the whole thing in two days.

This is told in the form of a journalism interview, in which an unknown journalist is invited by Evelyn Hugo, aged Hollywood starlet, to write her biography, to be published upon her death. Evelyn tells the story of having to ignore her heritage and go through seven husbands just to be with the love of her life against the odds of the film industry, and you can’t even imagine how good this book is.

I so rarely cry at books--have never ugly-cried unless it brought up something in my real life--and I have never, ever cried at a standalone, yet here we are.

I don’t want to say anything else, because only an hour into the audiobook, I googled fan art and spoiled myself. So don’t do that, just read.

Rating: 4.9 stars.

6. Chain of Gold by Cassandra Clare (The Last Hours #1)

My Lord. Honestly, I tried to pick up The Red Scrolls of Magic before this, and though I love Malec, I found I just didn’t care. Also, the font in my copy is different to in every other Shadowhunters book I own, which sucks.

As for Chain of Gold: this is book one in Clare’s fifth Shadowhunters series, set in 1903 and following the children of The Infernal Devices characters as demons begin to appear again in London after a period of silence.

This is absolutely the more hyped of the recent Shadowhunters books, and starting this, I really thought I was going to give up. It’s 590 pages and I’d already read thirteen books in this world (now fourteen), and it reads so much more like a period romance than it does a fantasy book. I didn’t think I’d care, but then I hit the 300 page mark, picked up motivation, and finished it in two days. I don’t think I enjoyed this as much as The Dark Artifices (though I can’t comment on The Infernal Devices, because I read the trilogy two years ago) but it was excellent.

It took me a while to learn who was who, who was related to who (it took me at least 400 pages to figure out whether Thomas or Christopher was the son of Gideon or Gabriel, though I somehow never forgot Anna was Gabriel’s daughter), and all I could think was that Shadowhunters must be incredibly inbred.

TID/TDA spoiler: I knew Tessa was with Will before Jem, but it was still weird seeing her with him, she and Jem having been together throughout TDA.

By page 100, I already wanted James and Cordelia to be together, but part of me was also shipping her with Matthew. Part of me still is, and his conversation with Lucie (I think) at the end my god. Ouch. 

The social norms in this seemed a lot more prevalent and old-fashioned than in TID, but that may just be because I don’t remember TID so well, or because there were just more people about in this one.

This book is 590 pages long, but the climax was done with by page 510. Falling action/denouement is my least favourite part of a book--I know they have to set up the sequel, but I hate it, because it barely feels like it’s building to anything. And eighty pages. 

I remember when Chain of Iron came out, everyone was complaining about Alastair, so I was really expecting him to be evil, but he wasn’t. At least not by the end of this.

I hate Grace so damn much, but this did manage to keep me interested in the world of Shadowhunters. This is probably the most beautiful Shadowhunters cover (sans maybe its sequel) but the spine looks weird on my bookshelf--it doesn’t match the TID or TMI ones, where they form an image, and it doesn’t match the TDA ones.

Rating: 4.4 stars.

7. The Song of Achilles by Madeline Miller

I read Circe a couple years ago, and enjoyed it, but I was just waiting for it to end. Circe was good, but The Song of Achilles was so much more human.

People talk about how sad this book is, and I see why, but it didn’t do it for me. Like I said for Evelyn Hugo, I don’t cry often at books, especially audiobooks, but Evelyn proved it was possible, and this is meant to be such a sad book.

That said, Achilles and Patroclus’s relationship was so cute, and so very, very gay, as you’d expect. 

Anyway, this is essentially a retelling of the life of Achilles, Ancient Greek demigod, told through the eyes of his mortal lover, Patroclus, throughout his training with Chiron, legendary centaur, and into the Trojan War.

I listened to this in a couple days, because it’s not that long, and, needless to say, I can’t wait for Miller’s next novel.

Rating: 4.5 stars.

8. Thunderhead by Neal Shusterman (Arc of a Scythe #2)

Oh. My. God. Scythe was good. It was incredibly well-written, but it was fairly standard enjoyment-wise. This one, on the other hand... I don’t have words. Mostly I’m still just reeling from the ending.

A couple comments: this book’s protagonist was very much Citra, where book one was more balanced between her and Rowan, and this is basically a sci-fi The Raven Boys. Maggie Stiefvater and Shusterman have very similar writing styles, and I love it.

I really don’t want to say too much--I was unsure where the series would go in this book, and it’s very clear where it’s going next, and I can’t wait to get to it. (Though I am reading the next Last Hours book first.)

Rating: 4.66 stars.

9. An Absolutely Remarkable Thing by Hank Green (The Carls #1)

I feel like I open every summary with ‘oh my god’, but here’s the thing: I’ve been having such a good reading year, and I also just don’t finish books I don’t enjoy. I DNF them, I don’t rate them, and I leave them be.

I started following Hank Green on TikTok last year, then I started watching vlogbrothers on YouTube, and figured I ought to read their books, see what their writing’s like. I haven’t got to one of John’s books yet, but I did get to this. This and its sequel are Hank Green’s only original novels (though I’m sure there’ll be more) and I’m so, so glad I read this. (I’m also so glad I enjoyed it, because I would hate to watch today’s vlogbrothers video having hated this)

An Absolutely Remarkable Thing takes place as April May (yes, that’s her name. It’s weirdly adorable) and her friend come across an enormous statue in New York City, and, assuming it’s some art installation, they make a video about it. Then they find out their video blew up as sixty-four of these statues appeared in cities across Earth out of nowhere.

That’s it. That’s all you need to know. Go read it.

The audiobook was excellent, and I think it was a really great format for this story. The last chapter is from somebody else’s perspective, and we’re treated to the beautiful voice of Hank Green.

Rating: 4.8 stars.

10. Turtles All the Way Down by John Green

I think it’s becoming clear I get through a lot more audiobooks than I do physical ones, which is partly because I just have more time for them, and partly because the books I listen to are generally shorter than the ones I read. Also, I’ve been reading a bit of manga recently, which I don’t want to talk about until I finish the series (but I will. I may even write a whole post about it).

Turtles All the Way Down follows Aza Holmes as she and her best friend investigate the disappearance of a billionaire whose son she used to know, but the story isn’t about that. It’s about Aza’s anxiety, and it’s a really beautiful insight.

I’ve struggled with anxiety myself, but never to an extent like Aza, which I believe is based on John Green’s experiences. Books like this are so important for representation, so people suffering similarly don’t feel like they’re going crazy.

I’ve actually owned a tote bag for this book for a couple years--I got a free one from the bookstore when it came out, and I’m so glad I can now say I actually liked the book on my tote bag.

Rating: 4 stars.

MBTI was popularised by 16personalities.com, which attempts to simplify the system, but isn’t always accurate, and evaluates you on five categories instead of four, one of which is not technically MBTI. I don’t believe 16Personalities is bad, but I do think it’s worth less than your standard MBTI. However, it does give each type a recognisable name and avatar, which are commonly used in MBTI memes.

So, the four categories. First, extroversion (E) versus introversion (I). This is your sociability, essentially whether you generally find being solitary or around others more energising. When asked if they’d describe themselves as an introvert or extrovert, most people say neither, that they’re an ambivert, and this is technically true. Most people aren’t entirely extroverted, or entirely introverted, but MBTI sorts you into one or the other based on what you lean most towards. Depending on which category you fall into, the first letter of your personality code will be either an E or an I.

Second, intuitive (N) versus sensing (S). Intuition gets an N instead of an I simply to avoid repeating letters, and 16Personalities refers to sensing as ‘observant’. This is essentially an assessment of whether your attention is primarily external or internal, on your surroundings or in your own head. Most people would say they’re more so in their heads, but there is a clear differentiation. This is harder to put into words without cognitive functions. Sensors are often mistyped as intuitives, and many claim to be intuitive because intuitives are often seen as more intelligent--this is a trend, not a rule. In fact, the most intelligent people in the world are more likely to be sensors simply because sensors are more common. And with this category, an N or S is added to your code.

Third, thinking (T) versus feeling (F), the easiest category to explain. This is basically whether you make decisions with your head or heart, whether you focus on rationality or emotionality. That’s it, so the third letter in your code will be T or F.

Finally, judging (J) versus perceiving (P). This category is almost impossible to explain without functions, as it holds the most weight in your functions. This is also commonly misinterpreted; every time I’ve taken the 16Personalities test, it’s given me INTJ, when I know I am an INTP. (This was actually where the ‘architect’ part of my blog name came from, the name 16Personalities gives to INTJ. INTP is called the Logician, but is also commonly called the Architect, and I like the alliteration, so I’m keeping it.) I tend to explain this factor as how chaotic your head is; typically, judging types are very organised, and perceiving types aren’t. However, I’m an organised person, but I’m still a perceiving type. 16Personalities refers to perceiving as ‘prospecting’, which is also a pretty good way to look at it: judging types tend to focus on what there is, while perceivers tend to focus on what could be.

And this makes up your four letter code. For example, an ESFJ is extroverted, sensing, feeling, and judging, while an INTP is introverted, intuitive, thinking, and perceiving.

16Personalities gives you an additional letter, T or A (eg. ESTJ-T or ESTJ-A). These stand for turbulent or assertive, and is essentially an evaluation of neuroticism, but it isn’t actually a part of MBTI.

That basically wraps it up, but 16Personalities also sorts the types into four categories, which also aren’t part of MBTI, but are useful for references.

First, the Analysts. These avatars wear purple, and are the xNTx types: the intuitive thinkers, namely INTJ, the Architect, INTP, the Logician, ENTJ, the Commander, and ENTP, the Debater.

Second, the Diplomats. These avatars wear green, and are the xNFx types: the intuitive feelers, namely INFJ, the Advocate, INFP, the Mediator, ENFJ, the Protagonist, and ENFP, the Campaigner.

Third, the Sentinels. These avatars wear blue, and you’d expect them to be the xSTx or xSFx types, but are actually the xSxJs: the sensing judges, namely ISTJ, the Logistician, ISFJ, the Defender, ESTJ, the Executive, and ESFJ, the Consul.

Lastly, the Explorers. These wear yellow, and are the xSxPs: sensing perceivers, namely ISTP, the Virtuoso, ISFP, the Adventurer, ESTP, the Entrepreneur, and ESFP, the Entertainer.

MBTI does not technically determine personality or behaviour, but it does offer an explanation as to how a person’s mind works, and can help you understand others’ thought processes and perspectives.

In my draft, I got to chapter 13 (I think) of twenty-something (because I didn’t fully outline the climax, so I’m unclear as to how many chapters there will ultimately be) but I just don’t think I can get all the way through a draft without first doing some developmental edits. So, for the next few weeks, I’m going to note the changes I think I could make, then figure out which ones I won’t implement, then how I will implement the others on May 10th.

In the meantime, this Thursday, I’m going to start working on a new WIP, which I have quite a clear idea for, but obviously need to develop the plot. So that’s it for today, and I’ll update again for my new project on Thursday April 1st.

Thu 01/04/2021 09.54 It is Thursday! I’m free for a couple weeks! Which means it’s time to start working on a new project. My goal for the day is just to compile some of the various ideas I have into something vaguely cohesive, then I’ll develop it tomorrow, and hopefully make a skeletal outline on Saturday, scene block on Sunday... I’m going to shut up before I set myself a thousand insane deadlines, but I’d like to have started a draft by the end of my free time. So, let’s go.

Wow. Blank documents really are intimidating, aren’t they?

13.04 I already had my core concept, but now I have almost a justification for it--why it happens, and I think I want to build up my world first, then characters, because knowing the world and its various peoples will allow me to figure out how exactly they fit in and develop their motivations, then finally do the plot. I’ll only work out the three characters I’m currently certain will be integral for the plot, because I don’t want to waste time on developing characters who are ultimately unnecessary, like I did in the earliest days of Bay Tree. 

Basically, with a world, I can work out motivations; with motivations, I can work out characters, and with characters, I can create a character-driven plot. I want to focus on creating both lovable characters and a memorable plot--I know all my favourite books have memorable characters, but the ones I enjoy the absolute most are the ones where it doesn’t feel like the plot only exists to drive the characters into relationships (I’m looking at you, Cassandra Clare. Seriously, I love Shadowhunters books, but the technically ‘main’ plots always feel second to the subplots).

Fri 02/04/2021 08.16 Honestly, didn’t get too much done yesterday. Mostly because I ended up down a rabbit hole of researching (though I do think what I learned will help me to form my world), and I was busier than I expected to be. Regardless, I think I want to make this a series. I have a feeling Bay Tree is also going to become at least two books when I revisit it, but I’m going to go into this one with that intention.

Obviously I don’t know how long it will be right now, but I think I’m going to aim for three books, then let it shape itself.

12.25 I just spent an hour writing out a history of the world and how it got to where it is. This is really fun, but really intense.

16.36 So, I have a rough plot in mind. I have an ending, a catalyst, a backstory for the world, and a few characters. And a lot of things that need names. I waited a really long time to name my characters in Bay Tree, thinking they’d be easier to name when I had then conceptualised, which makes sense, but I’d given them numbers with which to refer to them until that point, so it was a long time before my protagonist became her actual name instead of just ‘3′, despite the fact she technically became 2 because I had to cut 1.

Anyway, going to pick names, then let nominative determinism do its thing.

Jesus, I have no good male names. I keep a list of names, first and last, I like for use, but I have so many more female ones than I do male.

In Bay Tree, I used MBTIs as a starting point for personalities, which I’m planning to do here, especially since I know the types so much better now, but I want names first.

Maybe I just ought to choose this specific character’s surname first. Maybe he goes by his surname, or some variation thereupon (like how Daniel Arlington from Ninth House goes by Darlington).

Maybe he doesn’t need a name. Maybe we literally just call him Hero Guy.

God, screw this. He’s Hero Guy until either it comes to me, or I have no choice but to name him.

Sat 03/04/2021 11.15 I feel like crap today. I’ve been doing nothing for three hours, and I, quite frankly, need to get something done. So I’m going to write.

12.41 Wow, initial development really is the hardest bit of the process, huh?

Sun 04/04/2021 08.04 I’d really like to do more worldbuilding first, and character development, but it’s difficult when I don’t know the different parts’ roles. So, today, I’m going to attempt to outline the primary plot points of the three books. Attempt being the operative word here.

13.41 Honestly, yeah, I’m struggling with the plot. I think I managed to get Bay Tree’s plot so fast when I sat down to actually write it because it had been on my brain for a couple weeks, whereas I literally started this project three days ago.

Maybe that’s how I’ll handle this--when I hit a wall with one project, I work on the other to give myself some distance. Working on Bay Tree requires less thought anyway, because that plot’s already mostly figured out. Yeah. I think I’m going to revisit Bay Tree, but for reference’s sake, I’m going to dub the new project... eh... the first thing that came to mind was ‘Feather President’ which is more related to the actual content than ‘Bay Tree’, but it sounds so much crazier. I want to dub it something that actually could be a title, even if it definitely won’t be the final title, because I don’t want people to look at my blog, see ‘Feather President’ in the pinned post and immediately assume I’m insane.

Could always just use an acronym. Let’s go with FSB; those are one of the character’s (also the only character who so far has a name) initials, which may ultimately change, but it works for now. Bay Tree and FSB.

I’m going to end this particular writing stint here and come back in a couple hours, at which point I’m going to switch back to Bay Tree.

I should really stop planning so far ahead when my plans will inevitably change.

15.40 So here’s the plan I currently have that I definitely won’t stick to: at the start of each week, I’ll determine which project I work on (operating Monday-Sunday; if you think the week starts any day but Monday, you’re wrong, and I’m not sorry), and only work on that project throughout the week. So I’ll work on Bay Tree this week, and FSB next week.

I’m going to let myself work on a project for more than one week at a time, but I think I’m going to say I can only work on one for three consecutive weeks before I have to switch to the other. This seems like a good way to stay excited. Yes.

This second? Not completely sure. Might just go read and deal with it tomorrow.

Mon 05/04/2021 - ‘Bay Tree’ 11.37 Actually really glad I just sat down and read--I read about 200 pages yesterday in total, which meant I could easily finish the last 100 pages this morning. So I finished Starsight (the recent reads post will probably be up by the time this one is)--was anyone aware the A Court of Silver Flames paperback is £24 on Amazon? Anyone?

Anyway, we’re returning to Bay Tree today, after nearly two weeks (I know that’s not even long), and I’m going to attempt to implement my edits, by which I mean I’m going to put scene changes at the bottom in brackets, then technically implement them when I redraft.

Tue 06/04/2021 - ‘Bay Tree’ 09.11 I didn’t exactly accomplish much yesterday. I spent a good few hours just watching YouTube, because I didn’t have any motivation to do work, which screwed up my schedule, and I did no writing aside from transferring my list of edits from my phone to my document. I started reading Call Down the Hawk by Maggie Stiefvater, but didn’t get very far in--I’m obsessed with Stiefvater’s writing style; it’s the perfect mix between typical prose and fairytale-style storytelling. Anyway.

I’m going to switch to a new Scrivener project for the sake of cleaning it up--Bay Tree is a hot mess right now--and hopefully begin to implement my edits--maybe not today, but certainly this week.

Thu 08/04/2021 - ‘Bay Tree’ 16.53 So I haven’t yet had a day where I’ve done nothing (since my break finished), but the last couple days I’ve just been doing tiny amounts of what I’m calling ‘reference pruning’, where I’m just editing and clarifying character, worldbuilding and location documents. I’ve ‘pruned’ five character references, and I hate it. It needs to be done, but it doesn’t need to be done now. I’ve decided I’m just going to completely clear out the new Scrivener project I started for Bay Tree, and add stuff to it as it becomes necessary. I’m going to make notes of overarching edits (stuff I can’t just note at the bottom of a scene), and just get started with draft 1.7, adding and editing references as it becomes necessary. I’m also going to say I just need to spend an hour writing a day, rather than a word minimum.

Okay. Edits established. Things to bear in mind established. I need to go through the character profile for the POV character in chapter one, then we can get started. Or rather, I’ll get started tomorrow, because I need to go cook soon, and even if I do have time after dinner, I’m not going to, because I’m going to read then. Okay. Character.

I’m getting excited again!

Oh, and the setting. I need to do the setting document.

I’d like to draw attention tot he fact one of my character documents describes her as having ‘black upturned gold eyes.’ 

Clearly I couldn’t pick a colour, but now I’m inspired to give her heterochromia.

Character done, and setting undone, but I need to go cook now, so I’ll pick this back up tomorrow, when I may also do some actual work.

I just hope these posts give someone security in that writing is a messy process, and you don’t have to be perfect all the time to be a) competent, and b) a writer. I’m a competent writer, and I’ve only ever written about 60% of a draft. But I’m still going, still trying, and that’s the point.

Fri 09/04/2021 - ‘Bay Tree’: 484 words 09.15 Okay. So we’re redrafting, and this is like my fourth draft of the first chapter, so let’s just go.

Sun 11/04/2021 - ‘Bay Tree’: 576 words 09.01 Yeah, I missed yesterday. Ironically, having time off seems to be making productivity more difficult, despite the fact I actually have time for it. 

09.19 I feel like this project is making me stagnate. I think what I have is almost subconsciously tying me down, preventing me from improving, but I don’t want to just restart, because I want my bases, and it’s so ingrained in my head, I can’t physically start from scratch. Crap.

I think it needs to sit for longer. Crap.

It’s alright. I mean, it sucks, but it’s alright. It’s not like there’s any ideal age to become an author anyway, and I’m a long way off the average. I have time, and if it takes shelving projects now to complete better ones later, so be it. Maybe I’ll return to Bay Tree in a few weeks, or a few months, or a few years, or never, but I’ve learnt a lot from it.

So we move on.

Mon 12/04/2021 - FSB 08.05 This post is such a mess. I’m a mess at the moment. Today, we’re just continuing to work on FSB’s plot, and I think I’m already going to change the name of the character whose initials are FSB, so its nickname will probably change, too.

I had a trilogy in mind, but looking at it now, I think a duology will be best to convey the arc I have in mind.

21.51 I’ve actually accomplished quite a lot today--I’ve mostly been doing character profiles, but that helps me form tidbits to add to the story, which I can eventually string together. We’re progressing.

Tue 13/04/2021 - FSB 08.37 Hello! I think I can safely come to the conclusion I prefer development to actual drafting. Anyway, today I’m going to focus on completing the character profile for my other protagonist and do a little more work on another important figure. Then, I hope to be able to figure out the drive of the main plot in book one.

On another note, I am debating whether to plan out two books or three. Mulling it over, I think three books would give a more fulfilling arc, but it depends if I can work out enough content for the main plot. We’ll see.

Yeah, it’s going to be three. Two just can’t carry the impact I want.

20.00 I made pretty good progress today, but I just wanted to make the point I’m a lot more confident this project will hold my interest for longer than Bay Tree. This was something ruminating in the back of my mind for weeks, that I was desperate to write, where Bay Tree was very much a ‘sit down, make something up’ process at the beginning. Anyway, I think I’m done writing for the day, and I’ll get back to this tomorrow. (Because unlike most writers, I have a functional sleep schedule)

Wed 14/04/2021 09.19 Honestly, my head is empty right now, so I really need to open my project before determining what I want to do today.

Okay, so we’re basically just going to continue filling in holes.

14.50 Working out the plot, I’m pretty confident I’ve got the A plot covered, which the B plot will fit into, but I need more subplots.

Thu 15/04/2021 10.12 I want to work this one out mostly on the fly. I have nearly the whole of book one plotted out, but I want to work out the fine details as I write it; as I go, I’ll add more detail to my outlines of two and three. But for now, book one.

15.28 I’ve got basically the whole of book one covered; there’s just a gaping hole in act one, that I’m not sure I can fill. I mean, I can fill it, and I will, but I don’t feel like it’ll be that intentional of a thing. I think it’ll be more of an accidental idea that happens to flourish, but I’m going to keep working nonetheless.

Fri 16/04/2021 14.08 Good afternoon! I would’ve started writing earlier, but I wanted to catch up on the reading I didn’t do yesterday to make sure I finish A Court of Silver Flames within a week, so I can return the ebook and get a refund, because, despite being £6 cheaper than the paperback, it still cost me £8, and I want my money back. (Seriously, the paperback is fourteen pounds on amazon. Which is nearly twenty dollars. Which is pretty standard for a hardback, but it’s the paperback.) I’m about ten pages off meeting my minimum for the day (though I need to surpass that if I do want to finish it within a week), but it’s writing time.

14.37 I’m still establishing how, exactly, it applies, but I think I’ve solved it!

Definitely happy that as I’m planning, all I want is to make the characters happy, because I already love them so much. But they don’t get to be.

I have a section on a Pinterest board that’s just called ‘Simping’, and is just pictures of couples doing cute as shit things, and I literally just want my characters to dance together. Always. In Bay Tree, in FSB. Just dancing.

15.04 I have book one covered. It still needs development, scene development, but I can now move on to outlining book two, during which I’ll continue to develop one, integrate themes and such. 

Honestly, the plot falling into place is absolutely the most exciting part of writing. I get an adrenaline rush (yes, while sitting in a chair, typing), I start to love the characters, the world, the story... ahhhh.

I’m actually really satisfied with how the plot seems to be going.

16.44 The word ambiguous has too many Us in it. Three vowels in a row??? And the vowel sequence is a palindrome?? Don’t want it. 

I’m just sat here discovering new music. And it’s all so good and so dramatic and so perfect.

Okay, why do I have to come up with ideas so easily when I don’t need them? Then when I do I have nothing?

17.51 And just to clarify now, this post will actually end with Sunday the 18th, because after that I’m going to take three weeks completely off writing (aside from noting ideas), because I have a lot going on, then I’ll return on May 10th.

Note to self: develop a character who isn’t one of your two protagonists.

Sat 17/04/2021 10.23 I’m thinking I ought to do a more in-depth outline of book one before doing the basis of book two. Help me set up subplots and so on. Yanno, because other characters need some kind of agency, and I currently basically have two characters.

Sun 18/04/2021  08.52 I managed to plot out Bay Tree so fast because I’d already done so much development--plot was the only thing I was still missing. Anyway, I’m having a minor crisis. I think I’m a plotter, but I’m not entirely certain. It clearly didn’t work for Bay Tree. I think I may just start a draft of FSB now, and hope that lets me work out the other two books as I go.

In one of my excessive plans I will probably fail to stick to: I think I’d like to write a draft of the whole trilogy, all the way through, before even editing book one. I’ll obviously make notes of edits as I go, write as if I’ve already made them, eg. if, while writing book two, I have an idea for a book one edit, I’ll write book two as if I’ve already implemented it, which means I’ll have a little less editing to do of book two.

I have this all planned out in my head, but I’m probably being overambitious. We’re staying optimistic, though. I don’t believe in manifesting, but we’re manifesting.

14.23 I want to say I tried. I got a few details for the first couple chapters, but when I opened a doc to actually write it... nope. I need an outline to have a starting point. I just need detail.

Scene blocking sucks. But then I can’t write without it, so what can you do?

And I guess that wraps up this update. Writing this section, I’m about halfway through the writing break, and I have so many more ideas for this project. I was excited for Bay Tree because it was the first time I really made progress, but I’m excited for this one because I genuinely love this story. This post is going up May 14th, at which point I’ll be back to writing, and the next update should come mid to early June. 

Well, damn.

I mentioned in a recent reads post that I'd read this and had so much to say I was planning a full review, but God only knows whether that or this will be up first, so if it's this one, hi! I read this book.

I'm planning to make this spoiler-free, but if the title of this post doesn't say spoiler-free, it means I'm going to start with a spoiler-free section, then move into spoilers, so if you haven't read this book, don't worry (yet).

Skyward takes place in a (technically dystopian) future in which the remains of humanity upon the Defiant spaceship have crash-landed on the planet Detritus after persecution by the alien race of the Krell. Fast forward several decades, and the Battle of Alta takes place, which allows humanity to drive the Krell back far enough to come together again, and return to the surface. Fast forward a little further, and our story follows teenage Spensa Nightshade, who wants nothing more than to become a pilot and prove both herself and her father, the coward of the Battle of Alta. Then she finds a ship in a cavern - it's broken down, but well beyond any technology humanity has, but fixable. And it speaks.

This book is so well-developed, but that's the basic premise.

So, the story opens, and Spensa gets into flight school. Obviously. The first three hundred fifty pages or so, we're basically just being introduced to a seemingly unnecessary number of characters (which does become less character-soupy as the story continued) and Spensa learns pilot stuff.

In all honesty, it did, even by the end, feel like a few too many characters. For example, Spensa's best friend, Rig, seems unnecessary. His role is as the smart mechanic-guy, and he's fun, but I just don't see why Spensa couldn't be the mechanic. It would've given her a more interesting personality, and just cleaned up our cast of characters.

SPEAKING of Spensa:

'I was Defiant.' What you are, Spensa, is annoying.

At the beginning, Spensa Nightshade is basically your typical I'm-not-like-other-girls. She's smart-mouthed--obnoxiously so--and not pretty, and doesn't fit in, and she's oblivious to flirting. Then, you know, character arcs, and I hate her slightly less by the end of it.

Now. Let's talk romance.

This book has no definitive romance arc, but, as a YA sci-fi, I was expecting it to, so spent the whole book speculating about who was going to be the love interest (and ultimately got it right). The fact Spensa was established with a male best friend worried me we were walking on love triangle-territory, but we weren't, at least so far in this series. Though no romance actually happens in this book, it does set up the obvious romance arc-to-come, and quite well.

Spensa is, however, one oblivious bitch. Like I said before, she's oblivious to flirting. Granted, this flirting doesn't come from the character who is destined to be her love interest (it would be really embarrassing if after the whole series is released and I've read all the books, I look back at this and find out I was wrong). But by God she is dumb.

Towards the end of the book, she makes a couple of comments in the narrative, 'Why was I thinking about [REDACTED]?' and I'm sat here, reading this, like, GEE, I WONDER.

On the plus side, dumb bitches are fun. Unless they're Spensa Nightshade.

I think I love to hate this protagonist.

Ultimately, my issue with this book was the pacing. It's clearly the set-up for a much bigger series (intended to be four books long, as of 12/03/2021) (That's March 12th, not December 3rd), and does so effectively, but so little that happens before we really start to build to the climax is interesting, and most of this book fell flat. Were it anyone other than Sanderson, I probably would have DNFed it, but I didn't, and now I can't stop thinking about it.

Next up on my tbr is the enormous House of Earth and Blood (aka Crescent City) by Sarah J Maas. I'm not 1000% sure now is the best time for me to be reading a 240K word book, but I'm getting FOMO about this book. After that, I'm delving straight into Skyward's sequel, Starsight, which came out last November. The downside of which is, of course, that I will have to wait until this November for Nowhere. The titles of both those sequels make so much more sense now.

So, if you're debating, should you read Skyward? Absolutely. Assuming Starsight lives up to my expectations. If you're somebody who can't bear annoying protagonists or basically a three hundred-page training montage, it may not be for you, but if you are, like me, a sci-fi/fantasy superfan who loves to hate the pain authors wring upon us, you'll love it. Or at least get pumped up for Starsight.

It would be very disappointing if I look back on this and don't like Starsight.

Great. Now I've worried myself. Good night.

This isn’t going to be run-down, or a play-by-play, just any comments I happen to have. I’ll give some context, but this will generally make more sense if you’ve seen the show.

I’ve actually avoided most of the trailers for this show, but it follows Sam Wilson (AKA Falcon, played by Anthony Mackie) and Bucky Barnes (AKA the Winter Soldier, played by Sebastian Stan) after the events of Avengers: Endgame, after the (death?) of Steve Rogers, the original Captain America, who passed the title to Sam.

Let’s get into it.

Episode One: ‘New World Order’ I hate this title, and I’m scared. This episode is 49 minutes long, and I’m expecting the series in total to have roughly the same six-hour runtime of WandaVision, but that’ll be in fewer episodes because WandaVision started in a comedy format, with shorter episodes. Let’s go.

Cue the Marvel intro.

No, no, no, no, no, no. He’s dressing for a funeral. Fuck.

Nope, no funeral. At least not right now.

And he jumps out of a plane with no parachute. Steve Rogers who? I mean, at least he has wings. Steve’s just an idiot. Where’s Bucky?

Okay, this plane break-in is a really fun sequence. Yes, shields, thank you. Sam’s already smarter than Steve. He’s rescuing a Captain Vascant, and I honestly thought he said Captain Croissant. It would make sense. The people on the plane French.

This sequence, flying through a gorge, really reminds me of a game I used to play at a bowling alley arcade. These damn swerves. They’re so satisfying.

I can’t get the WandaVision episode three theme song out of my head. This show was meant to come before WandaVision, but I saw a chronology timeline that claimed this takes place after it.

I’m really not into huge action sequences--I find them to be the most boring part of any superhero movie, but this is a good one. It is, however, ten minutes long. Still no Bucky.

Ahhhh Rhodey!!! Rhodey’s here! (From Iron Man, but then he’s also in the Avengers movies, so you should probably know who he is.)

Oh, Sam’s giving the shield to the Smithsonian. 

Excuse me, he chose not to become Captain America??

Welp, there’s Bucky. Being murderous. EXcuse me??? What did he just say???? Fuck off. I thought the Wakandans helped him :(

Never mind. It was a nightmare. So he’s meant to be being a law-abiding citizen, and failing. He’s in therapy, and she is calling him out. 

Bucky just asked out a girl, and it feels so wrong, but that just shows how immersed I am in the #stucky ship.

So Sam’s widowed sister is trying to get a bank loan, and they’re real idiots. The bankers, that is. They’re having a go because Sam didn’t have any income in the last five years--gee, I wonder why.

Sam just got a text from Torres--a member of the air force, who he’s working with--and the text ends with ‘#important’. I get the feeling the writers don’t understand no-one uses hashtags in texts.

Newsflash, and the mayor’s announcing a new Captain America, and it’s...  show me the face. Show me the face. Who the fuck is that?

Alright, well, and cut to seven minute-long credits. Well. I have questions. A good episode, though nothing exceptional. And just like the early WandaVision episode, no credit scene.

Episode Two: ‘The Star-Spangled Man’ Released March 26th, this episode also has a 49 minute runtime, and the title is clearly referencing the ‘new’ Captain America. I say ‘new’ because even though I don’t know who this guy is yet, fuck him. Anyway.

There’s a guy in some kind of locker room, who I’m assuming is the new Captain America, who was apparently a football player. I just want to know if they pulled more super soldier shit. The captions say his name is John Walker.

Cue the Marvel logo... with some weird-ass music. Okay, it’s just a... dancing marching band, at the Captain America presentation. They’ve given him a new symbol, like an A turned into a five-pointed star. Apparently he’s the first person to ever receive three Medals of Honour, run missions in counterterrorism and hostage rescue, and he has some fancy-ass physicality. This guy seems alright, but I’m just mad they didn’t tell Sam what they were going to do with the shield. At least he likes Steve.

God, Steve would be pissed. Ay, Sam and Bucky are finally in a scene together!

My favourite trope: ‘I’m doing this with you!’ ‘No, you’re not.’ [cut to them doing the thing together]. 

Bucky followed Sam on a mission to Munich, Germany, to do with the Flag Smashers, a free border organisation mentioned in episode one. They’re just glaring at each other, and I love it. God, I love their dynamic.

This has ‘What’s our plan of attack?’ ‘The plan? Attack’ vibes. And Bucky just jumped out of a fucking plane without a parachute. Steve Rogers who? (I think I made that joke in my episode one commentary about Sam. They take so much after their father.)

Sam made a joke about Bucky becoming White Panther after Wakanda, and apparently he’s now the White Wolf. I’m pretty sure that’s a comic book alias, but this is its first MCU mention.

OOOOh, the action sequences in this are fun. And there’s a kid in the back of the bad guys’ truck. Why’s she smiling?

And she just blasted Bucky out onto the road. Wonderful. She’s also a Flag Smasher. Yes, Sam! Yes!

Maybe don’t drive your lorries side by side in the same direction on a two-way road? Just a thought?

And roll in John Walker. You’d think they’d be having a harder time staying stood on lorries travelling this fast.

And Captain America has a fucking gun. No. No. Steve just used a frisbee! Don’t do this, Walker, you bastard.

So apparently the Flag Smashers are all super soldiers. That doesn’t bode well. I don’t think Walker is, though. 

And this suit does nothing for his ass. It just isn’t America’s.

So they all rolled off the lorries, and the bad guys got away. Walker rolled up beside Sam and Bucky in a military vehicle, and they’re just refusing to get in.

‘Just ‘cause you carry that shield, it doesn’t mean you’re Captain America.’ THANK YOU.

‘You ever jump on top of a grenade?’ ‘Yeah. Actually, I have. Four times.’ You fucking what? Why? That doesn’t sound like Steve’s dumbassery, this sounds like genuine heroics. Disgusting. 

And they finally got in the car. So the Flag Smashers want to put things back how they were during the Blip.

‘Does [Bucky] always just stare like that?’ ‘You get used to it.’ !!!!!!

‘I’m not trying to replace Steve.’ Really? Because it sounds like you are.

I hate that the subtitles are calling him Captain America. He seems like a fine guy, but really?

So apparently there was a super soldier in the Korean War. 

Great. Police racism, demanding to see Sam’s ID but not Bucky’s, until the other policeman points out they’re Avengers. Wonderful. And they’re now arresting Bucky for missing his court-mandated therapy.

Also, I didn’t even acknowledge the fact Bucky got a haircut somewhere before the show stars. I was conscious of it, but I didn’t even think to say anything because I’m just used to seeing Sebastian Stan with short hair.

So John Walker got Bucky out. And Bucky’s therapist is forcing him and Sam into a session. HA, she’s giving them couple’s therapy. This is intense. She made them do some soul-gazing shit, and they started having a staring contest!

AND they’re going to go see Zemo, the villain from Captain America: Civil War. I knew he was in this show, but they’re just going to willingly have a conversation with him?? And again, no credit scene.

This was definitely a better episode than the first--the first honestly felt kind of unnecessary, and I think they just wanted to put the new Captain America at the end of an episode to build tension as a cliffhanger, which is a little annoying but does make sense.

I’m going to be constantly comparing this show to WandaVision, but it’s a lot less mysterious than WandaVision. Mystery isn’t necessary for a show to be good; there’s just a stark contrast between the two shows in that aspect.

Episode Three: ‘Power Broker’ Released April 2nd, this episode has a 53 minute runtime. We open with an ad for the Global Repatriation Council, apparently an organisation focused on helping those who were Blipped reintegrate, though I’m really confused what this has to do with anything--it’s not like the ads in WandaVision, because this is the first we’ve had. I guess the GRC must show up in this episode, but I don’t really think the ad is necessary.

I don’t want to give a rundown of this show like I did with WandaVision, so I’m just going to mention which scene each comment is for.

They’ve really given Zemo an atmospheric cell. Also, this bitch, saying the words that turned Bucky into the Winter Soldier. This bitch and his audacity. Now he’s sorry? That’s hilarious.

Why in fuck’s name does Bucky want to break Zemo out??? I’m really with Sam on this one. What is Bucky’s point here?

And now they’re breaking him out. Wonderful. Nope, never mind, just a... imagining? Nope. He did it. Zemo’s out. This seems like a bad idea. He’s going to betray them. That’s just how stories work.

Ah. Snake gut cocktail. Lovely.

I hate that Bucky’s pretending to still be the Winter Soldier. Hate it. And now Zemo’s trying to sell him. No. Good writing, sure, but still.

Love the ‘kill them’, then gets shot. Love it.

SHARON! YAY! I don’t even like Sharon that much, mostly because her romance with Steve was weird, but yay!

Sam: *takes off his shirt* Sharon: Much better.

‘The bionic staring machine.’ I mean, Sam’s not wrong, but still.

I can’t tell if this song, where they’re walking through this place with pistols, is just background music or actually playing, but I love it. Okay, it’s real. It has Umbrella Academy vibes.

Nope. Zemo has his mask. I don’t trust this. There he goes. Wait. He didn’t betray them? Why? It might just be poor comprehension, but I’m confused.

‘You’re not gonna move your seat up, are you?’ ‘No.’ Bucky gets his revenge on Sam. 

So a woman showed up at the end, head shaven, and, according to the subtitles, spoke Wakandan. I think it’s the woman who came with T’Challa in Captain America: Civil War, but i’m not completely sure.

But, hey, that’s episode 3. I didn’t enjoy it as much as episode 2, because, mad as I am they replaced Cap, so far, I quite like John Walker’s character, and I think it’s a really interesting plot line. This was still better than episode 1 though, which just felt like set-up.

Episode Four: ‘The Whole World is Watching’ This episode was released April 9th, this morning, with a 53-minute runtime, and I’ve already been told John Walker does something unredeemable in this episode, so I’m scared. Let’s go.

And we have an explosion, kids. It’s a previously on, never mind. I don’t remember the explosion, but it’s fine. Okay, yeah, the woman at the end of the last episode was the woman from Civil War. I need to look up her name.

Oh, yep, her name’s Ayo, and she’s a member of the Dora Milaje. Lovely.

Jesus, we’re in Wakanda. Why am I scared? Six years ago. Bucky in Wakanda. Right. With Ayo. I hate seeing him cry, God. 

Back to present day. Of course she’s mad about Zemo. I’d also be mad about Zemo. I am mad about Zemo. She gave him a time limit--I think time limits are fun. Build tension. They’re great.

God, Zemo walking down a street full of children singing Baa Baa Black Sheep is so... 80s. Maybe don’t offer sweets to children you don’t know?? Like?? I mean his tactic’s working. Unlike Sam’s. This bitch just turned the children against Sam and Bucky. As you do.

And they have more serum. I’m going to be honest, the supersoldier thing’s pretty elitist, unless they intend to make everyone in the world a supersoldier. I can’t help but see a capitalist versus socialist metaphor here, but then I find those in literally everything.

I do like Walker’s character--he’s entertaining--but as a person, no thank you. I also really like the fact Karli Morgenthau is British, but not quite in the way most British characters in US shows. I fit the stereotypical accent, but you don’t really see other English accents in American shows.

Walker you little bitch, you said he had ten minutes. No, no, no, no, no, no, no, no, no. Don’t guilt-trip Bucky, you shit. And here we go.

I hate the fact this episode mean’s we’re already 2/3 of the way through the series.

And Zemo’s absolutely going to take that serum. Nope. He’s smashing it. I mean, that’s one way. Not the way I expected, but still. And he missed one. Walker’s going to take it. I know he is. And he pocketed it. Yep.

Okay, I would absolutely take the serum if I were offered it. I bet Walker’s going to take it at the end of the episode, though. Who has a bow??

And he’s the Dora Milaje. Pff, it wasn’t even an arrow; it was a spear.  I’m with the Dora Milaje in this scenario, absolutely. Love that Sam and Bucky are just stood there, doing nothing. What’s the point of Lemar Hoskins? He doesn’t do anything.

Don’t unbolt Bucky’s arm, you ass. 

And Zemo’s gone. Now, who could’ve seen that coming? 

Why the hell is Karli calling Sam’s sister??

Sharon put a tracker on Walker? Smart. 

Well, we found Zemo. God, I miss Steve. 

Did Karli just kill Hoskins??

And Walker just smashed this guy’s head in. Lovely. What a Captain America thing to do.  Ooh, the bloody shield’s kind of a vibe though.

So that’s episode 4, and oh my lord.

Episode Five: ‘Truth’ 16th April, and... crap, it’s 07.26, of course, the episode’s not up yet. Will return in like half an hour.

Okay, it’s past 8am, and the episode is...up. Lovely. It’s 60 minutes long, and I’m terrified, because someone told me about a theory that Bucky was going to die in this episode.

Lemar does seem to be dead, which is disappointing, because that would mean his entire character existed solely to motivate Walker to kill that guy, which isn’t very satisfying. Lemar Hoskins is a comic book character though, so who knows.

I mean. At least murderous Captain America is in anguish. He deserves it. Serious credit to the actor, by the way. Wyatt Russell got a lot of hate about his character, and I get why people don’t like the character, but he’s hugely interesting and Russell plays him so well.

So Lemar Hoskins is not dead. Doesn’t exactly put Walker in a good light. He’s obviously not going to give Sam the shield, for God’s sake.

Bucky just looks amazing with the short hair and the blue coat. It’s great. Love it.

And now Walker’s trying to kill Sam. Great idea. Did he take the serum already? Because that would explain why he’s become so brutish. Hold up. No, I don’t think he has. But who knows. Clearly not me.

Yep, trying to choke Sam. Very Captain America of you, John. And he tried to smash his head in. Thank God for Bucky. And Sam got the shield. Good.

There’s cat hair everywhere around me right now.

Well, that intro was very, very fun.

Did Sam just give up the wings...? Why...?

Glad, at least, that Walker’s no longer Captain America. Yep, yelling in a courthouse. Great way to warrant lenience. It’s the good-man-perfect-soldier balance again: Steve was always a good man first, where Walker’s first a soldier.

So Walker did take the serum. That makes sense. It exaggerates personal qualities, so Walker’s anger and... vengefulness.

Is Bucky actually going to kill Zemo? No. No, the gun’s empty. I’m not sure I get why Bucky would take out the bullets intentionally, but alright. 

Hope Zemo has fun with the Dora Milaje.

This storyline with Sam’s sister is so wholesome compared to the rest of the show. So Bucky brought Sam something in a case, and I just want to know what is is. He said is was a gift from the Wakandans, so obviously tech of some kind. New wings?

I’m really confused as to whether or not Lemar Hoskins is dead. He seemed dead. Walker thought he was dead. Then this woman said he isn’t, but now Walker’s going to his family, so... yeah, I guess he is, and I just have really poor comprehension. 

Sam’s nephews playing with the shield is adorable.

Aww, Sam’s learning how to use the frisbee. I know it’s more intense than that, but it’s literally a frisbee.

Soooooo the Flag Smashers are attacking the UN. As you do. 

Credit scene! Credit scene! Walker’s hammering, making... something. A shield. Great. Wonderful. love how he thinks he can make a better one than Tony Stark. Sure. And that, my friends, wraps up episode 5, and marks us as 83% of the way through the show.

Episode Six: ‘One World, One People’ It’s April 23rd. And the last episode is up. Just going to finish the chapter of my audiobook first.

This title is very exciting, and the episode’s 51 minutes long. Let’s go.

Honestly, I’m not huge on shows this intense, but I am enjoying this, which I think is because a) I know the characters, and b) it’s only one episode a week.

Oh, hell yes. Falcon America. Honestly, costume looks kinda dumb. Awww, the subtitles are calling him Captain America. 

This show hasn’t been nearly as exciting as WandaVision, because it lacks the mystery aspect. It’s definitely more for Marvel fans than the other series. What’s next? Loki? Yeah. I just googled it, and Marvel’s really putting out a lot this year. Which is probably because we had a year of nothing, but we’re getting four shows (WandaVision, FatWS, Loki, Hawkeye--which doesn’t yet have a definitive release) and four movies (Black Widow, Shang-Chi, the Eternals, and Spider-Man 3, which I wasn’t expecting until at least next year).

I feel like I just don’t have much to say about what’s happening, because it’s basically just a battle, which I’m never hugely interested in. I’m not really an action person.

Oh, and apparently Ms. Marvel’s this year, too.

Going through a list, clearly, and you mean to tell me we’re not getting Guardians Vol. 3 until six years after Vol. 2??

And fuck. Hey, Walker. In a costume that isn’t yours. Christ, Karli. 

Honestly, I’m really fidgety because all I want to do is watch Shadow and Bone, because the entire series has been out for nine damn hours--I could’ve watched it all by now--but I’ve been busy, and I promised I’d watch it with somebody, and godddd.

We got a far-out shot of Walker dressed as Captain America just then, and I honestly thought it was Nebula. Anyway, offended that Walker dares to think he gets to wear that costume and follow up Steve Dumbass Rogers. Uh-uh.

GOD I just want to watch Shadow and Bone. Christ. I’m desperate. it’s on my Instagram, it’s on Tumblr... that’s it, but oh my God. I so hope it’s good. If it’s bad I’ll literally be distraught.

Oh, thank god. It has 94% on Rotten Tomatoes. Good.

No. Christ. God, I just want to watch it.

Screw it. I’ll finish this episode tomorrow. Byeeee.

Okay, I’m back. I watched all of Shadow and Bone. Let’s keep going!

So I did get about halfway through, yesterday, bar credits, so there’s that.

I love the symbolism of the new Falon/Captain America costume, but that doesn’t stop it from being really, really ugly.

Appreciate the speech about society being screwed up.

Why are they showing the prisoner transport? Something’s clearly going to happen. Did they just blow up the prison van??

And Walker got a new costume. That’s concerning. Give me the name, honey. US Agent. That’s bullshit.

So it is apparently his actual comic book name, but it’s still terrible.

And it said Captain America and the Winter Soldierrrrrrrr. Which is already a film. I mean, the film doesn’t have ‘and’ in it, but still. Anyway. Positive symbolism. Shall we check for a credits scene?

They’re pardoning Sharon. Huh. Nice.

There’s something ominous at play here. Great, so Sharon really is a villain here. That’s fun. 

And that, my friends, wraps up Falcon and the Winter Soldier. I didn’t enjoy it as much as WandaVision, partly for the mystery, but mostly for sheer tone--this was much more your typical darker action film, where WandaVision was more light-hearted, even towards the end.

So, here's ten books I read recently.

1. Skyward by Brandon Sanderson

Hoo. So I finally read this, and, ultimately, I did enjoy it, but it was about two hundred pages too long. I'm sure if the first three/four hundred were condensed, the characters wouldn't feel so developed, but I think it would be worth it to increase the pace. If the pace of this book were on a graph, it would be flat until the last fifty pages, at which point it would increase exponentially.

Anyway, to this book is set in a (technically dystopian) sci-fi future, in which humanity is living on a planet called Detritus, where the crew of a ship called the Defiant crashed during a battle with the alien race of the Krell. This was several generations ago, and for several decades, the original crew split into groups, because when in groups of over a hundred, the Krell could sense, attack and kill them. Fast forward several decades, after a huge battle, humanity now lives together again, partially on the surface. Skyward follows Spensa Nightshade, daughter of a coward from the Battle of Alta, when humanity came back to the surface. Spensa wants to be a pilot, to battle the Krell, defend humanity, and eventually escape past the debris field surrounding Detritus. Then she finds a ship. A ship, broken and run-down, but more advanced than anything humanity has, and fixable. And it talks.

I'm going to keep this one brief because I have a lot to say about this book, and am planning to make a full review, but for now: I was so bored throughout the first three hundred pages. I didn't particularly care about the characters--of whom I felt there were too many--and found Spensa irritating, which bothered me particularly because this book is written in first person. Then, events, action, character arcs, and I left this book absolutely desperate for the next. I think my main issue with this was just the amount of set-up required for the clearly epic saga Sanderson is planning

On the plus side, its sequel Starsight came out in November, so, if all goes to plan, that should be around the third or fourth book on this list.

Rating: um. Last hundred or so pages I feel deserve full five stars, but I think the first few hundred drag this down to about 3.73 stars, specifically.

2. Ghosts of the Shadow Market by Cassandra Clare, Sarah Rees Brennan, Maureen Johnson, Kelly Link, and Robin Wasserman

Honestly, I wasn’t going to read this Shadowhunters novella bind-up. I haven’t read any of the other bind-ups. I only actually decided to read it because I was running out of audiobooks I wanted to listen to, and this was the only Shadowhunters bind-up on Audible. But I’m so glad I did.

So this novella bind-up is set in the world of the Shadowhunters and basically follows Jem Carstairs from the end of the Infernal Devices, up to its epilogue and then beyond. It was released after the Mortal Instruments, the Infernal Devices and the Dark Artifices, but before the Last Hours, the Eldest Curses and the Wicked Powers (obviously, because the Wicked Powers doesn’t even have a title for book one yet). The earlier novellas set up the Last Hours, the later ones the Wicked Powers, and probably the Eldest Curses, too, but I don’t really remember.

I didn’t enjoy the Mortal Instruments, and after reading City of Bones, I listened to the rest as audiobooks so I could read the other series, which I did love (even if I felt the Dark Artifices was unnecessarily long). Chain of Gold, the first book in the Last Hours has been out for just over a year now, and has definitely been the most hyped Shadowhunters book in the recent years, so I can’t wait to get to it, and am so glad I read this and got to know a little about the characters, though I don’t think you need to have read this to read Chain of Gold.

Rating: 4.3 stars. (Yes, apparently I’m doing decimals other than .5 now).

3. The Ballad of Songbirds and Snakes by Suzanne Collins

I finished this audiobook on March 19th, which says something about how my reading’s going this month. Actually, this is the fourth book I read in March 2021, because I also listened to the Mockingjay audiobook this month in my preparation to read this, but I didn’t think it was necessary to include it in this list because I’ve read it so many times before. Four books in twenty days isn’t bad--it’s more than most people read, but still. Especially when three of the four are audiobooks.

So, this book follows Coriolanus Snow, Panem’s president in the original series, as he acts as a mentor in the 10th Hunger Games. These Games are very different to the 74th we see in The Hunger Games, and every character in this book (minus the one character under the age of ten) was alive during the war. Since there have obviously only been nine Games before now, the tributes obviously couldn’t have victors from their districts as mentors the way Katniss and Peeta do, and this is the first year they have any form of mentoring. There’s no training, watching isn’t mandatory, this is the first Games in which they have sponsorships etc. Coriolanus is assigned the female tribute from district 12, and finds himself questioning his morality.

I really wasn’t sure what the point of this book was. It showed more inequality within the Capitol than what the trilogy exposed us to, but it didn’t seem to contain the same message as the Hunger Games, partly because Coriolanus essentially had a negative character arc, so as to become the tyrant, and partly because we knew how it would end. (Spoiler: Coriolanus falls in love with his tribute, but we knew it couldn’t work out because he couldn’t and wouldn’t marry someone from the districts, but he had a wife and daughter in the trilogy.) I don’t understand why Collins is trying to get us to sympathise with this villain--I love sympathetic villains, and anti-heroes, morally grey characters etc., but Snow just isn’t that in the trilogy, so it has little impact.

Granted, I did find the insight to his mind interesting, and the book was very entertaining--and had an excellent narrator--but I just didn’t see the point. I think this had the potential to garner five stars from me, but it just adds so little to the original story, I can’t do it.

(Leena Norms on YouTube made an excellent spoiler review on this book that goes much more in-depth about symbolism, themes etc. You can find it here)

Rating: 4 stars.

4. Eliza and Her Monsters by Francesca Zappia

I read this in three days. I’m not a huge contemporary person, but hell yes. This book? Mwah.

We follow Eliza Mirk, your typical teenage outsider. She hates high school, and is just waiting for graduation. Online, however, she’s LadyConstellation, the anonymous creator of the hugely popular web comic Monstrous Sea. Then she meets Wallace Warland, a Monstrous Sea fan who Eliza soon discovers is actually RainMaker, the most popular Monstrous Sea fanfiction writer. We have romance, we have geeky stuff, we have relatable hatred of school.

I listened to the audiobook (a running theme of audiobooks here, because I was currently very slowly reading House of Earth and Blood by Sarah J Maas, which is 800 pages. If your book’s going to be more than 600 pages, make it two books. Please.), which was a little disappointing because I later found out the book has Monstrous Sea comic strips in it, which are in the audiobook, you just don’t get the visuals. Regardless, the narrators were excellent, and I loved this as my intro to the contemporary genre.

Rating: 4 stars.

5. Sea Witch by Sarah Henning

This was the last book on my audiobook list before I gained a ton more, and though it wasn’t mind-blowing, it was enjoyable, and I do want to read the sequel. Or rather, listen to it.

This book takes place before the game of the Little Mermaid, and follows a young woman who will become the Sea Witch. One day, a girl drowns as her friends fail to save her. Three years later, a girl with nearly the same name arrives in her friends’ lives, though no-one but Evie recognises her, and Evie must help her get the prince to give her true love’s kiss to save her.

The plot wasn’t especially exciting and the characters weren’t especially interesting; the plot was rather predictable, but the writing was excellent and it was enjoyable nonetheless.

I’m curious as to where the sequel will go, because this book’s epilogue is set 50 years after the climax, but I assume it’ll be the retelling of the actual Little Mermaid story.

Rating: 3 stars.

6. House of Earth and Blood by Sarah J Maas

I didn’t want to love this book as much as bookstagram does. In fact, over time, my love for Maas’s Throne of Glass and A Court of Thorns and Roses has faded, especially earlier this year when I listened to the Throne of Glass audiobooks (my second read through), and was struggling by the end, because it took itself way too seriously, and it felt like it was just continuing for the sake of it (I stand that the entire eight-book series could have been four or five books at most, and that’s including the prequel). In contrast, this just didn’t drag. I was intiially overwhelmed by the 800 pages, but, God, it was worth it.

The Crescent City series is set in a modern-day fantasy, with modern technology, but where humans, angels, shifters, fae, and a thousand other kinds of supernatural creatures, live side by side. Bryce Quinlan is half-fae, a party girl, living like tomorrow doesn’t exist, until her best friend, and her best friend’s wolf pack, are murdered. Two years later, a similar string of murders starts up again, though the supposed killer remains imprisoned, and Bryce is recruited by the city government to investigate, with the help of Hunt Athalar, an enslaved fallen angel, who Bryce is incredibly thirsty for.

I made notes while reading this. I had many thoughts, throughout 800 pages.

Maas just really wants to write kind-of-fae protagonists: every one of her books (bar Catwoman: Soulstealer) has a protagonist who isn’t always entirely human, and who isn’t always entirely fae.

It felt like this was only classed as adult instead of young adult so she could use the word ‘fuck’ three times per page--her previous books being young adult didn’t stop her writing graphic smut scenes.

In the first three hundred pages, the main cast walked into the road and halted traffic so many times (being like twice)--Jesus, can we just let the poor drivers be?

This book never really explains the Gods in this world. There’s so much lore, and worldbuilding, but the Gods are never really explained.

Lehabah’s character reminded me so much of Iko from The Lunar Chronicles by Marissa Meyer, and I am so here for it.

‘...Bryce mused, toying with her toes. They were painted a deep ruby. Ridiculous, he told himself. Not the alternative. The one that had him imagining tasting each and every one of those toes before slowly working his way up those sleek, bare legs of hers.’ Right, so the Umbra Mortis has a foot fetish.

Looking back through my notes, I made this one--’I get that it’s more fun to write attractive characters, but not every no-name needs to be drop dead gorgeous’--which is hilarious to look back on because the character I was specifically referencing turned out to be a very big name, but still.

I did enjoy every second of this book, but I still think it could have been condensed. God only knows how many words were in the first draft of this book.

A lot of the words for things in this--Midgard for Earth/the mortal world; Vanir for the supernatural creatures--are from Norse mythology, and I’m so here for it.

By the time the actual truth of the mystery came out, I’d already been given so many assumptions and alternatives as to what happened, that, having finished the book, I can barely remember the actual truth. We were given at least four versions of the story.

Finally, Bryce and Hunt spend literally this entire book lusting after each other, and we hear about their fantasies about each other at least twenty times, but they literally never have actual, penetrative sex. There are explicit scenes, sure, but the most action for himself Hunt gets is alone in the shower.

Anyway, I loved this. It was 1000% better than previous books by Maas, and I want book two immediately. (Maybe not immediately; I’d like to read other books, but still.) I finished it on March 31st, and it was my 30th read of the year, actually completing my Goodreads goal for the year--it was intentionally low because I only read 23 books last year, but in the shortest quarter of this year, I already met my goal. I’m leaving the Goodreads official goal at 30, because I don’t want to push myself too far, but I have a silent goal of 100--if I keep up this pace, I can read about 122 books, but we’re going to keep quiet, because I sincerely doubt I’ll manage that.

Rating: 5 stars.

7. Starsight by Brandon Sanderson

God, this surpassed Skyward. I think part of that is because I already knew a lot of the characters, and Spensa is significantly less annoying in this one. It follows an incredibly different storyline to the first, but still has the same vibes, and was, frankly, a fantastic sequel.

I will say this series reads very young, and it’s very difficult for me to imagine the characters as adults.

Also, called the romance, and they kiss in this one, and it’s actually very anticlimactic. The two characters are in completely different places for most of this book, so there’s not much development, but my God. 

This book, this world... ahhhhh. If you don’t like science fiction, you won’t like this series, but otherwise, just read it. You won’t regret it.

Rating: 4 stars.

8. Call Down the Hawk by Maggie Stiefvater

First off, I love the US cover for this, but the UK one is so much better, and you can fight me on that.

This is the first book in the Dreamer Trilogy, a sequel series to The Raven Cycle, centred on the wonderful Ronan Lynch. The existence of this book was actually why I decided to reread The Raven Cycle--I listened to the audiobooks in, I think, 2018, and didn’t pay a huge amount of attention, which was, in retrospect, a horrible idea, given how complicated the storyline is, but I wanted to read this series, so a reread was required. And, as we know, I’m so glad I did, because I absolutely fell in love.

I do wish this book had more of the other Raven Cycle characters--you’ve obviously got Ronan and his brothers, and Opal, but there was so little Blue, Gansey and Adam. Adam was actually in quite a few scenes, but he’s my least favourite of the main four; Gansey had some texts and Blue had a single phone call, except that chapter was from Declan’s perspective, so we only got Ronan’s end.

Regardless, Stiefvater, as usual, introduced some amazing new characters, more worldbuilding, and I love the way she gives the antagonists’ perspective, too. There’s about a month, as of today, before the sequel comes out, and, fair to say, I can’t wait.

Rating: 4.2 stars.

9. A Court of Silver Flames by Sarah J Maas

I hate this cover change. Utterly inferior to the original covers.

In all honesty, my love for SJM has faded over the last few months--though I do now think House of Earth and Blood may have revived it--but I did still enjoy this. So now let’s go through the notes I made as I went!

First off, though, this is the fourth book in the A Court of Thorns and Roses series, focusing on Nesta and Cassian, but I’m not saying anything else so as to avoid spoiling the first three.

The opening reads like fanfiction. The introductions, the inciting incident--I’ve never been a huge fanfic reader, but this reads like fanfic setup. 

SJM’s apparently going on a Norse mythology surge, what with Vanir in Crescent City and Valkyries here, but I’m really, really here for it

Elain Archeron feels irrelevant. She has imapct on Feyre and Nesta, sure, but she has no agency of her own. People ship her with Azriel, solely because she’s the unmated Archeron sister; he’s the unmated bat boy, but I’m not sure how I feel about that.

I sincerely hope we get more context as to Amren’s origins. There was a little in this, but not enough to satisfy me.

SJM has an obsession with masculinity. Little to a fault, honestly--every one of her male characters in described in some way, shape or form as the epitome of masculinity and ‘male arrogance’, and it irritates me to no end. Honestly, her books all feel like vessels for a sub/dom kink. Just saying.

‘As if she’d been freed from a cage she hasn’t realised she’d been in.’ I didn’t make note of it, but she this was the second time Sarah tried to test whether or not we’d notice this blatant manipulation of the ‘breath they didn’t realise they were holding’ cliche.

Stop capitalising the word ‘Made.’ It’s really not that difficult, and it’s ugly.

And as for the 70% of this book that is purely smut: hate that Nesta’s scent was disguised because Cassian’s ‘essence’ was all over her. What does that mean and why does even her scent submit to him??

Literally all of her female characters fall into the minority of women capable of orgasm from purely penetrative sex: it’s unrealistic, and I’m not entirely convinced SJM understands how the female body works. Also, in both this and Crescent City, she kept saying ‘her breasts pebbled’, and I still have no idea what that means.

I did, however, really enjoy seeing the Winter Solstice celebrations again.

I enjoy the smutty scenes as much as the next reader, but the latter fifth of this book, when they finally stopped shagging and got on with the plot, were so much better than the earlier ones.

Regardless, I did really enjoy this book, and come out with a hugely positive opinion, mostly because I enjoyed the last hundred pages so much.

Rating: 4.1 stars.

10. The Sky Blues by Robbie Couch

I cannot get Robbie Couch’s name right. I keep thinking it’s Crouch, and I don’t know why. Anyway.

This was the Booksplosion book of the month for April, and is very much not my typical thing. I am, however, trying to branch out my reading from purely fantasy and sci-fi, so here we are.

This book follows Sky Baker, an openly gay high school senior in Michigan, who is planning a promposal for his crush. Who may or may not be straight. Then, his promposal plans are exposed to the school in a homophobic, racist email-blast. That’s basically it, which doesn’t seem to me like a lot, but then most books I read aren’t 300-page standalones.

The narrative is a little cliche. We get an appearance-by-mirror on page four, which didn’t exactly give me much faith. There were, of course, also the times Couch pretended he wasn’t using the let-out-a-breath-they-didn’t-realise-they-were-holding cliche: ‘took a burden off my shoulders I hadn’t even realised was weighing me down.;’ ‘a million pounds I hadn’t even realised had been weighing me down for days.’ A nice metaphor, but cliche nonetheless.

It contains so many pop culture references, which are really entertaining in 2021, but will probably really date this in a few years.

Also, minor spoiler: we didn’t even get to see the actual prom. There was the whole build-up to it, the month before, the weeks before, the day before, and we never even got satisfaction.

Regardless, this was an easy, wholesome read, and I think it’ll be a good part of my entry to the world of contemporary.

Rating: 4.1 stars.

Forever, I’ve been frustrated by how often I needed to shampoo my hair - I just wanted to wake up and like how it looks without having to get it wet or fill it with product. I’ve tried to extend the time between washes before by wearing my hair up, or using dry shampoo, but I don’t like having my hair up and, too many days in a row, the constant pull of all your hair tugging on one section of your scalp causes headaches and dry shampoo leaves your hair feeling so much worse than just greasy hair.

During the in-and-out lockdowns of 2020, I continued to wash my hair every few days to maintain a sense of normalcy, but it was still frustrating, and having clean hair doesn’t do much to improve your mood when you’re stuck in the house all day doing online school.

The UK officially went into a national lockdown for the third time on January 5th, 2021, but schools broke up for the Christmas holidays on December 18th, so I began my first attempt at the ‘No Poo’ Method on the December 30th. At this point, I was under the impression I’d be back at school on January 4th, but then it was announced we’d be doing online learning at least until the 11th, then we went into lockdown, and, as of right now, the earliest we’ll be out is March 8th. So, I made my attempt.

I typically washed my hair every three days at the time - day one was lovely and clean and perfect, day two a little straggly but still clean, and day three the day I had to cope with a little grease, lest I lose my precious day two. I had recently been wearing it up when it became oily, however, so as of December 30th, it was more like every five days.

As per usual, by the morning of day three, my roots were too oily for me to be comfortable wearing my hair down as I usually would. As expected, over the next few days, the oil made its way down my hair, until day 10, where everything above the nape of my neck was absolutely slick. I caved, and I washed it. but decided to try again.

My true attempt at the ‘No Poo’ Method began on January 9th, 2021.

Day One - I washed my hair as I usually would. I don’t have particularly dry or oily hair, so I decided to use this as an experiment. I would have liked to go completely shampoo-free ultimately, but, I figured, worst case scenario, I have gross hair for a few weeks, which nobody will see, and probably get to fit a few more days in between washes when I went back to shampoo. 

It’s really not good not to wash your hair at all because it lets bacteria and dead skin build up on your scalp, but I decided I would only rinse and/or condition it after two weeks.

Day Three - I woke up on the morning of day three to find my hair, which would usually be greasy by now, completely wearable. It looked as it usually would on day two, but was its typical day-three self by about 6pm.

Day Fifteen - Throughout the next two weeks, the grease made its way down my hair. Aside from that, however, nothing much had changed. My hair was slicker and clumpier than usual, but that was it. My oil slick was still a few inches from the ends, which were beginning to get a little dry having not been conditioned for two weeks. On day fourteen, I rinsed my hair with only water and conditioned it to save my precious ends. Running your fingers through your hair when wet becomes a lot more difficult without shampoo to act as a lubricant, but, I was only a third of the way through the average transition period of six weeks, so I sucked it up. I let my hair air-dry, and by the time I brushed it out, it was still oily, but no longer left my fingers feeling like I’d eaten a bag of crisps. It wasn’t quite okay to be worn down, but it was odd - when my hair did get greasy, I was used to it being concentrated at the roots, where, now it was spread more evenly. I was also left with flakes of my scalp in my hair, apparently from finally loosening the dead skin trapped there. Despite not being someone prone to dandruff, I knew this would probably happen, so I let it be and braided it back.

Throughout the week, it seemed to be getting more oily significantly more slowly than ever before, but, of course, was still just getting dirtier.

Day Twenty-Two - A week later, I rinsed my hair again, and it reverted to exactly how it looked on day fourteen, though now it was stiffer, losing its natural wave and my roots were sticking to themselves in a way that can only be described as ‘waxy’. Now halfway to the six-week mark, I was incredibly unsatisfied with what I was seeing. It was no longer just a matter of braiding it back and ignoring it; brushing it had become laborious and there was so much skin being left on my brush. I decided it was time to try something new - I bought a boar-bristle hair brush to see if it would make a difference, since it was meant to be better at distributing oil along the strands.

Day Twenty-Three - The very next day, I rinsed it again to see if it would make any extra difference. Double-shampooing your hair is meant to make it cleaner, so surely double-rinsing would do the same - right? Wrong. It made no difference whatsoever.

Day Twenty-Eight - I rinsed my hair without conditioner a night early, and was left with pretty much the same results. My hair was now completely waxy, and my new boar-bristle brush was covered in flakes of my dead skin. Only now, I noticed that my hair brush had begun to smell, and my hair smelt similar. I had only just noticed it, however, and it wasn’t that strong, so I braided it back, and left it be.

Day Twenty-Nine - My hair and brushes smelt so bad by morning, I couldn’t take it anymore. I shampooed my brushes and washed my hair with only conditioner in an attempt to get rid of the smell. Thoroughly. As in, conditioner-scrubbed-into-the-roots twice-as-much-as-usual thoroughly. As usual, I left my hair to air-dry for the next few hours. About to go on a walk with my sister, I tried to twist it into the top-knot I had been donning those few times I was leaving the house (buns were more effective at disguising the grease, but I mainly wore it in a braid to avoid headaches) and I just couldn’t do it. I smoothed my hair as much as I could before pulling it up, but it just wouldn’t listen. I gave up, and wore it in a lovely weasel-braid out, which didn’t look so bad. However, I felt I had reached my limit. if I could no longer put my hair in a bun to leave the house, I didn’t know how I was going to survive any longer without shampoo.

This was essentially when I gave up. Having rinsed my hair both the night before and that morning, I decided to force myself to bear it for a few more days before shampooing it, but I had decided it was coming that week.

Day Thirty-Two - My hair hadn’t changed in days, but I started to really miss just having it down around my shoulders.

Day Thirty-Five - I tried to put my hair in a bun, which I hadn’t done for a few days, as an experiment. I literally couldn’t do it; when I changed my parting even a little, I suddenly became unable to detangle it, and trying to put it up was impossible. My hair had started to matt, and I decided it was officially time to wash it, which I planned to do the next morning, once I had officially hit the five week mark.

Day 35+1 - I’d been looking forward to finally washing it, and, honestly, getting the shampoo finally on my hair felt like some kind of betrayal. I made sure to use sulphate-free shampoo, because it seemed a little extreme to use my regular shampoo. My hair came out as usual, but it seemed curlier, more hydrated and less frizzy than it usually is when I initially wash my hair, but I can’t say whether that was because of the experiment or just because I used sulphate-free shampoo. 

Day 35+2 - My hair felt as it usually does the day after washing it, and looked it, too, but since it had looked this way on Day One too, I was impressed, but not willing to jump to any conclusions as of yet.

By the end of the day, however, it wasn’t as greasy as it would usually be this long after washing. It felt healthier - it was pretty healthy to begin with, but even so - and seemed longer, though that was likely just due to the novelty of having it down for the first time in over a month.

Day 35+4 - It was now a little oilier than I’d typically be willing to wear it down, but I did anyway because we’re in lockdown and no-one’s going to see me.

In conclusion: I didn't wash my hair for another two weeks after that, and even though I'm now back to a regular hair wash schedule, it now takes an extra day for my hair to become too greasy to wear, which is a success.

Would I do this again? I'd say no, because I hated it. Thanks to your good friend and mine, the patriarchy, my self-worth is hugely based on my appearance! Which hair makes a big impact on! Which made me feel like crap for a long time! It was also itchy, it felt gross, and I hated the experience.

I included today in my first writing post, which you can find here, but, while outlining, I realised something that will result in a major plot change (even though I probably should wait until revisions, it sorts out the climax I'm currently incredibly vague on, and will help me actually be able to complete the draft), and felt it was time to start a different post, because the other one was long, and already had its own focus.

Previously, I've been setting mildly insane word count goals, and even though I'm sticking to vague targets, I'm going to drop that, because I need to do a major plot change, and that'll mean the word count isn't going up that much for a while.

So, I have my first and second acts good, but while outlining act three, I've realised the event at the start of act three would work better as a climax than the vague battle idea I have. It just seems more original, more effective, but it means I need to shift events around and re-figure the first block of act three. I'll begin tonight, but it's already 8pm, so I'll probably do most of it tomorrow.

Sun 07/03/2021 - Word Count: 28,365 08.24 I'm reworking act three, and I think I may just drop drafting for the moment and focus on incorporating the edits I have in mind, then start drafting over. I know all the advice says not to go back and edit, but this is a big change I can't wait to do, so it seems opportune to just make the others, too.

08.31 I've now finished reworking act three, and I'm much more satisfied with it than I was before. I do now need to go through the scenes again, however.

13.57 Still re-scening. This is frustrating, but I've decided when I'm back to drafting, I'm going to drop my daily minimum to just 500 words - even though I'll make very little progress at that pace, it's more realistic considering I'm about to be plunged back into the world of homework and commuting, and it's something I'll always be able to meet to help me keep in the habit of daily writing. Word count isn't applicable when I'm doing re-scening like today, though.

Something else I've noticed, when I'm writing literally anything, I'm just scribing the words I'm literally hearing in my head, which is a little bit of a problem because where I wrote 'meet' just now, I meant 'meet' but heard 'eat' in my head and wrote 'eat'.

17.07 I feel like I'm finally making some progress - I've been writing on-and-off all day. My word count has actually decreased a couple hundred words since yesterday, but Scrivener is convinced I've written 42,000 words today, which I obviously haven't. I've typed a lot of words, but not that many, not all of which added to that since deleting words takes words off that number. It thinks I've written so many, however, because I duplicated my act one folder twice (then deleted it, obviously, because I don't need three copies of the same act) but Scrivener doesn't take off the words when you delete the file, only when you literally hit backspace.

17.50 Sorting out my climax, I'm realising how bad it was before. Which I guess is good, because it shows internal criticism and growth...? Or something...?

21.04 I've totally planned out the majority of act three, but I haven't finished it because where I'm up to ends with my characters essentially making a game plan, and since I'm not yet sure what that game plan is, I can't outline the bit where they carry out the plan, but I'll do that later. I've incorporated some of the edits I wanted to make, though I've left a couple out because they're less drastic and I'm not sure whether or not to include them, so I'm going to sort that either during or after my first draft.

Since I've made quite a few changes that will affect the parts I've already drafted, I'm going to start my draft over, and reset my word count, but I'll do that tomorrow. For now, Scrivener thinks I've written 42,385 words today, which I absolutely have not, and my word count is currently 28,365, but I'm going to remove every outline and drafted piece I've done so I can start from zero for what I'm going to call draft #1.4, because I already wrote a version of about 40% of it.

God, my word count has gone back to 0 of my minimum 50,000. That hurts. It really hurts. My actual goal is more 70-90K, but 50K is my minimum, so that's what I'm going with for now.

Anyway, goodnight, and good luck me.

Mon 08/03/2021 - Word Count: 820 So, I wrote 820 words before school, then got home, attempted to do some homework and lost all motivation and will to do... anything. Which means I'm very glad I did over my 500 words this morning.

Tue 09/03/2021 - Word Count: 1,367 15.07 I called this a #1.4 draft, but it's more like a #1.3. Anyway, writing is so much less stressful when I'm working from something I've already written - with the first section, so far, at least, I'm basically just editing the writing itself rather than the events because I'm pretty happy, at least at the moment, with my first couple chapters. Very little thinking required.

Also, it's been over 30 hours since I've written because I did my writing before school yesterday, but haven't written yet today because I've got so much work to get done for school. It feels like it's been forever.

16.17 I've finished rewriting chapter one, and still have a lot of fuel in my tank (that's a hideous metaphor) but I think I'm going to cut off today at 547 words, just because I have quite a lot on my plate this week, and I'd like to invest some time in actually reading the book I started eight days ago, and am only 200 pages of the way through.

Wed 10/03/2021 - Word Count: 2,082 I could write significantly more than 500 words most days, but it really is easier to set a minimum that doesn't feel like a strain, so that's what I'm sticking with for now.

Thu 11/03/2021 - Word Count: 2,801

Fri 12/03/2021 - Word Count: 3,405

Sat 13/03/2021 - Word Count: 32,211 07.40 I've just had nothing extra to say the last couple days, which is ironic considering how much I wrote each day of the last post, which went up yesterday! Anyway, it's finally Saturday, and even though I have exactly zero motivation to do anything this morning, I've been awake for two hours already (I recently discovered I like mornings??) and I think it's time to get going. Still sticking to my 500 word minimum, but since it's Saturday, I'm going to invest most of the day in writing, so I should surpass that.

08.20 I don't think I've mentioned yet that I dubbed this WIP Bay Tree in this post. Sorry if I have, but I skimmed this post and can't find it. So, this is about to get messy. I'm basically just cleaning up my prose, but there's so little point doing that when I'm not certain each scene will stay. There's no point editing a chapter unless I know it's sticking around.

So we're reverting, and this is about to get messy. I didn't quite finish my initial draft of chapter seven, because I wasn't sure how exactly the event at the end of it would happen, but I think I'm just going to delve into it. I'm going to add everything, including outlines, back to my word count, finish writing chapter seven, then pick up where I left off in chapter nine. Okay. That's why my word count is jumping around.

And, just like that, I've gone from 4,074 to 28,864. Well, 500 words accomplished. Surpassed, in fact, by just 24,290.

I'm going to aim to just hit 30K by the end of this weekend. I can easily do 1,136 words in two days.

As I've mentioned before, I haven't outlined all the way to the end and through the climax--I have a fairly clear idea of how I want it to do go down, but I'm not sure what I want the characters' plan to actually be, so I currently have 21 chapters, but I'm projecting 23-26, which, at about 3,000 words each, is pretty damn good, especially when it'll just get longer as I redraft (she says optimistically).

Already feeling more motivated now my word count's higher.

09.54 Oh! Also, I logged onto Tumblr today to find someone reblogged my last writing post with a really positive, encouraging comment. It's nice to think I'm bringing someone else a little joy with this.

11.13 And we hit 30K! I'm not quite done for the day, but I do need to go pack. Also, I've been operating under the impression the minimum word count for a novel is 50K, but it's actually 40K, which, though I'm only about 40% of the way to my projected total word count, I'm officially 75% of the way to being able to say I've written a novel.

I'm so glad I've gotten as far as I have, and I just hope I can keep myself going to the end.

12.27 This post is going to look really strange to read - if you're only looking at the word counts, it looks like I've written nearly 27K words today. That makes sense.

Oh, and I finished chapter seven. Like an hour ago.

13.52 At this point, I have literally no idea what continuity things I've already established, so I'm just going by a let-my-future-self-suffer philosophy.

14.36 That's chapter nine done. That leaves chapters 10 to nobody-knows. I'm going to stop writing now, but I wrote nearly 4,000 words today (plus recounting about 20K) so I don't exactly think this cut-off will be detrimental.

Sun 14/03/2021 - Word Count: 35,548 07.58 I’ve written over a thousand words already, and it isn’t even 8am yet. Being a morning person is genuinely the best thing ever as an introvert--I’m asleep when people want to socialise, and awake when no-one else is. That makes me sound like a hermit. I love it anyway, and feel like I’m stacking up for a good writing day. 35K is probably a little overambitious, but what’s life without aspiration?

09.04 As I’m going, I’m realising my plot is actually coherent, and being surprised that I can actually make a story without plot holes (as of yet.)

09.21 And that makes the first eleven chapters drafted! 

...And, Houston, we have a problem. Dammit. Eleven chapters, and I haven’t established one of the most important world-building points. Which is especially irritating because it needs to be established by chapter twelve. Unless I can establish it at the start of chapter twelve? We’ll go with that, so I don’t have to go back, then I’ll sort it out in edits or draft two or something.

I’ve just started writing chapter twelve, but I think, having written 2,600 words today already, I need a break. I have less than 500 words until I hit 35K, but I’m going to leave it for now, and come back this evening. I should be able to hit 40K this week.

18.19 And that makes 35K. Chapter twelve is only two scenes, and I’ve written one, but having written 3,000 words so far today, I’m going to leave it until tomorrow.

Mon 15/03/2021 - Word Count: 36,337 17.19 So there’s a crucial plot point just after my midpoint, and I’m not completely sure what to do. I mean, I know what I’m doing--I just wasn’t sure exactly how I wanted it to go, but now I know. The issue is other stuff needs to be pre-established, and I’ve worked out where it needs to go, but I don’t know whether or not I want to go back and write those bits now, or just make note of it and add it in draft two.

I think I’m just going to make note, plough ahead, and deal with it in draft two. I’m trying to figure out exactly how I’m going to operate after this draft: things generally say put it down for a few weeks, come back for edits, then go into your next draft, but I feel like I’m already going to have so many edits gathered by the time I reach the end of this draft, I should just go back into it, but time will probably be beneficial. Not that it actually matters now. I’m only just halfway through an under-draft (by that I mean it’s going to get a lot longer). I’m going to add new scenes in my next draft and generally fiddle with plot aspects, but as quite a linear writer, I think I’m more naturally inclined to just incorporate aspects in a draft rather than as edits. I’m not sure. Does that even make any sense? 

Depending on when I finish this draft, I think I’ll plan to pick it back up May 1st, and just see how I’m feeling. But, again, this all depends on when I finish the draft, and how I’m feeling when that time comes.

Tue 16/03/2021 - Word Count: 37,025 I bought my Scrivener license today! Yay!

Wed 17/03/2021 - Word Count: 38,408 08.04 This is mostly irrelevant to my project, but I just wanted to mention the odd fact that I’m definitely a plotter when it comes to longer pieces, but when I do shorter pieces, creative or essays, for school, I hate planning, and just start immediately, then go back and edit. Huh.

Thu 18/03/2021 - Word Count: 38,950 I’m going to edit this, but writing the date just now I noticed I’ve put 2019 for the last three days. It’s absolutely not, and I know why I did that, but still.

14.31 Also, Oxford commas? Found out what they were. Granted, that was actually a few days ago.

Fri 19/03/2021 - Word Count: 40,139 06.55 Even though I wrote 500 words yesterday, I didn’t quite reach my goal of 39K, just because I had to stop writing 50 words off, and by the time I had the opportunity to go back, I just wanted to go to bed. So, today, my goal is to hit 40K words, and officially be able to say I’ve hit the minimum word count for a novel.

Honestly, I’m starting to lose my love for this project. I’m still enjoying working on it, don’t get me wrong, but I’m anticipating finishing it because I know exactly what I want to write next. I feel like I’m mostly still working on it as a lesson, and I know it’s not what I ultimately want to write--mostly because it’s not super high-concept, and high-concept stuff is what I want to be writing. I am still enjoying working on it, I’m just not sure I’ll get to the ‘final line-edits’ stage. But who knows?

10.19 And that marks 40K. We’re in novel terriority, people. And, yes, I could correct that spelling, but I’d like to draw attention to how bad I am at spelling when typing. I’m excellent at spelling in writing, and wrong spellings bother me, but when I’m typing, my fingers are just trying to keep up with my mind, which means I try to type a letter and the one after it at the same time, and often end up with letters in the wrong order and punctuation in the wrong place. Or I just hit halfway between two keys instead of the key I’m going for, and type a wrong letter. Anyway, that was meant to say territory. See? I can spel..

Or I just double the punctuation instead of the last letter.

So I’m definitely not meeting my old goal of 80K words or a finished draft by the end of the month--that’d be another 40K words in just 12 days--but I’m definitely on track to finish by the end of April.

Sat 20/03/2021 - Word Count: 40,692 15.30 God, second acts are hard. I hate being in the middle. At the start, you have novelty, and at the end (not that I would know from experience) you have the knowledge you’re near the end, that you’ve already written most of it.

I’m currently operating the reminder, ‘You’ve written an act before, why not again?’, in hopes that’ll eventually extend to, ‘You’ve finished a draft before, why not again?’ and ‘You’ve written an entire book before, why not again?’

I’ve literally written 243 words so far today, and I just don’t want to. Normally, I sit down, I slog through the first hundred or so words, then pick up momentum. Maybe it’s just because chapter 13 is a boring part to write. Ha. 13. Just my luck.

I’m being nice to myself because a lot has happened in my life over the last few days, but I still want to write a minimum of 500 words, even though most Saturdays I can write more like 3,000.

21.41 I’d like to be asleep. That sounds like fun. Today slipped through my grasp, and I haven’t even written 300 words, but I am going to try to at least hit 500. And then maybe write thousands and thousands tomorrow, but I’m also going to bake a cake, and I’m notorious for being able to make cooking and baking take at least three times as long as is necessary.

21.57 So I got just past 500. Relatively speaking, that’s not that impressive for me, but it’s more words than most people in the world added to their manuscripts today, so I have to give myself some credit. (I’m working on crediting myself for productivity rather than degrading myself for not being productive--I could go on for hours about how much it pisses me off that capitalism teaches us productivity=worth in everything, not just business, but I’m going off on a tangent.)

Sun 21/03/2021 - Word Count: 41,466 08.08 Cakes baked! And I’ve come to a conclusion about how irritating I am to myself--I didn’t fully outline the latter half of act two (by which I mean I have each scene and a purpose of each scene, but virtually no detail) which I can absolutely cope with, but it does slow me down. Anyway, I’m waiting for my cakes to cool, then I can ice them.

14.28 I wanted to write up to 42K this weekend, which I don’t think is going to happen. I’ve written 774 words, so passed my 500-word minimum, but haven’t yet reached 42K, and don’t think I’m going to this weekend. I just don’t have much motivation, which may just be because of the part I’m on, but I’d rather work through this part really slowly then pick up the pace when I get to the part I want to be writing, than force myself to write this section quickly and poorly, then not want to continue into act three. So, sticking to 500 words a day; I may do more later, but I’m leaving it for now.

Mon 22/03/2021 - Word Count: 42,006 17.56 God, I don’t want to write today. I’m going to anyway, because I haven’t yet failed 500 words. They can be a shitty 500 words, but they have to be 500 words. Also, the scene I wrote yesterday? Absolutely getting deleted. But I’m leaving it for now because I refuse to lose those 800 words.

I really enjoy putting edits at the bottom of scenes in brackets and making them unnecessarily wordy so Scrivener thinks I’ve written significantly more words than I actually have.

18.31 Yay, did it. I’m really hoping I can just work through this low spot and don’t have to take a break. I’m on the penultimate chapter of act two, and the first few chapters of act three are really exciting, so I’ll know if I need to take a break based on whether I get motivated when I get to that part.

Tue 23/03/2021 - Word Count: 42,124 16.37 GOD, I need a break. I don’t have motivation, even for 500 words. You know what? I’m just going to make a note of the scene idea I had earlier, and I’m going to take a week’s break. Unless I get antsy, in which case I may end it earlier, but, I’m not going to write again until Tuesday the 30th. Unless I get antsy. FUCK.

I’m just reminding myself breaks are good and important, but I still hate that I’m taking one without finishing my first draft. Tue 30/03/2021, I will be back! Though my word count may increase between now and then as I note down any ideas I have, which I will update with. Okay. Just leave it.

Sun 28/03/2021 - Word Count: 42,150 10.47 Since Tuesday, I’ve made some notes on my phone of little things I want to change, but haven’t added them to my project file, so the word count hasn’t gone up.

Last night, I was just thinking about how badly I wanted to get back to this project, but this morning, I just... don’t. I’ve been thinking it through, and I’m not ready to drop this project yet, but I’m just not happy with what I have at the moment. So, I’m going to add my notes to the file, and then leave it for a few weeks, so I can return with edits in mind, apply them, and then start what I guess will be like a 1.7 draft, because I didn’t finish this draft.

In the meantime, however, I do want to keep writing, so I’m going to start another project in the meantime, which I can work on a lot in the next few weeks because, in a few days, I get a couple weeks off, which won’t be completely free of work, but will give me a lot more time to dedicate to this.

I think I’m going to say I’ll return to Bay Tree (or at least review, if, say, I just want to dedicate a little more time to whatever phase of the new project before I move on) on May 10th, because that’s basically when I get to relax after my exams finish.

So I’ll add the notes I have so far, keep making notes on my phone, and return on May 10th.

Episode Seven: ‘Breaking the Fourth Wall’ This episode was released on February 19th, with a runtime of still 37 minutes, following a 2000s-style sitcom format heavily influenced by Modern Family. 

Cue the recap, and we open to Wanda waking up in an empty bed. We then cut to an interview-style scene which I assume is based off Modern Family or another sitcom, like the interviews intermingled with reality TV, but there’s nothing to really pick apart; it’s just entertaining. The twins then run into Wanda’s bedroom and tell her their ‘game is freaking out’, and we see their controllers change over and over with that scarlet-TV texture. Billy comments that his head is noisy, an echo of the power shown in episode six, similar to Wanda’s own.

Interview-Wanda then says as punishment for expanding the borders, she plans on taking ‘a quarantine-style stay-cation’, which, written probably in 2019, did not age well. She goes downstairs to make milk, and it transforms between a carton and a bottle. These object shifts may be implying as Wanda expands the borders, she loses more and more control of even the things right beside her--the Hex is falling apart.

Cut to Hayward and SWORD setting up a new camp beside the new border of the Hex, but further back than before, likely to give them more time to move if it happens again.

Vision then wakes up in the circus the original SWORD camp was turned into, and, looking like his synthezoid self, is assumed to be a clown. He then sees Darcy, dressed as an escape artist, but she doesn’t remember him, clearly under Wanda’s control.

Wanda asks the twins if they’ve seen Vision, they ask if she wants them to look for him, and she replies, ‘If he doesn’t want to be here, there’s nothing I can do about it.’ It seems like she’s trying to defer her guilt at what she’s down to the townspeople. The twins then ask about Pietro--’Do not believe anything that man said. He is not your uncle.’ We saw Wanda blast him into a haystack towards the end of the last episode, but now he’s simply vanished. Wanda then laughs that she has none of the answers they expect her to, and makes some nihilistic comments. She uses her magic to open the door to a knock, and enter Agnes, who takes the kids next door to give Wanda some alone time. The furniture then begins to shift into pieces from the other decades, but Wanda fixes it.

Cut to Jimmy and Monica in a military vehicle they stole in the last episode, and Jimmy explains in Darcy’s hacking, she found a secret project called Cataract, to bring Vision back online--to fix the Vision. But it failed, until Wanda brought him back, which was why Hayward was so focused on Vision over Wanda in the Hex. They then meet some non-SWORD military people, who unveil a higher-grade vehicle, presumably for Monica to attempt to safely re-enter the Hex.

God, I love seeing Darcy in this show. She was the only good thing about the first two Thor movies. So Vision zaps Darcy, and she wakes up. They steal a circus vehicle--a transformed SWORD vehicle--and Vision asks her some questions about the Hex she doesn’t actually know the answers to.

The tension really builds in this episode, simply as it cuts between characters in much shorter intervals than in previous ones. We watch a montage of things in Wanda’s house shifting, then cut to an interview, where she explains that she doesn’t know what’s happening. Then, the person behind the camera asks, ‘Do you think maybe this is what you deserve?’ The voice doesn’t sound familiar, but knowing who the interviewer is, I can hear it. Wanda questions this because the interviewer isn’t supposed to talk, then cut to this episode’s advert.

This is for a drug called Nexus--’A unique anti-depressant that works to anchor you back to your reality. Or the reality of your choice.’ ‘Nexus. Because the world doesn’t revolve around you. Or does it?’ As someone who hasn’t actually read any comics, this information is very second-hand, but a Nexus Being in the comics is a powerful being with the power to alter reality and time--essentially in possession of the Infinity Stones’ powers without possessing the Stones themselves. This brings with it the implication that is what Wanda is--more than just a girl who got powers from the Mind Stone, but Nexus Beings aren’t elaborated on in the rest of the show.

Cut to Agnes and the twins; Billy says he likes it there, because Agnes’s mind is quiet, which is compared to Wanda. I want to explain the implications of this, but I’ve been trying to only spoil things as I get to them, so I’m going to keep my mouth shut, or rather... what’s the keyboard equivalent? God knows. Anyway, Agnes tells them not to worry about Wanda, because ‘she’s supermom’, which, you know, is a fun superhero thing.

Cut back to Monica, who prepares some kind of suit to re-enter the Hex. She gets in, and drives toward the barrier, but when the wheels meet it, they fail to pass, and begin to drive up the barrier, flipping Monica onto her back. The vehicle begins to rewrite itself and break apart; Monica manages to clamber out of a trapdoor in the roof. Jimmy prepares a medical thing, and the barrier spits out the vehicle. Monica turns back, drops her helmet, and plunges into the barrier, and presses through. Her body warps, we hear echoes of Captain Marvel, we hear Carol’s quote about Maria being given the toughest kid, and her body reforms, her eyes light up blue, and she passes all the way through, eyes still glowing, and we see a shots of her warped vision, almost as though she can see energy or EM radiation.

Darcy tries to explain why Wanda killed Vision to him, and though the road is empty, a traffic light is red. As it turns green, roadworkers approach, impeding them and preventing Vision from returning to central Westview. 

Monica enters Wanda’s house, who threatens her, and lifts her telekinetically out onto the street, where she is watched by the neighbours. Wanda drops Monica to the ground, but she pulls a superhero landing, with blue lights for effect--her DNA has been rewritten by the Hex’s borders for the third time, and it’s clearly unlocked something. Wanda continues to threaten her, and Monica says to do it--’Don’t let [Hayward] make you the villain,’ to which Wanda replies, ‘Maybe I already am.’ Which is fair, but then villains never think they’re the bad guys.

Agnes watches them from a window. Monica tries to talk Wanda down, then Agnes comes outside, tells Monica to leave, and takes her inside. The people haven’t questioned Wanda’s magic, or Monica’s apparent new powers, which merely shows the extent of Wanda’s control. It’s also interesting that Monica didn’t fall under her control again when she re-entered the Hex.

Cut to Vision and Darcy, the roadworks clear away, but someone with a stop sign and a queue of crossing children continue to block their way. Vision phases through the van’s roof, and flies away.

Wanda notices the kids’ show on Agnes’s TV, and the half-eaten food on the coffee table, and realises the twins are missing. She asks, and Agnes tells her they’re probably in the basement, where Wanda then obviously goes. The basement walls are covered in branches, made of stone, and there is no reply when Wanda calls for the twins. She then enters an ancient chamber, walls engraved with runes, and a spellbook on the side.

Agnes comes downstairs, stroking Senor Scratchy, the rabbit Wanda and Vision used in their magic act way back in episode two, and says, ‘You didn’t think you were the only magical girl in town, did you?’ Agnes shuts the door with a twist of her hand and some purple sparks.

‘The name’s Agatha Harkness. Lovely to finally meet you, dear.’

Purple fogs Wanda’s eyes, and cue the best moment in the entire series: Agatha All Along. This musical number essentially shows that Agatha has been behind everything that’s gone wrong for Wanda, aside from SWORD, obviously, and is such a good song. Go listen to it. Now. Immediately. Go. 

We see her screw up the magic show, send Pietro to the door, and we see her sitting behind the interview camera.

‘And I killed Sparky, too.’ Insert maniacal laughter, and cue the credits.

We sit through to the split between the animated credits and typical black and white scrolling ones, and this episode has an mid-credits scene. I checked for one the first few episodes, then gave up, and I can’t remember what it was that made me find this one, if it was just letting the credits play, or feeling the odd urge to check, or what.

We watch Monica try to find a way into Agatha’s house. She pulls open basement doors, then--’Snooper’s gonna snoop.’ Fake Pietro stands behind her, dressed in a beanie, hair no longer mostly white as per Quicksilver’s design.

This is my second-favourite episode overall, first being episode 8, and contains the biggest switch since episode 4. We meet the big bad, since Marvel is literally incapable of writing a story in which the climax isn’t between the hero and a villain with their exact same powers. (WandaVision takes this to the extreme, but that would be a spoiler.)

Episode Eight: ‘Previously On’ Released February 26th, Marvel blessed us with an episode 46 minutes long! At last! This was the second episode to completely break the sitcom format (first being episode 4, obviously), which leaves us in 2000s-themed Westview, but without a laugh track or any other sitcom elements.

We open with a recap, including Jimmy Woo’s explanation of Wanda and Pietro’s origins pre-Avengers from what I believe was episode 5. Or was it 4? Probably 4, because it was really soon after Hayward was introduced, in episode 4. Yes. Let’s go with that. 

This episode opens in Salem, Massachusetts, 1693, and we watch Agatha dragged to and magically tied to a stake, to be killed for betraying her coven of witches, by practising dark magic, but she denies it. She then relents and admits it, begs for help to control it, but the witches blast some kind of blue magic at her, which Agatha turns violet, and absorbs, killing the witches wielding it. The witch she calls mother, who also seems to be the leader of the coven, blasts her with magic after the others are dead, and as she does so, a kind of crown of the same blue light glows around her head (something I would neither notice nor question if I had not yet watched the series the whole way through). Agatha absorbs her magic and kills her, too. She steals a necklace from her mother, flies away, and we cut back to present.

Wanda tries to penetrate Agatha’s mind, but she tells her her thoughts were never available--a repeat of Billy calling her mind ‘quiet’ in episode 7, but I’m not actually sure the point of this, aside from limiting information available to both Wanda and the audience. Wanda’s Sokovian accent also returns in this scene. She tries to use her magic, but Agnes puts her in magical binds and explains that the runes in the walls mean ‘only the witch who cast the runes can use her magic’. Agatha also explains how she possessed fake Pietro--Fietro--not so she could control his mind, but so she could see through his eyes and ears.

Agatha questions how Wanda cast so many spells to control so many people, so many objects and locations all at once, when she had no magical training, which confuses Wanda because she doesn’t use incantations the way Agatha does; her magic is more through willpower and intention. 

Agatha then brings Wanda through a door, in an attempt to comprehend how she did it, and it leads them to an old, one-room living space in Sokovia--Wanda’s childhood, before her parents died. They prepare for a TV night, and their father invites young Wanda to pick, showing her a box containing various sitcoms--Bewitched, Malcolm in the Middle, I love Lucy, Who’s the Boss?, The Addams Family etc.--many of which acted as the basis for episodes of WandaVision, but she chooses The Dick Van Dyke Show. This love of sitcoms, the ideation in comparison to the Cold War outside, is where Wanda’s subconscious choice of making Westview into one--her version of a paradise for herself and Vision.

Then a bomb goes off outside, killing their parents and leaving Wanda and Pietro in rubble. A bomb lands before them, Stark Industries written on the side, but their television is behind it, and Dick Van Dyke still plays. 

Cut back to present Wanda and Agatha; Wanda says the bomb was defective, but they were trapped for two days, and Agatha implies it not going off was Wanda’s doing, believing her to be a witch like herself.

They move onto a HYDRA testing chamber, where teenage volunteer-Wanda stands near the sceptre from The Avengers, the one Thanos gave to Loki, the one containing the Mind Stone. She moves toward it, and the sceptre’s blue orb breaks from the handle; floats towards her. She touches it, and it bursts, revealing the yellow Mind Stone inside, and letting out a kind of wind blast. In the light, Wanda sees a silhouette reminiscent of the original Scarlet Witch design.

They take Wanda to isolation, and we watch some scientist replay the tape from the testing chamber, but in the footage, the orb doesn’t move; she moves to the room’s centre, then it cuts to her lying on the ground.

Agatha concludes that the Mind Stone amplified a dormant power, and they move to a memory of the Avengers compound post-Avengers: Age of Ultron. Past-Wanda is grieving for Pietro, Vision enters her room, and she invites him to sit. They discuss the comedy on her TV, then he asks if she wants to talk about her grief, and she describes it as ‘this wave washing over [her], again and again. It knocks [her] down, and when [she tries] to stand up, it just comes for [her] again.’ Vision tries to reassure her, then says the thing that everyone’s been quoting but hit me hard: ‘But what is grief, if not love persevering?’

Agatha asks present-Wanda what happened when there was no-one there to pull her back from the dark, and when Wanda refuses, she presses. They shift into the SWORD compound, where past-Wanda approaches the desk demanding to be given Vision’s body post-Avengers: Endgame. This is the point from the CCTV Hayward showed Monica, Darcy, and Jimmy, claiming Wanda stole Vision’s body.

The receptionist calls somebody, and sends her down the hall, and I can’t help but notice that in her grief, in her hoodie and jeans, her hair is perfectly curled. She goes to Hayward’s office, who takes her into a windowed chamber, beneath which she can see mechanics/engineers doing something to Vision’s body, colour faded and parts broken up. The eyes in his severed head are white, and Wanda is upset, but Hayward questions why she wants to bury him, when she has the power to ‘bring [her] soulmate back online.’ But Wanda says she can’t do it, like when she refused to bring back Sparky, and Hayward tells her his materials are too valuable to just be buried, but offers her the chance to say goodbye. He tells her Vision isn’t hers, and she shatters the glass; lowers herself into the room.

Hayward calls off the guards who raise their guns at her. She lifts her power to his head, where the mind stone was: ‘I can’t feel you,’ reminiscent of the I just feel you, in Avengers: Infinity War, when the Stone bothered him in the night in Scotland. And she leaves, without the body, proving to the audience that Hayward is a liar.

Wanda drives to Westview, real Westview, where she watches the people go about their regular lives, but they seem sad. They all seem sad. She drives to a plot, the outline of a house marked by a concrete foundation, holding a piece of paper from an envelope in the car. She unfolds it to find a plan for the house: To grow old in. -V. Wanda breaks down in what is presumably the plot she turned into their house in the Hex, and her power explodes from her, in huge gusts we’ve never seen. The house forms itself, then it goes further, transforming the town and turning it to monochrome in preparation for WandaVision episode one.

Streams of power turn gold in the air, and form the silhouette of a body, which solidifies into Vision, black and white Vision, dressed in 50s clothes. Wanda remains in colour, in her regular clothes, then she turns to monochrome, to her 50s outfit, and Vision greets her. And despite the seriousness of this scene I can’t get over the damn bullet bra. 

And the pair sit down to watch the television, then the surroundings shift, and we see present-Wanda in her 2000s living room, but in a set, with empty seats for a live audience before her. Agatha claps from them, then vanishes. We hear the twins yell, and Wanda comes outside to find Agatha magically garrotting them, dressed in full-witchy attire.

Agatha describes Wanda as ‘a being capable of spontaneous creation’, calls it chaos magic--’And that makes you the Scarlet Witch.’ I feel like I ought to say roll credits, only that’s not even the name of the show. Before WandaVision’s title was officially announced, I remember seeing speculation that it would simply be called Vision and the Scarlet Witch, like Falcon and the Winter Soldier. 

The credits roll, and, halfway through, we cut to Hayward and SWORD outside the Hex. Hayward goes into a tent, describes all their hard work at something, ‘but all we needed was a little energy directly from the source;’ and we’re shown the missile Wanda dragged out of the Hex in episode 5, glowing red. Someone flips a switch, and we watch lights turn on in a glass chamber, containing Vision, rendered in pure white, who wakes up. Another Vision, made from the original, and yet before this episode, due to the constant thing about twins, people were speculating there were two Wandas. Wrong character, right idea.

This is my favourite episode in the show: it’s magical, and it makes everything make so much more sense. We see that the Hex’s creation was an accident, but Wanda was ‘making it up as [she went] along,’ like the theme song in, I believe, episode 5. I just love origin stories.

Episode Nine: ‘The Series Finale’ This finale was released on March 5th, with a grand total of 49 minutes of runtime, and, epic as it was, I found it to be rather disappointing, following a fairly typical Marvel formula, compared to the originality of the rest of the series. Granted, parts of this episode in particular were shot in 2020, so they didn’t quite go as planned, but still. The CGI is excellent though.

We open to exactly where we left off; Wanda frees the twins and sends them inside, then sends a blast at Agatha, who absorbs it-- ‘I take power from the undeserving. It’s kinda my thing’--and Wanda’s hand begins to blacken. Agatha offers her Westview in return for her magic, which Wanda obviously doesn’t accept. White Vision lands behind her, and she goes to him, confused. He places his hands on her face, but presses, trying to crack her skull, and it becomes clear he is doing Hayward’s bidding.

In sweeps Wanda’s Westview-Vision (who we’ll call Red Vision) and blasts White Vision away. The two swoop off together for their own fight, Wanda flies after Agatha, and we see Monica locked in a messy living room with Fietro, where she has presumably been since the end of episode 7.

The Visions fight each other, in that classic Marvel way of pitting the hero against a villain with an identical skillset (I’m looking at you, Iron Man, The Incredible Hulk, and basically every other movie. Seriously, Marvel needs to make more villains like Loki, instead of introducing them at the start of a film and having them somehow taken out of the equation by the end). It’s a cool sequence, as they phase through each other and plummet up and down. I love flying sequences.

At SWORD, Jimmy calls out Hayward, saying he won’t be able to cover this out, but Hayward says Wanda stopped her show, so there’s no evidence, and there’ll only be one Vision by the end, who people will assume Wanda resurrected. But Jimmy says he has called some friends from Quantico--whatever that is--to expose Hayward, who handcuffs him, but Jimmy is a magician, so he frees himself and actually calls somebody to apprehend Hayward.

Wanda arrives in the town square, to no sign of Agatha, and is then blasted to the ground by her from behind. Agatha summons a book we saw in her basement: ‘The Scarlet Witch is not born, she is formed. She has no coven, no need for incantation. [Her] power exceeds that of the Sorcerer Supreme’--Doctor Strange--’It’s [her] destiny to destroy the world.’ But Wanda denies that she is a witch. Agatha casts a spell on Dottie from episode 2, apparently bringing her back to consciousness. She tells Wanda her name is Sarah, and begs her to let her bring her daughter out of her room. Wanda accuses Agatha, who replies, ‘She’s your meat puppet. I just cut her strings.’ I just love that line, for some reason.

Agatha casts another spell, and everyone in the square returns to their senses, approaches and surrounds Wanda. 

Monica finds a document in the room with Fietro, that says his name is Ralph Bohner. This was incredibly unsatisfying to me--it’s interesting that Fietro is actually the Ralph Agnes constantly mentioned, but nothing else comes of this, and, as of the end of the series, Pietro and his changed face are simply an elaborate boner joke. I wish his face had some kind of relevance as of now, but it may become relevant in Doctor Strange in the Multiverse of Madness, because that’s obviously where we’re really going to delve into the multiverse, and it features Wanda, so it would make sense.

Monica pins down Ralph and tears a string of beads from his neck, which glowed purple; the thing allowing Agatha to control him.

In the twins’ room, Billy has a vision (heh) of what is happening with Wanda, and they run outside.

The people around Wanda bombard her with their real stories, their real problems. ‘When you let us sleep, we have your nightmares.’ She yells that she’s kept these people safe, but they beg to be freed, and the noise builds, until Wanda screams, with a burst of power that toes ropes around their necks, suffocating them, but she stops it. Mrs Hart begs her, ‘If you won’t let us go, just let us die.’ Agatha taunts her that heroes don’t torture people, and she sends out a blast of power, that highlights the Hex’s border crimson, and it begins to break apart. She tells them all to leave now.

His white counterpart blasts Red vision to the ground, near Wanda but he begins to break apart. The twins arrive, and begin to break apart, tied to the Hex. It looks weirdly like a LEGO advert, but Wanda recloses to Hex to save them. You know, what? I’m still not sure why it’s hexagonal. I wouldn’t question it being round, or quadrilateral, but hexagonal seems too intentional.

Agatha blasts the family with magic, and Wanda shields them, but Agatha absorbs the power. SWORD vehicles roll into the square, hayward in one, having apparently managed to cross the border before Wanda closed it again. White Vision rolls into the scene and slams Red Vision through the walls of and into a library, and Red stops White attacking him by explaining that he is not the true Vision, because he’s just Wanda’s version.

Wanda flies up, again after Agatha, while the twins use their powers to take away SWORD’s guns, and Hayward comes out with a pistol, which he fires at them, but Monica, having freed herself from Ralph, blocks the bullets. They ripple through her body, and pass through, but fall to the ground as her eyes glow orange. As Hayward drives back, then revs up to apparently run them over, Darcy, in the circus van, slams his vehicle into the side of a building.

We cut to the Vision’s pondering the Ship of Theseus--a philosophical thought experiment. If the Ship of Theseus has one of its planks replaced, it remains the Ship of Theseus. But, if all the planks are replaced over time, is it still the same ship? And what if the old planks are reassembled into another ship; which is then the true ship? This is a metaphor for the two Vision’s--White being the reassembly of the old planks, and Red being the replaced.

Red Vision proposes that the true ship is the one touched by Theseus himself, with the wear and tear, suggesting White Vision is the true one, because he has the memories Red doesn’t; the one touched by Wanda. White Vision claims he does not have the memories, but Red tells him his data banks are not so easily wiped--they’re there, just withheld. White allows Red to do his zappy thing, and the memories of everything Vision went through pre-WandaVision comes back to him. White says he is the true Vision, and flies away through the roof.

Meanwhile, Wanda sneaks up behind Agnes and does the nightmare-mind thing she did to the Avengers at the beginning of Avengers: Age of Ultron, sending her mind to the stake at the opening of episode 8. The desiccated witches rise, but instead turn on Wanda, calling her a witch, again, and again. The witches wrest Wanda onto the stake instead, but a red crown, like the blue on Agatha’s mother in episode 8, materialises on her head, formed of the same light as her magic. It’s really jarring at this point that she’s still in a hoodie and sweatpants.

Wanda blasts away the other witches, and they emerge from the nightmare, back to Westview. She and Agatha rise, blast magic at one another, and Wanda’s hands blacken further as Agatha absorbs more and more. She sends a blast at one of Westview’s walls, and a spot ripples in the middle of each. 

Wanda’s face seems to age, like the witches of Agatha’s coven, and Agatha absorbs streams of magic, until Wanda has none left. She gives her some depressing lecture, then tries to blast Wanda out of the sky, but it doesn’t work. Her hands begin to blacken, and Wanda’s face youthens, then the camera pans to reveal runes on Westview’s walls, like those in the basement, now disabling Agatha’s magic. Little confused how Wanda stayed flying when Agatha took her power, and how Agatha now stays flying.

The red crown reappears on Wanda’s head, her eyes glow, she reabsorbs her power from Agatha, and, as she does, she changes. Her hair comes down, and she becomes the silhouette she saw in the Mind Stone at HYDRA, finally getting a Scarlet Witch costume, and it is epic. 

They return to the ground, and Wanda uses her powers to put Agatha under the control she had the other residents under, to turn her into the Nosy Neighbour once and for all. Wanda leaves Agatha alive, so she could return in future instalments,.

Wanda, Red Vision, and the twins return to their home, and the Hex’s border contracts, until it covers only their street. They put the boys to bed, and Vision begins, ‘Your mother and I...’, and, when I first watched this, I really thought he was going to say ‘...are getting a divorce,’ but he simply finishes, ‘...are very proud of you both.’

Wanda says that ‘a family is forever,’ clearly already in mourning for the children she’s about to lose. They finish up, the border continues contracting, and Wanda turns off the lamps in the living room, though Vision turns one on, to say goodbye. As the border progresses towards them, Vision asks what he is, and says some literal and romantic crap; they kiss, talk a little, and he breaks apart as the border reaches them, and the house returns to the empty plot it once was.

Wanda is left standing exactly how she was before she formed the Hex, same hair, same clothes, puts up her hood, and walks into town. where the people glare as she approaches Monica, who says, ‘They’ll never know what you sacrificed for them.’  They have a classic series-wrap-up conversation, then Wanda shifts into her Scarlet Witch outfit, and flies away.

Mid-credits scene; we see Jimmy just after the debrief, Hayward is put in handcuffs, and Monica is called into the theatre, where she meets someone wearing a police badge, who shifts into a skrull. The skrull says a friend of Monica’s mother’s would like to meet with her, presumably Talos, and when Monica asks where, she just points up. 

And an end-credits scene opens in a pan shot, zooming to a cabin by a lake in the woods, where Wanda, dressed in sweats, sits on the porch with a mug. We follow her inside as the kettle whistles, but the camera continues into the bedroom, where her astral form sits, dressed as the Scarlet Witch, with the Darkhold, the book Agatha had. When we see Doctor Strange astral-project, his body falls unconscious, and this truly proves the Scarlet Witch is more powerful than the Sorcerer Supreme, as aforementioned.

This series really solidified my love for Wanda and Vision--Wanda, who I liked before, but mostly because of her powers than her character, which lacked development, and Vision, who I kinda hated because of his moral-high-ground bullshit, but who I now love--brought back fan favourites Darcy Lewis and Jimmy Woo, and set up Monica’s future plotlines. In truth, I liked Agatha better before she went full-witch mode, but she was an enjoyable villain. Hayward, on the other hand, was someone easy to hate, but not to such a level it was fun to hate him.

Every episode kept me on my feet, and every week I screamed I couldn’t wait for another. Part of my love for this was because we’d had no MCU content since July 2019, with Spider-Man: Far From Home, but it was just such excellent storytelling. Though the climax was a little disappointing, it was still more entertaining than most action sequences, where things happen so quickly I just zone out, and the visuals were incredible. I loved the sitcoms, and the differentiation at the end. Episode 4 was the perfect time to finally give us some form of explanation.

Episode Four: ‘We Interrupt This Program’ This is the episode where everything comes together; where things start to make sense. This episode debuted on January 29th, finally giving us some answers after the first and second episodes were released on the 15th. It has a runtime of 34 minutes, which is fairly on par with the episodes up to here, though this episode doesn’t follow the sitcom format, but feels more like your classic MCU content.

The episode opens with a previously on WandaVision recap, which seems to very much focus on Geraldine, the meaning of which soon becomes clear. And we enter a black screen which slowly fades into the form of Geraldine, with voices from the movie Captain Marvel--the voices of Carol Danvers, Maria Rambeau and Maria’s daughter, Monica, which just confirms fan speculation that Geraldine is, in fact, a grown-up Monica Rambeau, and we must currently be seeing her after the Blip--after Bruce Banner’s snap in Avengers: Endgame returned all those Thanos killed at the end of Avengers: Infinity War.

Monica sits in a hospital room, but the bed beside her is empty, then she leaves the room to panic as people coalesce throughout the hospital. She asks about a patient in room 104, then one of the doctors recognises her, and tells her her mother--Maria Rambeau--who presumably was who she was in the hospital for, is dead, and about the Blip, because it seems to Monica it’s only been a few minutes. And we have the Marvel logo, after an introduction instead of right at the beginning as in the sitcom episodes.

Cut to the headquarters of SWORD, standing for Sentient Weapon Observation and Response Division, which is quite clearly just talking about Vision. Honestly, though, Marvel’s obsession with making their acronyms real words--I’m talking to you, SHIELD and HYDRA--is mildly irritating because of how unrealistic it is. Just a me-gripe.

Monica fails to access the building, her badge apparently outdated, and we’re introduced to Tyler Hayward, acting director of SWORD in Monica’s absence. Hayward brings her into the building and declares Monica grounded, able to only carry out terrestrial missions, on her mother’s order for if the personnel who disappeared in the Blip were to return. He then assigns her to an ‘FBI thing’. Cue the wonderful Jimmy Woo.

Monica is welcomed near the sign for Westview by Jimmy Woo, the FBI agent who dealt with Scott Lang’s house arrest in Ant-Man and the Wasp. Jimmy tells Monica a witness he had in Westview has gone off the radar; that everyone seems to have forgotten the man’s existence. And they approach two policemen stood by the sign, who claim Westview doesn’t exist. Ah, Wanda’s lovely magic. Jimmy also says he can’t contact anyone on the inside.

‘This isn’t a missing person’s case, Captain Rambeau, it’s a missing town. Population 3,892.’

And Jimmy claims the town itself won’t let him in to investigate, but though the town seems empty, it is visible, and there doesn’t appear to be any physical barrier. Monica sends in a helicopter-style drone, and the camera feed glitches like a television screen as it nears the town, then the drone disappears--the toy helicopter Wanda found in episode 2. Monica approaches the town, and a television-barrier becomes apparent. Monica touches it, and is pulled inside, hence becoming Geraldine within Westview in episodes 2 and 3.

Cut to a day later, the glorious Darcy Lewis from the first two Thor movies, Jane Foster’s (Thor’s love interest’s) intern, now graduated and with a PhD in astrophysics, sits in a van with several other scientists of different fields. Outside Westview, SWORD has set up a kind of military base. Darcy takes some readings and gets ‘a colossal amount of CMBR’ (Cosmic Microwave Background Radiation, which is one of the things used to prove the Big Bang Theory), and notices ‘longer wavelengths superimposed over the noise’, and has the idea to set up and link a vintage television to it.

Cut to night, we watch a man in some kind of protective suit crawl through sewers into Westview, the border of which transforms him into the beekeeper from the end of episode 2 which prompted Wanda to rewind and skip to the 1970s.

Darcy’s TV picks up the signal, and plays the previous episodes of WandaVision in their sitcom format, pointing out Vision is meant to be very, very, very dead. We see that the hands the camera zoomed out to reveal watching the show at the end of episode 1 belong to Darcy.

At this point, SWORD starts putting together a wall and whiteboard of their information, and it’s really fun to see them asking all the same questions we as an audience are. Why hexagonal shape? I take it this means the border is hexagonal, not that we’d know that as an audience. Why sitcoms? I know the answer, but only because I watched episode 8 already. Same time and space? and, of course, Is Vision alive?

It’s really fun knowing the answers.

Jimmy and Darcy watch Monica as Geraldine, and question whether she’s playing along or if she’s oblivious. With some science-y Darcy stuff, we also see that the voice in the radio in episode 2 was Jimmy, but we see the episode glitched itself out of that situation, like what SWORD is calling the ‘Westview anomaly’ is righting itself when they interfere.

As they watch Wanda give birth, they expect the anomaly to break, as all the other people are real people brainwashed, but then the babies are born, indicating Wanda has some kind of creational power (foreshadowing). Geraldine mentions Ultron, and as Wanda tells her to leave, the episode again glitches to the credits, not quite as we saw in the actual episode.

It then cuts back to that scene in episode 3, but not through the old TV as Jimmy and Darcy are watching. I didn’t notice whether or not it did this in episode 3, but the aspect ratio has increased, more to that typical of a modern show, in contrast to the smaller ones of the early sitcoms. And we watch Wanda threaten Geraldine with her magic, glowing red as it should--the event episode 3 emitted, instead giving us Vision’s perspective. Wanda tells Geraldine to leave, and blasts her through the walls of the house, and straight out of Westview, hence the end clip of episode 3. Wanda repairs the wall just before Vision returns home.

Something curious though--we know when SWORD sends things, including people, into it, they transform to fit the style, like the drone becoming a helicopter, the man becoming a beekeeper and Monica’s style changing to fit the decade, but when Monica comes out of Westview, she still looks like she did in the 70s episode.

Cut back to Wanda inside Westview, and she sees Vision walking, but apparently dead; skin-tissue-stuff pale, eyes blank and a hole in his head where Thanos took the mind stone, but he acts normal. Then Wanda sees him again looking normal. Vision tells her they don’t have to stay here if they don’t want to, and Wanda replies that they can’t; that this is their home--’Oh, don’t worry darling. I have everything under control.’ Which affirms Geraldine’s claim at the end of episode 3, that it’s all Wanda. (I’m going to refer to her as Geraldine when talking about episodes 1-3 and Monica when talking about 4-9, even though it’s the same character.)

Wanda and Vision sit down to watch TV and the credits begin, though Vision seems a little apprehensive.

And we finally have some answers about what the hell has been happening in Westview, and the vaguest idea how it fits into the MCU timeline as a whole.

Episode Five: ‘On a Very Special Episode...’ This episode was released on February 5th, with a runtime of 41 minutes, longer than any of its predecessors but still not exceptionally long. This is likely so it can follow the 1980s sitcom format with the inclusion of the SWORD parts. Note at this point, when the decade shifts, it occurs as something goes wrong: we shift to the 1960s when Mr and Mrs Hart question Wanda and Vision about how they came to Westview; we shift to the 1970s when they see the beekeeper, and we shift to the 1980s as Wanda forces Monica out of Westview.

So, we have the recap; nothing particularly noteworthy about it or its focus.

Shit, I just realised Tony’s snap at the end of Avengers: Endgame is now part of the Marvel logo sequence. Ouch.

Music plays, and we open to Tommy crying in a 1980s-style house. This episode is mostly formatted off Full House, in which Elizabeth Olsen’s elder sisters, identical twins Ashley and Mary-Kate Olsen, played the youngest daughter, Michelle Tanner. Unrelated to the plot, but a fun aspect.

Billy and Tommy won’t stop crying, so Wanda tries to force them to sleep with her powers, but it doesn’t work, and we still don’t see the red sparks, but, again, that’s an 80s-style special effects thing. Also, aspect ratio in this episode: a little larger than in episodes 1-3, but not quite episode 4′s. Funny thing here is that episodes 1-3 were shot and edited in such a way the episodes registered on Disney+ as having a larger ratio, giving a black border around the frame on the screen, but it doesn’t have that in this episode. Just a technical thing I’m not sure of the cause of, though in retrospect may simply be to convey the size of TV screens in the eras.

Also, can we take a moment to appreciate Wanda’s curly hair and floral waistcoat in this episode?

Agnes shows up to help them with the babies, to which Vision is apprehensive, and after a moment, she says to Wanda: ‘Do you want me to take that again?’ as though they’re following a script. This continues, Agnes asks if they should take it from the top, which confuses Vision,  but Wanda just laughs it off. This is interesting, because the only other person we’ve yet seen break character is Geraldine, who entered the anomaly after its initial formation. Then Agnes shifts back into character, and the laugh track picks up again.

Vision questions Agnes’s comments aside with Wanda, but Wanda brushes it off, and acts as though nothing happened, and his suspicion only grows.

Then suddenly the twins are about... five? I’d say five. I don’t know. As Wanda and Vision realise this, Agnes says, ‘Kids. You can’t control ‘em. No matter how hard you try.’ There’s a running theme of children in this show--obviously the children themselves, ‘for the children’ in episode 2, and Mrs Hart’s questioning of when they were going to have children in episode 1. This semantic field fed theories that Wanda was literally doing this ‘for the children’, and this comment from Agnes could suggest the children will be the downfall of the anomaly--Wanda brainwashes the adults, but not the children.

The introduction to this episode is really cute. It has a mellow pop song playing over the top, and the 80s thing of using old photos of the characters; they’ve used actual photos of Elizabeth Olsen and the actors playing the twins, and mildly horrifying photoshopped versions of Paul Bettany as a child, but made into Vision. These photos of Vision were leaked before this episode came out, and it’s just hilarious to me because Vision was born an adult. And, assuming WandaVision takes place in 2024, after Avengers: Endgame and Spider-Man: Far From Home, Vision is literally nine years old as it takes place.

There generally isn’t much to pick apart in the theme songs themselves, but the general idea of this one is ‘we’re making it up as we go along,’ which could be an interesting insight into Wanda’s state of mind--we’ve somewhat villainised her up to this point, creating the anomaly and controlling people, but the stance should be taken that she just doesn’t know what she’s doing, and is trying her best, selfish as her goals may be.

Cut to Hayward questioning Monica about her memories, and she describes a hopeless feeling--grief--controlling her--Wanda’s grief at the loss of Vision in the fight against Thanos. They take some kind of scan of Monica’s body and draw blood, but have to redo them because the results came out blank--foreshadowing.

Hayward describes Wanda as ‘the principal victimiser’ instead of one of the victims of whatever was happening in Westview, jumping straight to villainous conclusions.

A point here: in a recap of the ‘subjects’, Jimmy Woo states Wanda was born in 1989, which is actually a change to canon, because in the events of Avengers: Age of Ultron, set in 2015, she was 16, born in 1999. Questionable. Still not sure why they did this, but this makes her 29 in WandaVision, excluding the years of the Blip, where she would otherwise be only 19.

Hayward asks Jimmy if Wanda has an alias--in the comics, Wanda Maximoff is Scarlet Witch, but this alias has not yet been stated in the MCU--foreshadowing. Hayward focuses on her failures, such as working against the Avengers upon her introduction and the destruction she caused in Nigeria at the beginning of Captain America: Civil War. He then calls Wanda a terrorist based on how Monica described her experience in Westview.

Hayward then reveals to us footage of Wanda entering the SWORD headquarters where Vision’s body was kept, and shattering glass to access it, broken into pieces, as though to steal it, which Jimmy doesn’t believe because it’s a violation of the Sokovia Accords, and Darcy wonders what will happen when Vision learns the truth.

Wanda comes into the kitchen to find Tommy and Billy with a dog they found and want to keep. Wanda is apprehensive about letting them keep him, Agnes shows up with a dog house, and Wanda decides to create a dog collar, right in front of Agnes. Vision calls her out on this, and she says she’s ‘tired of hiding’. They name the dog Sparky, then Wanda sides with Vision that the twins aren’t old enough to care for him until they’re ten years old, to which they just age themselves up again. Agnes jokes that the dog should stay the same size, but still doesn’t question the magic.

A note here: Wanda skips decades when things don’t go her way, and the twins skip ages--Wanda is in control of the things around her, but not herself, as they are in control of themselves.

Meanwhile, Monica tries to figure out how she could re-enter Westview, and Darcy starts to call the anomaly the Hex because of its hexagonal shape. And they discuss that Wanda must be wielding ‘an insane amount of power’ to maintain the Hex and the twins, beyond anything she’s ever displayed before. Monica mentions she could’ve taken down Thanos on her own if he hadn’t used the infinity stones, and Jimmy mentions he thinks Captain Marvel came close, to which Monica stiffens, and dismisses the conversation about her--something has clearly happened between Monica and Carol since the events of Captain Marvel.

They go a lab to run an analysis on the 70s clothes Monica wore when she came out of the Hex, and discover they’re bulletproof, like the vest she wore when she entered, and they establish Wanda isn’t creating anything, but is rewriting reality.

Vision goes to work, where he helps his co-worker Norm with his computer, and they get an email from SWORD about Westview, mentioning Darcy and radiation. Everyone in the office reads it out with Norm, but they laugh at it, while Vision is suspicious. He turns off the computer with his powers, then does the same zap-thing to Norm, who suddenly comes back to his regular consciousness, outside of Wanda’s control, and begs for help. He tells Vision he has to stop ‘her’, that ‘she’s in [his] head’. Vision zaps him again, and he goes back into sitcom-brain.

Wanda tells the twins Vision went to work, which they question because it’s Saturday. Wanda tells them he just needed a distraction because they weren’t ‘on the same page’. She talks about family, and tells them that her on brother is far away.

Sparky the dog barks at something outside, and we cut to a drone’s view. Monica has sent in an 80s drone, something the Hex wouldn’t need to rewrite, and we see that’s what Sparky barked at. Monica tries to speak to Wanda, and through the drone’s view, but not the broadcast’s, her eyes turn red, and Hayward orders an operator to ‘take the shot’, though Monica didn’t know it was armed. They take the shot and the drone’s camera cuts out. Alarms blare, and a worker claims ‘there’s a breach.’

We go outside to the border, and Wanda exits the Hex, wearing what she wore in the climax of the Infinity Saga, dragging the drone behind her. This is confusing to watch back, because I know in retrospect she wore civilian clothes when the Hex was created, and was left in them when it was destroyed. Shooters aim their guns at her, and she throws the drone to Hayward’s feet. As she talks, what she had elft of her accent in Avengers: Infinity War has returned. She tells them to ‘stay out of [her] home,’ that ‘if [they] don’t bother [her], [she], won’t bother [them].’ Monica talks to her, and she prepares her magic. Monica asks what she wants, and she replies ‘[she has] what [she wants]. And no-one will ever take it from [her] again.’

And ‘for the children’ clicks--Wanda clearly created the Hex to have a life and a family with Vision. Wanda uses her magic to turn the guns onto Hayward, but they don’t shoot as she returns to the Hex.

This scene is important, because it shows us for certain that Wanda is aware of what she is doing, and shows for certain that she is in control, where before we had substantial evidence, but nothing this undeniable.

And cue this episode’s advert, for Lagos Brand paper towels--’For when you make a mess you didn’t mean to.’ This is a reference to an event at the beginning of Captain America: Civil War, in which Wanda accidentally killed twenty-six civilians in Lagos, Nigeria.

We cut back to the Hex, where Sparky has disappeared. They cross paths with a mailman, who says ‘Your Mom won’t let him get far,’ another subconscious reference of one of Wanda’s cast to her control. They find the dog dead in Agnes’s yard, who says he ate her azaleas, which poisoned him. The twins are upset, but Wanda stops them aging up, and gives them a lecture about grief. One of the twins tells her she can ‘fix the dead,’ which Agnes does question. This is a reference to her apparent resurrection of Vision, but Wanda tells them death is inevitable and forever; blatant hypocrisy. 

Later, Vision asks Wanda how the boys are, and Wanda says ‘life moves pretty fast out in the suburbs’, a reference to the show’s time-jumping. Vision tells Wanda of his conversation with Norm, and tells her he was in pain. Vision says ‘You can’t control me the way you do them,’ to which Wanda replies, ‘Can’t I?’ and the credits roll, but sitcom-style credits, not the WandaVision credits.

Wanda tries to leave, and Vision asks about the ‘Maximoff Anomaly’, but she feigns ignorance. He accuses her of controlling the town, the credits stop, and they rise into the air with their powers. Wanda says she did it for both of them, Vision asks what’s outside of Westview, but she doesn’t answer. Vision says he can’t remember his life before Westview, but Wanda reassures him that he is her husband and a father; he asks why there are no other children in Westview, which she again dismisses. Wanda exaggerates the insanity of what he thinks--gaslighting--and says she doesn’t know how it started in the first place.

The doorbell rings, which she says she didn’t do, and Wanda opens the door to Pietro Maximoff, the brother who she claimed was ‘far away’, but we know to be dead. Except it isn’t Aaron Taylor Johnson’s Pietro, from Avengers: Age of Ultron, and it’s not just a recast. He’s played by Evan Peters, who plays the version of Quicksilver in the X-Men movies, which is clearly intentional.

This led to speculation about the opening of the multiverse, and even though WandaVision doesn’t directly go that route, Wanda’s next appearance is going to be in Doctor Strange in the Multiverse of Madness.

This episode was an excellent one, and we’ve truly begun to build towards the climax.

Episode Six: ‘All-New Halloween Spooktacular!’ Released February 12th, this episode has a still-leaving-a-lot-to-be-desired 37 minute runtime, and is one of the ones primarily featured in the trailers, which showed Wanda and Vision dressed in mock-up costumes of their character design in the comic books, which is especially exciting for Wanda, because, not only has she not yet been officially called ‘Scarlet Witch’, she also hasn’t had an official costume, with most of her other outfits in a darker red, but not the comic Scarlet Witch.

Recap of the relevant information, roll the Marvel logo, and this episode opens with a fast-paced theme song, which shows Wanda for the first time with the red effects of her magic in the Hex through the sitcom camera. This song mentions ‘illusion’ again and again, then moves into a rather elongated verse of repeating ‘let’s keep it going’, implying Wanda is now simply trying to extend the time she has with her family.

The twins introduce the episode in that 1990s break-the-fourth-wall style, they play with Pietro, and Wanda comes downstairs in her costume, claiming to be a Sokovian fortune teller. Pietro says it’s ‘worse than the costumes Mom made us the year we got typhus,’ and we cut to a really brief flashback of Wanda and Pietro trick-or-treating; Wanda has her hair in a braid and Pietro has an eyepatch, which some thought might just be an Easter egg of the two dressing as Black Widow and Nick Fury, but looking at it now, it seems more incidental.

Vision then comes downstairs in his costume, and says he’s only wearing it because Wanda took all his other clothes out of his closet, and that it’s a Mexican wrestler. He tries to leave for the neighbourhood watch, to which Wanda starts, ‘No, that’s not what you’re supposed to--’ as though she’s beginning to lose control over the Hex. Pietro dresses in a mock-Quicksilver costume, and dresses Tommy in something similar, referencing that Tommy, in the comics, also has superspeed. 

Wanda tries to test Pietro on a memory of their childhood, which he calls her out on, and she asks why he looks different, but he says ‘you tell me’, again implying this is her doing. Wanda talks to Herb, one of the neighbours and a member of the watch, who tells her Vision isn’t on duty.

Cut to Vision near the edge of town, and he sees people in their yard repeating the same motions over and over, as if Wanda has less control over the outskirts of town.

Cut to this episode’s commercial: this one is animated, of a boy of a deserted island, and a shark jumps out of the water, and gives him a ‘Yo-Magic’ yoghurt to eat, which the boy takes, but is too weak to open. Time passes, and we watch him starve--’Yo-Magic! The snack for survivors!’ This could be referring to Wanda’s inability to save the people around her with her magic--she couldn’t save HYDRA’s other test subjects, then she couldn’t save Pietro, then Vision.

Wanda asks Pietro what happened to his accent, and he asks her the same question, then tells her his memories are fuzzy. Tommy then goes to get candy, and reveals his superspeed powers. He and Billy then go off with a promise not to ‘go past Ellis Avenue.’

Darcy, Jimmy and Monica hack into Hayward’s data, and discover he figured out a way through the boundary, and that he’s tracking Vision and the people in his vicinity. They notice the people at the edge of town are hardly moving. Cut to Vision, who realises the people even further out are completely stagnant. He then morphs from his human costume to his typical Vision-self, flies upward and observes the town, noticing a car at the edge, which he flies down to.

We see Agnes in the car, dressed as a witch and still, but not unresponsive like the others. She tells him she got lost--’In the town you grew up in?--and he zaps her the way he did Norm in the last episode. She recognises him as Vision, an Avenger, but he doesn’t know what an Avenger is. She tells him he’s dead, and explains Wanda’s control, then laughs manically until Vision zaps her again, and she once again becomes the Nosy Neighbour, then turns the car and drives away. We zoom out to the street sign: Ellis Avenue.

Darcy sees Monica’s bloodwork in Hayward’s files, and tells Monica she can’t go back into the Hex as she wishes, because she’s already been through the boundary twice, and had her cells rewritten molecularly--Ms Marvel!! But Monica dismisses it, and tells Darcy she won’t stop until she helps Wanda.

Pietro accuses Wanda laughingly of only avoiding traumatising the town’s children by only bringing them out for a holiday cameo, but praises her, because ‘Families and couples stay together, most personalities aren’t far off from what’s underneath, people got better jobs, better haircuts, for sure,’ and tells her he’s impressed, but asks how she did it, which she doesn’t answer, then tells him she doesn’t know how she did it. She just remembers loneliness, and numbness.

She then looks back to Pietro, and sees him with bullet wounds in his chest; dead the way she saw Vision in episode 4, but she blinks it away.

Darcy watches Hayward’s tracking of Vision, and he approaches the barrier, sees it in all its television glory. Then he pushes through. He strains to make it through, and SWORD agents pull up on the other side. He nearly makes it, cape all that’s left, but it clearly painful, and he falls to the ground. Chunks of him tear off and fly back through the barrier. Meanwhile, Billy realises something is wrong with an echo of Wanda’s power, hearing Vision’s yells, and runs to Wanda.

Hayward handcuffs Darcy to stop her trying to get him to help Vision as he comes apart. Wanda asks Billy where Vision is, to which Pietro says, ‘Hey, don’t sweat it, sis. It’s not like your dead husband can die twice.’ Her eyes turn red and she sends him flying into a haystack. Billy focuses, and sees the SWORD soldiers, says he thinks Vision’s dying, and Wanda freezes everything around her, then sends out a blast of power.

Outside, the boundary of the Hex moves, expanding, and the SWORD agents panic to get away as Vision is re-encapsulated, but Darcy is handcuffed, and t passes over her. The SWORD camp turns into a circus, but Hayward, Monica and Jimmy get away--slightly wondering why Monica tried to when she was trying to get back in.

And the episode ends there. I don’t really have much of a conclusion to this episode--in truth, not too much actually happened aside from Pietro and the twins, but we are so building to the climax. This is also actually furthered by the absence of a laugh track in this episode, though this is also due to the fact they became less common.

If for whatever reason you don't know vaguely what WV is about, you've been living as a hermit for literally the last six years. But if you don't know: in 2015, Marvel Studios released Avengers: Age of Ultron (AoU), technically the second movie in the 'Avengers' franchise, but the eleventh movie set in the MCU, the Marvel Cinematic Universe. AoU introduced three main characters to the MCU: Vision, a synthezoid-human-robot-AI-android thing, who I would call a person but it's complicated - his consciousness is derived from the mind stone, one of six infinity stones, JARVIS, Tony Stark/Iron Man's AI assistant, Tony Stark himself, Bruce Banner/the Incredible Hulk, Thor, and Ultron, the villain of the movie, who's more of a robot than Vision, but he's not the point. The movie also introduces Wanda and Pietro Maximoff, known in the comics as Scarlet Witch and Quicksilver, though they are never called this in the movies. The Maximoffs are twins who volunteered for experimentation from HYDRA, an evil Nazi organisation who provide the main antagonists in the Captain America trilogy. We are told they each gained superhuman powers from the mind stone - Pietro has an increased metabolism and improved thermal homeostasis, and Wanda can do neural electrical interfacing, telekinesis and mental manipulation, or, in the words of Maria Hill, 'He's fast and she's weird.'

Pietro Maximoff is promptly killed by somehow failing to dodge bullets, while Wanda and Vision join the Avengers, and eventually fall in love. I'm not explaining Avengers: Infinity War. Or Avengers: Endgame. If you haven't them, why are you reading this?

Anyway, so Avengers: Endgame is the third-to-last movie in Phase Three of the MCU, but is the last part of Wanda and Vision's story pre-WandaVision, and wraps up with Vision dead and Wanda grieving.

So, should you watch WandaVision? Yes. Absolutely.

We already know our two main characters and several of the other characters, including Monica Rambeau from Captain Marvel, grown up, Darcy Lewis from the Thor franchise and Jimmy Woo from Ant-Man and the Wasp, but we're also introduced to a cast of new characters, mainly new villains (but then superhero movies so rarely use old villains), who are well-developed and intriguing - you'll either love them or love to hate them.

The plot leaves you on the edge of your seat - nearly every episode ends on a cliff hanger, and leaves you with a thousand questions. It answers the bare minimum, the final episode leaving us still with some questions, but it is the perfect way to milk our investment.

On the other hand, if you aren't familiar with the MCU, Wanda and Vision, you may have quite a hard time understanding every aspect. So long as you have a vague idea of the context, you can follow the plot, but you won't enjoy it nearly as much. I really don't think it's worth watching the entirety of the MCU solely for this show, but I also think it's worth watching the MCU movies, full stop.

The series is only available on Disney+, which absolutely sucks. I've had a Disney+ subscription since it was released in the UK, so this wasn't an issue for me, but it does generally suck. Even if you are up to date with MCU movies, if you don't have a Disney+ subscription, you can't watch it. The streaming service stopped offering free trials in July 2020 due to the release of the Hamilton pro-shot, knowing they'd get an influx of new subscribers, but not wanting people to be able to watch it without paying. Capitalism at its finest.

Whether or not the cost of one month's subscription for WandaVision is worth it is subjective - though now all the episodes have been released you could easily watch it and only have to pay once.

Ultimately, I would argue WandaVision is absolutely worth watching, though someone who isn't up to date on MCU films wouldn't enjoy it as much as someone who is, and with its runtime of just under six hours, broken into nine episodes, it may not be worth the Disney+ subscription for you personally, especially if you're not up to date on the MCU. However, I would like to end this section on a positive note: I cannot get over how awe-inspiring the storytelling on this show is. Marvel has its issues with storytelling, with things often feeling disjointed in an attempt to remain unpredictable and prevent actors (*ahem* Tom Holland) spoiling events, but WandaVision doesn't feel that way at all. It's unlike any superhero show I've seen before, plays on morality and plays with sitcom formats from the last 70 years, meaning you'll love it even if, like me, you're not a fan of action-focused media - the only long action scenes occur in the last episode.

So, yes. five stars.

~SPOILER ALERT~

Beyond this mark, I'm going to go into an episode-by-episode breakdown, and it will be basically all spoilers from here. If you haven't seen the show and care about spoilers, go away. Please don't spoil yourself.

Also, in each episode's breakdown, I may point out foreshadowing and things I only notice because I've watched it already, so unless you've seen all nine episodes, you may find spoilers even if you only read about the episodes you have seen.

I watched WandaVision episode by episode as it was released, and since the first two episodes were released nearly two months ago, I'm going to re-watch the show and break it down as I go.

Episode One: 'Filmed Before A Live Studio Audience' This episode was released on January 15th along with episode two, and I didn't actually watch it until the Sunday because I wasn't invested yet, and, of all the MCU shows announced, this was kinda the one I was dreading. Before this show, I loved Wanda, but hated Vision, so I also hated their romance. I'd also seen the sitcom-style trailers and was absolutely terrified it would be terrible, so I wanted to finish the season of the show I was currently watching before watching the episodes.

So let's get into it.

The episode is only 29 minutes along, including the nearly-ten-minute credits, which is pretty standard sitcom-episode length. We open with the Marvel introduction, but as the camera zooms out, we're shown the logo in a fuzzy, monochrome, early-1900s style. The aspect ratio also decreases, which is a nice touch but very annoying because the show itself has a larger ratio, meaning there's a lovely thick black border all the way around the frame. But that's just a formatting complaint.

We move into a 50s-sitcom-style song-montage in which Wanda and Vision, looking human like that single scene in Infinity war are coming home, just married. Wanda magically buys the house and with some weird Vision-power stuff, he carries her over the threshold to their new house, and we see the logo.

Thoughts at this point? Just what? How is Vision alive? Why is it black and white? Why is there a musical song? Why are we in the 1950s? How are they married? Why aren't they being Avengers? Just sheer confusion.

Wanda uses her powers in this episode without her typical red-smoke-sparkles, and they make a lot of gags, received with a laughing track, about their powers, but generally follow a sitcom formula, with the plot of having Vision's boss for dinner and needing to impress him.

Also, it’s noteworthy that what little was left of Wanda’s Sokovian accent by Avengers: Endgame has completely vanished.

It's very odd to see Vision as Vision, as in synthezoid would-be-red-if-it-weren't-in-black-and-white face, dressed in regular clothes instead of his cape and superhero get-up. It seems like his superhero clothes aren't actually a part of him, but when he walks through things, they go with him, though he can't take other objects with him. This could be because they were made at the same time as him, but he also takes his other clothes with him. That's just a question as to the limits of his capabilities, though.

We're quickly introduced to their new neighbour, Agnes, cast in the role of Nosy Neighbour, but the cast of this episode stays incredibly small. Agnes mentions her mother-in-law being in town and talks about her husband Ralph, though neither of these characters are introduced.

Vision goes to work, raising the question of why a superhero synthezoid needs an office job, especially one he apparently doesn't know the purpose of.

Later, Vision calls Wanda from work, and she answers the phone as 'Vision residence', which is confusing on a number of levels. Wanda is a perfectly normal name, perfectly able to blend into this setting - Vision is not. Especially when he has no surname and this answering gives the impression Wanda has taken his name, and literally become 'Wanda Vision,' which is likely the point, but confusing nonetheless.

Here comes a 1950s style advert, advertising the 'ToastMate 2000'. In the ad, the two people put bread into the toaster, which toasts and beeps for an unnervingly long time before coming out. We're then told it's made by Stark Industries (Iron Man's company) with the slogan: 'Forget the past; this is your future!' Ominous, and clearly playing into the fact we seem to be on an alternate timeline.

Towards the end of the episode, Vision's boss's wife, Mrs Hart, begins asking questions about their past - where they moved from, how long they've been married, children, etc. - and Wanda and Vision freeze, trying to answer, but apparently unable to remember. Mr Hart, Vision's boss presses, but they fail to answer. Mr Hart begins to choke, and Wanda and Vision freeze, while his wife laughs, telling him over and over to stop it, until he falls out of his chair, and Wanda tells Vision to help him, which he does using his powers, though neither Mr nor Mrs Hart question this, and quickly leave, having barely eaten. Overall, the dinner is apparently a success.

Wanda and Vision realise they don't have wedding rings, and Wanda makes some, in a clearly cut-together shot reminiscent of the intended style. The camera then pans out to 50s-style credits, crediting the two cast members, producer, director, writer, photographer, music director, production manager, supervising editor and several other roles, with names I'm sure have some relevance, either to real cast members or some comic reference, but don't mean much to me.

The camera continued to pan out, showing the episode playing on an old fashioned TV in some kind of technological/industrial room. A hand presses a remote button, and we cut to the real credits, against a background of warped shots of screens, which then zooms into the pixels and we see a load of formations, such as of their house. Credits which are seven minutes long, though the length has nothing to do with the show itself.

One more thing: it's hard to notice during the episode, but during the credits we see a warped shot of Vision, in which his eyes appear human, where previously they've been fairly robotic.

This episode brings up a million questions and answers literally none, so, glad there's another episode, we move on. I enjoyed this episode, and enjoy it more the second time round, now knowing the answers to most of my questions, but it's so frustrating.

Episode Two: 'Don't Touch That Dial' This episode is 36 minutes long including credits, which is still fairly standard sitcom length. I watched this one directly after the first, and my frustration only continued.

Something I've only just noticed watching this the second time through: this episode opens with a recap of the first, and it recalls the events without including character introductions--except for Agnes. The recap includes her introduction, but nothing else of her, which, even though she's technically irrelevant in episode one, clearly means the writers are trying to make the audience remember her.

The comedy-style intro to this episode is in a cartoon-style, which opens with an image of the moon surrounded by six stars which light up in turn, a nod to the infinity stones.

Here, Wanda and Vision--Wanda especially--are wearing less traditional-50s clothes, though the first time round I didn't question this because Wanda's hair was nearly the same--just a little longer and more relaxed--and so was the way it was shot, the black-and-white, and the aspect ratio. I didn't quite make the decade-jumping connection, though looking back it is fairly obvious we've shifted to the 1960s.

Since this episode still follows a comedy formula, in which every episode has its own arc which rarely intersects others, the plot of this episode is Wanda and Vision participating in a town talent show and attempting to blend in. After the intro, we see Vision practising, and Wanda brings out a cabinet of mysteries for their act, which has an image reminiscent of the mind stone on the doors.

With Wanda acting as Vision's magical assistant, he gives her the name 'Glamour,' a nod to her powers, and 'glamour' in the more magical, less-celebrity sense. It also matches Vision's magician's name, 'Illusion,' from which it becomes a nod to the fact this whole set-up seems so abnormal, and, an illusion or glamour.

Before the intro to this episode, we see Wanda and Vision getting woken up in the night by some banging. Later in the episode, we hear whirring and another bang, which prompts Wanda to go outside to investigate, where she finds a crashed toy helicopter, in colour. The helicopter has a sword symbol on it--the first time we see this.

Agnes then brings Wanda a rabbit for the magic act, who she calls Senor Scratchy, a reference to Nick Scratch, a colloquial name for the devil. This was part of what led to initial speculations about which character was actually comic-villain Mephisto in disguise - WandaVision also draws heavily from comic series 'House of X', in which Mephisto is the villain. Obviously, people began assuming Agnes was either Mephisto in disguise, or working for him.

Agnes then advises Wanda about Dottie, the leader of some organisation Wanda is apparently trying to join. Skip to the meeting, Wanda emulates Dottie’s actions to appeal to her. Dottie is then rude to a woman giving some sort of account, but she forgot to ask about the chairs, to which Dottie says ‘Devil’s in the details, Bev.’ Agnes then says to Wanda, ‘That’s not the only place he is,’ which added to the speculation about Mephisto.

The committee Wanda is with is working on the talent show to raise money for the elementary school--’For the children.’ This phrase is repeated throughout the episode, and foreshadows Wanda’s motivations as the show progresses. Wanda meets a woman named Geraldine, who says she feels out of place, foreshadowing her true identity, and how she, personally, came to Westview.

Meanwhile, Vision attends a neighbourhood watch meeting and one of the men offers him a stick of gum, which he takes despite the fact he can’t actually eat food, as a synthezoid. One of the men slaps him on the back fondly, and Vision swallows the gum, which we see as a cartoon of it going down his mechanical oesophagus. 

Wanda stays behind at the committee meeting to help Dottie clean up, and Dottie tells her she’d heard things about Wanda and her husband, which Wanda responds she ‘doesn’t mean anyone any harm,’ and Dottie tells her she doesn’t believe her, as though she’s mentally returned to reality, continuing to foreshadow the reveal in the next few episodes. The camera zooms in, the music intensifies, and a voice comes from the radio beside them, asking if Wanda can hear him. Dottie asks, panicked, who it is, and who Wanda is. The radio short-circuits, and Dottie breaks the glass she holds, cutting her hand, and the blood is red.

The advert in this episode contains the same actors from the previous one, this time advertising the Strucker watch--a reference to Wolfgang von Strucker, a Nazi villain from the Captain America franchise; also the head scientist on the experiments which Avengers: Age of Ultron claims gave the Maximoff twins their powers. The slogan is ‘He’ll make time for you,’ which, even now, I’m not completely sure what it’s a reference to, or who the ‘he’ could be, but it seems to further suggest Mephisto’s involvement, despite that not actually being the case.

Cut to the talent show, Wanda panics because Vision is late. He shows up, walking and acting as if drunk, and we’re shown the gum is stuck around some gears in his gut. On stage, Dottie makes the audience chorus ‘for the children’ again, and Wanda and Vision come out. Because of the gum stuck in Vision, the act goes sincerely wrong, and he uses his powers out in the open, but Wanda manages to use hers to apparently hide this from the audience. They bring out the cabinet of mysteries, and Agnes asks sarcastically if they’re sure they don’t want an audience volunteer named ‘my husband Ralph?’, the second mention of Ralph in the series. 

Vision taps the box with his wand before Wanda gets inside, and the audience starts chanting ‘What’s in the box?’ Wanda panics, does something with her powers, and opens it to reveal a very confused Geraldine inside. Their act ends, and Wanda uses her powers to find and release the gum stuck in Vision, and he seems to ‘sober up’. They try to leave, but Dottie calls them up on stage, praises them and presents them with a trophy for their comedy. Wanda calls up Geraldine, who asks what happened, but they play the ‘magician never reveals his secrets’ card.

They get home, and joke about it, repeating ‘for the children’. Wanda gets up, deciding to get popcorn, and is suddenly quite pregnant, where she very much wasn’t before. There’s a thud outside, and they go to investigate. A manhole cover in the road shifts, and somebody in a beekeeper’s suit, with the sword logo on the back, emerges, face in shadow. Wanda merely says ‘no’, and we rewind to before the thud. Colour then begins to bloom onto the screen, and the episode ends, with an echo of the voice from the radio.

Looking back, I think the shift to colour on Wanda’s part may have been a decision because of the helicopter, and the blood--the beekeeper prompted it, but she’s trying to hide the fact that the things which do not belong are so obviously out of place.

This episode holds no more answers than the last, and has the same comedy tone with the ominous undertones as the last, but also contains significantly more characters and locations, as though this sitcom world has expanded.

And then we had to wait a week for episode 3.

Episode Three: ‘Now in Colour’ And we shift to the seventies. This episode’s recap recalls all the major points of the last episode, including Geraldine’s introduction. This episode is only 32 minutes including credits; longer than the first, but shorter than the last, so we’re still sticking to the comedy format, and the episodes aren’t yet lengthening.

Just a point a little irrelevant to this: WandaVision’s total runtime is about six hours, and we’re getting six FatWS episodes, which is probably about the same runtime but a little disappointing (though that’s mostly because it means there’ll be a couple weeks where we get nothing between it and Loki).

The introduction to this episode is more classic sitcom, with the long pop-style song over a montage of the characters--exactly what you’d expect from the seventies. The episode opens with a doctor at their home, who tells them she’s about four months along, which she obviously isn’t. Vision questions how this happened, but it becomes fairly clear to the audience this is Wanda’s doing. Vision asks the doctor not to tell people about the pregnancy, and sees his neighbour to the non-Agnes side, Herb, trimming his hedge, but the hedge-trimmer is going through the garden wall, and he hasn’t seemed to have noticed. Vision points this out, Herb verbally acknowledges him, but keeps going.

Vision returns inside, and Wanda’s pregnancy has progressed even further. Wanda uses her magic to prepare the baby’s room, and her magic is still missing her signature scarlet, a continuing sign something is wrong. The baby kicks, Wanda describes it as ‘fluttery’, and accidentally makes the butterflies on the baby’s mobile real. 

Vision mentions the name ‘Billy’, and Wanda says ‘Tommy’, ‘a nice, classic American name’, returning emphasis to their efforts to fit in. Wanda gets Braxton-Hicks contractions, and her powers turn on the tap, open the window, flare the lights--the pregnancy causes her to lose control of her powers, and the block’s power goes out. Wanda mentions the people of Westview ‘always seem to be on the verge of discovering [their] secret’, and Vision says something seems wrong there. The music intensifies and the camera zooms in, then we cut back to before he said that, but without the rewind sequence we saw in the last episode.

And Wanda goes into real labour, sending Vision in a panic. Then it begins to rain inside, and Wanda comments she thinks her water has broken.

Cut to commercial! Same actors again, this time for Hydra Soak--’find the goddess within’. It’s a bath product meant to take you away from your problems--a reference to Wanda’s apparent escape from what she was left with after Endgame. I’m not completely sure what all the HYDRA references are about, even after watching the whole series.

It stops raining inside, and Wanda opens the windows to dry out the house, and I cannot get over how perfect her hair is in this episode. It’s perfect in the others, too, but this time, it’s perfectly straight, not a strand out of place, and I just can’t get over it.

Vision goes after the doctor, who was about to go on vacation when he left, and the doorbell rings. Wanda puts on a coat to hide her belly, and welcomes Geraldine in, but tells her it isn’t a good time. Wanda gets a contraction, and her coat transforms. And again. So she throws it off, and uses a fruit bowl to disguise it, but Geraldine doesn’t leave. 

A stork appears behind Geraldine, apparently the one Vision painted on the nursery wall earlier, and Wanda has to do her best to keep Geraldine from seeing it. She tries to make it vanish in a cloud of red smoke, her typical magic, but fails, and Geraldine eventually hears the stork, but Wanda tells her it’s the ice maker. 

The baby, however, it very quickly coming, and Geraldine sees Wanda’s belly. She lays Wanda down, and she births the baby, while light fixtures break and paintings spin, before Vision arrives. My God, her hair is so damn perfect. The baby’s a boy, and Vision concedes to Wanda’s name choice of Tommy. Then Wanda screams again, and Billy is born. For the children.

Vision goes outside with the doctor, and asks about his trip. The doctor tells him that small towns are ‘so hard to... escape,’ yet another ominous implication. The doctor leaves, but Herb is still outside, now without the hedge-trimmer, but with Agnes. They whisper about something, then Vision goes over. Agnes says ‘Ralph looks better in the dark, so I’m not complaining,’ when he asks if they lost power, too. And Agnes asks if Geraldine is with Wanda, as though she is suspicious, though knowing how episode seven ends, her true concern is clear.

Inside, Wanda tells Geraldine she’s also a twin, and the music intensifies. Geraldine says, ‘He was killed by Ultron, wasn’t he?’ in reference to Pietro--Quicksilver.

Agnes says Geraldine is new to town, no husband, and no home.

Wanda asks what Geraldine said, but Geraldine goes back to complimenting her. Wanda presses, but Geraldine’s sudden clarity seems to have gone. Then we zoom in on Geraldine’s necklace, and it’s the Sword logo.

Herb tells Vision Geraldine ‘came here because we’re all...’,but Herb can’t get the words out.

Wanda asks about the symbol, who Geraldine is, but she says she doesn’t answer.

Agnes makes Herb stop talking, and leaves. Vision returns inside, and Wanda tells him, rather monotonously, that Geraldine had to return home. But the camera cuts to the Westview sign, suddenly with a wider, more modern aspect ratio. It’s night, the air ripples like TV static, and Geraldine comes flying out, as though pushed. She collapses on the ground; cars approach, a helicopter casts a spotlight on her. We pan out to some kind of camp, and cut, to that dreaded ‘Please stand by’ credits screen.

And episode three ends, leaving us still without answers, but at least a little confirmation of something malevolent occurring. 

So, that’s my initial overview and breakdown of episodes 1-3. Part 2 will contain episodes 4-6, and part 3 7-9 plus my final thoughts.

But that’s that for this week’s post; the next two parts should be up next week and the week after, unless I have something I want to post more.

Anyway, go drink some water, eat something if you haven’t eaten in the last few hours--you’re amazing, you’re beautiful, and you so deserve everything you have, and more.

I’ve always wanted to be an author. From when I was reading under my covers with a torch past bedtime, through the years I wanted to be an artist, through the years I wanted to be a lawyer. It’s always been there - no matter what primary career path I went down, I wanted to be an author. The last few years, I’ve been invested in becoming a biologist, and that dream really took a backseat.

In the start of this lockdown, my mental health went downhill, and some advice my therapist gave me was just to prioritise myself. It sounds simple enough, but, even in my free time, I’d been focusing on schoolwork - revising constantly for exams I’m still not sure are actually happening. (Boris Johnson is apparently making an announcement tomorrow about beginning to ease lockdown, but we’ll see) So, on Saturday, February 6th, I started an attempt to coalesce the ideas I had floating in my head into something tangible.

I’ve tried to write books countless times (not technically countless - I have all the documents on my laptop, so I could if I wanted to), but mostly, I’ve never gotten further than a couple bare plot points and some characters, maybe some ideas for subplots, before I’ve stagnated and given up.

Three times, I’ve finished a skeletal outline. Twice, I’ve started to go back over those outlines only to realise they made no sense or just seemed week, and simply not cared enough to fix it. Until now, I guess.

February 6th, 7th, and fast-forward to my week off beginning the 15th, up until the 19th, I kept developing this concept I’d managed to form, but I was struggling to establish a coherent plot. I had up until and including a midpoint (which was later condensed into just a first act), but everything after that was just a void. I began searching for some skeletal structure I could apply to it, both to work on pacing and fill in the blanks. I tried several, and got a little further, but was about to give up hope.

Then I remembered a video by Katytastic I’d watched years ago about the 3-act, 9-block, 27-chapter structure she used, and couldn’t see the harm in giving it a go. And something clicked.

You can find the video here - the structure’s detailed and easy to follow, plus she even gives an example of using it to generate a plot.

I started binge-watching her writing vlogs in the background, and even started using her same writing program, Scrivener, which just made every a thousand times easier by taking away the need to juggle a billion Word documents. It’s fairly pricey, but I’m currently using the 30-day free trial - it’s 30 days of use, not of ownership, too: if you use it every day, it lasts 30 days, but if you use it once a week, it lasts 30 weeks.

Where Kat used the 27 parts the structure broke down into as chapters, I chose to refer to them as beats, and separate chapters later.

On Saturday the 20th, I finished defining my scenes and started writing an actual draft. I wrote two scenes, putting me at a collective word count (not including notes, synopses, etc.) of 2,580 words.

This morning, Sunday the 21st, I started over. I hated my opening. I’m not going to go through the mess of today’s process, but I currently have around 80 one-line-outline scenes, split into 3 acts. I wrote a draft of my prologue and detailed-outlined (which I’m mentally referring to as zero-outlining because it’s similar to how Katytastic does what she calls a zero draft, but is very much outlining, not a draft) two and a half other chapters. Scriver also tells me how many words I wrote in total, across notes, character profiles, location lists, a document I’ve named ‘Train of Thought’ for my ramblings as I go etc.

Today, I wrote a grand total of 4,141 words, which, rather counterintuitively, puts me at a draft total of 2,598. That makes sense. Anyway.

There are a lot of unknowns in the world right now, and I have no idea how much time I’ll have in the next six months to invest in this project, but I’d like, at bare minimum, to have one complete draft by the start of the next school year in September, which gives me just over 6 months. Which is probably too much time to actually motivate myself, but that’s not the point.

A manuscript needs to have a minimum word count of 50K words to be considered a novel, so, even though my ultimate goal for this project is around 80K words, 50K is going to be my goal for this draft.

I’m being optimistic about sticking with this.

Tuesday 23/02/2021 - Word Count: 3,099 I wrote nothing yesterday; planning to focus writing solely on days off rather than work days, but last night, watching through the incredibly long queue of Alexa Donne writing videos, I came to the conclusion writing every day, even just a little, would be the best way to ensure I keep working on this, so I set myself a goal of just 500 words a day.

Wednesday 24/02/2021 - Word Count: 5,350 After doing a little bit of maths as to how long this outlining and draft would take me if I were to only write 500 words a day, I decided to boost that goal to 1,000. I got started around 1pm today, online school draining me so much I couldn’t face another two hours. I worked on and off until 6pm, and around 4.45pm, I finished outlining Act One!

Thursday 25/02/2021 - Word Count: 7,022 I continued my scene outlining into Act Two, but I hit a brick wall around the midpoint. I have to write chronologically - some people jump around, but I have to write linearly, or it feels like I’m trying to make something in a void. It just doesn’t work. I didn’t know how to get from one scene to the next - there were so many things I needed to establish to get there, but I didn’t want to backtrack. I decided to re-jig the whole thing, but, after dinner, I realised I didn’t have to, and instead, decided to just start a draft, conscious of the things I need to establish as I go.

Friday 26/02/2021 - Word Count: 8,208 Starting draft one, I rewrote the prologue I’d already written, technically putting me to my second draft of it, because I’d been thinking about it for days and just wanted to revisit it, and it was so much better. Then I moved on to chapter one, but decided I wanted to re-jig my chapters. While outlining, I’d split the whole book into only about twenty chapters, but decided to go for shorter ones for more effective divisions of the story. I got most of the way through the first scene of chapter one, but basically ran out of both time and motivation, since I hadn’t heavily outlined that scene. in total, I wrote over 2000 words today, but because I only increased the prologue word count by about 100 words, it didn’t do that much to the total count.

Saturday 27/02/2021 - Word Count: 11,050 I got some chores done Saturday morning and focused on finishing my book so I could include it in my February wrap-up, but I still had time to get some writing done around mid-day. My goal was just to hit 10K this weekend, but I though I could do it in one day. I wrote about 1,000 words before feeling a little word-drained, but took a break for lunch, got back to it and wrote 2,400 words. Though that only added a little over 2,000 to the word count, it took me to 10K! I’m 20% of the way to being able to call it a novel! We’re in quintuple digits!

And then eight hours later, I wrote another thousand words and got to 11K.

Sunday 28/02/2021 - Word Count: 13,722 I spent most of my Sunday morning writing, though it took me more than two hours to write about 1500 words, though it only added about 1100 to my count. I decided to set myself an overall and weekly deadlines to hold myself accountable. Due to the fact I don’t yet have a clue how many words this will work out as, I decided I wanted to have either a complete first draft or 100K words (which I doubt I’ll reach, but it seems like a good way to make myself finish the draft before my deadline) by the end of April. Which works out to a little under 1500 words a day, or just under 11K a week, which is perfectly doable. Bearing in mind my current word count is including outlines, but I still believe in myself.

I wrote another 1600 words later, which took me to 14K, until I deleted the 300 word outline I wrote for one scene, but I worked out my words per day for the next two months with the assumption of a 10K word count as of March 1st and a target of either a complete draft or 100K words by the end of April, so I’m nearly 4,000 words ahead of schedule. Which gives me 6,606 words to write this week, instead of 10,328. (If you couldn’t tell, I like numbers. They just make sense to me.

Monday 01/03/2021 - Word Count: 15,005 I didn’t quite hit my daily goal, but I was completely leached of motivation today, I’m ahead of schedule anyway and I was only under by less than 200 words. It’s alright. But, hey, we hit 15K! Two days after hitting 10K!

Tuesday 02/03/2021 - Word Count: 21,119 This was an insane writing day. My end-of-day target was only 16,480, and that was still ahead of schedule - if I was sticking to the 100K by April 30th, I’d only actually need to be at 12,950 today. This was the best writing day I’ve ever had. I wrote before school and during breaks, which kept both my writing and working momentum up.

I didn’t read a page of my current read, but I wrote a total of 7,681 words and increased my wordcount by 6,114 words, or literally an additional 40.75%. I hit 20K three days after hitting 10K, and am 42.238% of the way to being able to say I wrote a novel, be it a shitty first draft that won’t be complete at 50K words.

I also finished chapter three, which I’ve been working on for three days and came out ~5,000 words, and wrote chapters four and five in their entirety.

Note to self: this is day 10 of vaguely outline-drafting this project.

Wednesday 03/03/2021 - Word Count: 23,364 I've only written 490 words today, as of writing this update, but I just wanted to make note of the fact I've done some calculations, and can reasonably finish my draft this month. I'm still not completely sure how long it'll work out to be, so I can't quite work out my daily words to finish on the 31st, but if I stick to my current 1,475 words a day, I'll hit 63,894 words by the end of the month, which is a little less than I imagine this draft will be, but if I stick to that as a minimum, my first draft won't have to go into April.

I'd like to post this later this week, but I already have a post for this Friday, so God only knows how long this will be by the time it goes up. So far, I've written 1,900 words today, and I don't think I'm out of fuel yet, but I'm stopping because I need to read today, and I'd rather not burn out. I'm over my goal, anyway.

Oh, also, I'm nearly at 25K, which is halfway to a novel, but I haven't broken into Act Two yet, which means this book will be 75K minimum. I'm going to do some maths and work out how many words a day to hit 80K by March 31st. 2,030. That's doable. So I haven't read, but back to writing for like ten minutes.

I've now hit an additional 2,245 words for the day, though I wrote a total of 2,663

Thursday 04/03/2021 - Word Count: 25,415 I've decided to work out how many words I need to write each day to hit 80K by March 31st, and watch the fluctuations. (I like statistics). It should steadily go down throughout the month if I surpass it each day. Today's minimum word count is 2,023, already seven words less than yesterday's. How exciting.

The last scene of Act One was very heavy on world-building I haven't yet figured out, so I stuck what was meant to happen in brackets and just moved on, meaning I have now broken into Act Two!

I think, during the week, I'm going to focus on just meeting my minimum word count rather than exceeding it, just to save fuel for the weekends, when I can write so many more words.

And, we hit 25K! I'm halfway to a novel!

Friday 05/03/2021 - Word Count: 26,693 In complete honesty, I'm beginning to lose momentum. Maybe it's just today, but I don't really want to write and feel like I need a break, but I'm going to make myself write anyway. I'm going to make myself keep writing until this draft is done, however shitty it may end up. I really hate first drafts.

When you say 2,000 words is only 7-8 pages, it doesn't sound like that much to write per day but my god. Luckily, most of the stuff I've had to save to a Pinterest board called 'Writing Motivation' says if you write when you don't want to, it should pass instead of worsening. I wanted to hit 35K this weekend, but I'm not sure I'll have the momentum. I'll at least hit 31,270, though, which is my minimum goal for this week. I'm still over 700 words off my goal for today, but I'm taking a break because my head is foggy and there's still eight hours left in the day. Besides, 700 after dinner is easy. She says, realising she's probably jinxing it. Oh, well. 80K by March 31st would be difficult, even if I weren't going back to school soon, but that's a stretch goal. 100K by April 31st is my minimum, and I'm 9,000 ahead of where I need to be for that.

I think I’m stagnating because I’ve hit the ‘Fun and Games’ section, which I find really boring. I’m going to try to keep going with it, but I may just skip it and come back later.

Saturday 06/03/2021 - Word Count: 28,150 So, I did not get the extra 700 words in. Before dinner, some stuff I had to deal with came up, and by the time it was done, I just wanted to go to bed, so I did. Today, I'm going to try to make up for it, which I think is reasonable because it is now the weekend. I'm still kinda exhausted this morning, but I'm going to do my best, and my wrist hurts, but I'm not sure why. You'd think it would be from all the typing, but only one wrist hurts - you know what? Never mind. They do both hurt. I'm just not sure why, but it doesn't hurt typing this, so that doesn't make any sense. Anyway, to hit my word count for the day, I need to write 2,555 words, which doesn't sound like too much, but it kinda is because I'm primarily writing Act Two at the minute, and for every thousand words I write, I lose like 400 from my outline. You'd think I'd just not include my scene outlines in the word count, but it's too late for that now.

I'm thinking this over, and I really don't think trying to write 80K by the end of the month is going to be good for either my motivation, mental health, or ability to function back at school, so I'm going to stick to 100K or a finished draft by April 30th, and re-work out my goals from there, based on yesterday's word count, so I'm not making myself do catch-up today.

So, to hit 100K by April 30th, I only need to write 1,309 words each day (which will decrease over time because if that's my minimum now, I'll probably surpass it, decreasing the amount of words left etc.). That's so much less pressure.

God, I really don't want to write today. I just want to watch YouTube and Netflix and read.

Okay, so here's the thing. I've been working on this story straight for three weeks and I'm kinda exhausted of it. I'm not done with it, not at all, and I want to keep working on it because it exists, which makes it workable.

I watched a writing vlog by ShaelinWrites yesterday, and she said she writes different projects at once, alternating in week- or multi-week-long blocks. I think I might try that.

My plan with this post and the following updates was to keep updating it until the day it goes up, the day after which is when I begin drafting the next, but, since I may be switching projects for a while and this is really about the project I've decided to dub 'Bay Tree' (which is just, I guess, a pseudonym for here because while I have no idea what it would eventually be called, I know that's nothing like the title I'd want to give it) so I'd want to start a new post for a new project.

I'm now doing a little outlining instead of actually continuing writing, but I think this will help me, though I'm still not certain about whether or not I'm going to directly continue with this specific project for the minute. Instead of setting daily goals based on a target, I'm also just going to say 1,000 words a day, and see where that takes me.

I've just been outlining into Act Three, and I've met a major plot stumble, but I'm going to work that out and explain what I'm doing in my next writing update.

The Hunger Games and Catching Fire by Suzanne Collins (audiobook) I’ve read this series countless times. I read the series first time through six years ago, and, after finishing it, I just kept rereading it during silent reading time at school, so God only knows how many times I’ve read it at this point. This is actually the second time I’ve listened to this audiobook, and I still, of course, love it. When I first read it, this book stuck with me. It was the first teen book I ever read and, most unfortunately, put me into a dystopian phase. However, we got over that. I’m good now. I promise.

You know what this is about, but here it is anyway: in a dystopian future (of literally just North America, it never mentions what’s happening anywhere else), a country called Panem (literally the whole of North America) is divided into the luxurious, utopian Capitol, and thirteen districts, all of which gather or produce something for the Capitol. Some of the districts live in poverty, while others are afforded some luxuries but nowhere near those of the Capitol. It never really explains how this system came to be, but then there was a rebellion against the Capitol in which District Thirteen was destroyed, and every year two teenagers from each district are chosen to compete in the Hunger Games, where twenty-four tributes are put in an arena together to fight to the death, and the last person standing emerges victorious. It feels so strange to talk about the basic premise of this book without going into the rest of the trilogy, but I’ll leave it here.

I hate how the media washes this book out and plays it off as just another love triangle, which it barely even is. It has such an important message about society, and the fact that the media does that just proves how accurate it is. I can’t believe when I first read it I was actually Team Gale, but in truth I think that was just because I liked Liam Hemsworth better than Josh Hutcherson, which I still do, but not the point. Anyway, the narrator is excellent.

I’m not giving these booksa rating, both because it’s a reread and I like to base ratings off my initial opinion, and because the first time I read this book I was literally a small child, and part of my love is the nostalgia.

The Invisible Life of Addie LaRue by VE Schwab

This was the first book I read with my eyes this month, and I ended up getting the ebook because it was just so much cheaper than getting a physical copy - I may have invested if I loved the UK cover as much as the US, I’m ashamed to say (above is UK). It was not what I was expecting.

This book was much more contemplation-heavy than I was expecting and actually very light on plot. In 1714, Adeline LaRue runs away from her wedding and prays to Gods, wishing to be free, and is answered by the darkness, who makes her a deal: he grants her immortality, and she promises him her soul when she doesn’t want it anymore. He, wanting her soul, twistedly grants her freedom by cursing her to be forgotten by everyone she ever meets. Three hundred years later, she meets someone who remembers her.

It’s really about life, freedom and time - there’s no direct message or moral, at least not that I picked up on, but it really makes you think. I do enjoy that in a book, but not as much as one where i just love the story. I generally prefer books where I’m rooting for the characters, and it’s full of ships - the kind of stories you would write fanfiction about, but this is the kind of book that I think will stick with me. I take issue with how cliché the ending was, though.

Anyway, I’m not actually sure how I want to rate this. As a British teenager, I’m not actually that familiar with lettered ratings, and I don’t really want to use stars, but I think I’m going to suck it up. Maybe I’ll think of something else eventually.

Rating: 4.5 stars - books that get five stars from me are generally based on the enjoyment factor, but this book deserved more than four.

Arrow Season 1

I’ve been semi-interested in the Arrowverse/DC TV universe for a while, and finally took the opportunity to delve in. This show is so insanely CW - everyone has that look, it has that tone and it takes itself way too seriously. By the 23rd time you’re hearing it, the recap becomes painful to listen to.

This was the first show in DC’s saga - the show picks up as Oliver Queen returns home from being stranded on an island for five years after a cruise ship sank. When the ship went down, his billionaire father sacrificed himself to save Oliver, and left him with a list of ‘the people poisoning [his] city’. Upon returning home, Oliver becomes the vigilante who will eventually become known as ‘Arrow’ or ‘Green Arrow’ (currently unclear; I’m not a comic book person) but is currently dubbed just ‘the Hood’ or ‘the vigilante’, with the goal of taking down the people on the list. It’s very intense.

It took me about ten episodes to actually get invested - which is nearly seven hours watch time - but, ultimately, I’m glad that I did. Aside from the excessive CW-ness of this show, I love the characters and I want to see what happens.

Still, why is everyone so obsesses with Laurel? What’s so great about Laurel? I don’t get it. Felicity is 10000% the best character - she’s relatable, cute, and I high-key ship her with Oliver.

This little rant of mine was unintelligible.

Rating: 4 stars

Guardians of the Galaxy

I’m not explaining what this movie is about. Honestly. This was just a rewatch: I’m currently rewatching every MCU movie in chronological order (as in, starting with Captain America: The First Avenger instead of Iron Man). For every TV season I finish, I watch a a movie, and I alternate between movie series, one of which is, at the moment, MCU films. It’s hard for me to briefly explain my weird watching patterns.

I love this movie so much. It was the first really upbeat MCU movie, and I love the characters.

I don’t really have much to say about this, but if you haven’t watched MCU movies, please watch them. Even if you don’t want to, this movie is absolutely worth watching and you don’t need to watch any other MCU movies for context.

I Am Not Okay With This Season 1

I’m reeling from this show. I literally can’t tell whether or not this is getting a second season; it seems like it was meant to, but then got cancelled, and now I can’t tell.

This show follows a high school student named Sydney. She’s your typical outcast, and isn’t interested in getting ‘in’ - she’s best friends with a girl named Dina; they both came to their school around the same time and ended up friends, though Dina is your typical pretty girl. Then Syd discovers she has powers that operate based on her emotions, and I really don’t want to say anything else. But it does star Sophia Lillis and Wyatt Oleff, who you likely know as two of the kids in IT (the clown movie, not like computing).

Honestly, episodes 1-6 were very chill, more focused on teenage life than her powers, then episode 7 brought it. Up until the end of episode 7, I enjoyed the show and would be happy to watch a second season, but I wasn’t particularly invested or excited by it. Then episode 7. I would love a second season of this show. I have to at least know where the writers were going with it.

This show came out last year, and I only just got to it, but I can’t believe I haven’t heard anybody talking about it. It’s intense, it’s entertaining, and the first season will only take up about two and a half hours of your time (it’s seven 19-28 minute episodes).

Rating: 4 stars

Blue Lily, Lily Blue and The Raven King by Maggie Stiefvater

I listened to The Raven Cycle audiobooks in 2019, and I’m not sure why because I didn’t even enjoy them that much. I did, however, decide I wanted to read Call Down the Hawk, the first book in the spin-off series, and that meant I had to reread The Raven Cycle since I had paid so little attention to the audiobooks, which I started in January and I love this series. Not what I expected from a reread of a series I paid virtually no attention to, but here we are.

This is book 3 in The Raven Cycle series, book 1 being The Raven Boys, which is a paranormal book in which the protagonist Blue, is the only non-psychic in a family of psychics, and has been told her whole life that if she kisses her true love, she will kill him. Then, on St Somebody’s Eve (Mark’s? I want to say Mark’s but I’m not sure), when she goes with her aunt to see the spirits of the people who will die in the next year, she sees one of the spirits, a boy from Aglionby Academy, the local private school, meaning he is either her true love, or she is the one who kills him, which in her case, could very much be both. Then that boy schedules a reading with her psychic family to help him find an old Welsh king, and there is so much more than that to this glorious series, but I’ll stop here.

I think my main thing in books and general media is the characters. They have to follow some kind of sensible plot, but if I’m not invested in the characters, I can’t get invested in the story. I genuinely don’t think I’ve ever been so in love with a cast of characters, not even in Six of Crows - this story is so character-driven, and I can’t get enough. This was an excellent continuation, and so much happened, but it did feel like its purpose was just to set up the final book, so I didn’t enjoy this one quite as much as the previous two.

Rating: 4 stars

As for The Raven King - this was the last book I read this month, finishing it on the morning of the 27th because I knew I would have very little reading time from mid-afternoon until twenty-four hours later.

In complete honesty, I found the climax of this book to be a little rushed - we spend the whole series aware that Gansey’s looking for Glendower, but it never seems to be more prevalent than just their general investigations as to what the hell is happening. As a result, when it came to that in this book, it felt a little out of the blue (no pun intended).

Regardless, this series so well balances strong characters and strong plot where so many others fail, and I love it.

Rating: 5 stars

Fate: The Winx Saga Season 1

This show is a live-action rated-15 Netflix adaptation of one of my favourite childhood shows, Winx Club. And, honestly, you can tell.

I tried to watch this objectively, instead of complaining about how they cut some of my favourite characters and changed so many (Tecna, Riven, Beatrix, Stella, Brandon etc.). While I was upset about some of the cuts, I can agree that they were best for the story. Where in the original, every fairy had their own unique powers, this adaptation splits it into five elements: fire (Bloom), water (Aisha - on another note, screw Aisha, honestly), air (Beatrix), earth (Terra) and mind (Musa), though Stella still has light powers? Which is never explained?

Anyway, this follows teenage Bloom as she discovers she’s a fairy and goes through her first year at a fairy school called Alfea.

I’m not going to go too deep into this because I have so much to say about this show that i think I’m going to make a whole separate review rather than bore you with it now. 

Quality-wise, this show was mediocre, but enjoyment and nostalgia raise its rating for me because I’m biased.

Rating: 4 stars

Ninth House by Leigh Bardugo

This is both Bardugo’s first adult novel and her first novel not set in the Grishaverse. I read the Grisha trilogy for the first time years ago and didn’t like it that much, but followed that right up with the Six of Crows duology which I loved. I read King of Scars in 2019 when it came out, and started listening to the King of Scars audiobook just before I started reading this in preparation for Rule of Wolves at the end of March.

I loved this. I don’t think I have anything to criticise quality-wise - the characters had depth, there were plot twists and strong subplots, the world was incredibly well built, and the only thing that got me to put this book down was taking a week to start working on my own writing project (post coming soon). Because I took that week completely off reading, this book took me about two weeks total from start to finish, but it was so worth it.

This novel follows Alex Stern, a twenty-year-old whose friends have all been murdered. She was found beside one of them who died of a overdose, with the same drug in her system. But Alex can see ghosts, and, soon after her friends’ deaths, is consequently offered a scholarship to Yale University, on the condition that she works for the ninth House of the Veil to monitor the activities of Yale’s secret societies.

In complete candour, I found this book somewhat convoluted, though most of that was probably mainly my own poor reading comprehension. Regardless, I loved the plot, and am very highly anticipating the eventual release of its as-of-yet unnamed sequel.

Rating: 4.5 stars

Crooked Kingdom by Leigh Bardugo

So I actually finished this audiobook briefly after finishing Blue Lily, Lily Blue, but I’m tacking it on here because I forgot to add it to the list and already explained my Grishaverse experience in my Ninth House comments.

So, yes, I love this duology, and it really opened a new compartment in my writing brain, even though I haven’t really taken advantage of that writing brain until now (again, post coming soon).

King of Scars by Leigh Bardugo

I am realising I’ve read eight books this month, and nearly half of them were by Leigh Bardugo. Which makes sense, considering how much I enjoy her books.

This book is slower-paced than most of hers, but it does follow two (one of which splits again) completely separate storylines, and is still excellent and entertaining.