- True love is perfect. No it’s not. Even perfect couples have their differences and bicker about them.
- Mundane girl meets speshul boy and her life is changed. Have the mundane world change the boy back, have the speshul world not be the mostly perfect utopia, or - gasp - genderflip the arrangement.
- Abduction is love. Always obtain consent.
- We hate each other so much but look we actually do love each other. Show the characters growing closer to each other over time, not in one desperate kiss.
- Transparent love triangles. Nooo make ALL characters viable options (and go for cooler things like quandrangles, or triangles within triangles) and don’t just make one Evil McEvil.
- Woman catches man kissing another woman - she becomes jealous and leaves him but later finds out the woman was his sister or something. Give “cheating” character a chance to explain themselves. The other character shouldn’t be that possessive/jealous.
- Rich man betters poor woman’s life by marrying her. Rich woman betters poor man’s life! Or poor individual uses prestige and power to help their fellows.
- Sweet girl, broody boy. Ordinary girl, ordinary boy. Or maybe the sweet girl is really a yandere.
- Immortal couples love each other forever and ever. The divorce rate on a first marriage is 50%. I’m sure some immortal couples will split up.
- Other race male marries human woman and they have a child. The child is a hated halfbreed and the father returns to his race. The parents raise the child together, the mother is the mysterious parent, the child is not the only halfbreed.
- Sex is the ultimate. If they are romantically attracted to each other first, then show the reader their romance before you get into the sexual part. Besides, if it’s about their love, well, anyone can have sex. Not everyone can have their love.
- All friends with benefits turn into loving couples. How about no.
- The main character must have a love arc to make their plot interesting. How about more asexual characters, muted love arcs, or just no love arcs at all? I want a celibate character.
- Traumas like rape, substance abuse, and childhood neglect are magically cured by romance and its sister trope, Love clears away all psychological problems. Do the research.
- Jealousy/possessiveness is love. It’s creepy and the character being controlled should be aware of it. Characters can be protective over their love interest (“Wear a seatbelt!”) but taking the spark plugs out of her car and refusing to return them so she can’t visit her friend (*cough* Edward Cullen *cough*) is controlling.
- Rakish male character cuts through women until he finds perfect virginal woman. Genderflipped? Maybe she’s just as bad as he is or at least not sparkling with innocence. The male character also shouldn’t be treating “easy” women as disposable and the virginal character as a prize.
- Women as prizes. Do not use this under penalty of death. Women are people. People are not to be won without their consent.
People always assume that playing someone British is just learning the slang and how to speak correctly with the accent. Well, that isn’t entirely true.
Tip No. 1: How to sound British.
Of course you have to perfect how to sound British. Use these links to use the slang all the time.
Tip No. 2: Location, location, location.
They’re going to ask where you are from and you just can’t say Britain, shit face. What if they are from Britain itself? You need to have a “home location”. What city/town? What district did you live in? Where is it located? What is it near? What are the customs there? It may also be important to know important counties and cities. If you can’t locate London on a map, it will be fairly obvious that you are not British.
- How to live in Britain: Topics of The Basics, Law, Geography, Culture, Problems, Being Successful, Making a Difference, and Personal Life.
Tip No. 3: Wording and spelling is a very important factor.
The British change their wording and spelling a lot. Here is a British to American translator.
Tip No. 4: Know their hobbies: such as their television shows and what they do in their free time.Not all the shows we have here in America are watched in Britain. Here is a list of the most popular televison series in Britian. (It stays updated, because what’s the point of posting one that isn’t?)
Tip No. 5: Myths about the BritishWe Americans don’t go around eating burgers and holding shot guns, do we? There are always myths about races and countries.
But obviously it’s “below the dignity” of actors who have loved and played these characters for DECADES to make another appearance onscreen.
If you haven’t heard about it, there’s this really awesome app I just found called “A Novel Idea” for iPhones/Pads/Pods. What it is, is a app to help you plot your story. It helps you create characters, locations, specific scenes, etc and helps you link it all together to create a coherent story! And a major plus, It’s completely free. I seriously recommend it ok cause it’s awesome
well that’s a novel idea
a handy table on the companions’ class status
-What show are you watching that classifies Amy as a “stripper”? Last i heard, she was a kissogram. “I go to parties, I kiss people.” I know the point here is that she has a low-paying job, but yo… “stripper”? Really?
-She lives in her aunt’s house, actually. In the Eleventh Hour, we are given no reason to think that Aunt Sharon does not still live there. Even if she DOESN’T live there, it’s clearly a family home that Aunt Sharon probably provided her with. It’s not like she just up and bought a giant house at the age of nineteen.
-She can afford a “fancy” wedding (really? you would call that “fancy”? Looked pretty average to me) because at that point, she has two parents who paid for it.
-For the life of me, I cannot think of what “moves into a second house” is referring to. The Upper Leadworth house in Amy’s Choice?? Because if we’ll recall… that literally took place in Rory’s subconscious. It was a dream that represented his hope that his career would progress far enough that he would be able to buy a nicer house for his new family. I can afford pretty nice houses in my dreams too.
-Honestly, at this point I’m wondering if we’re even watching the same show. When the hell did Amy become CEO of a company? Like honestly, where was this stated in canon? She becomes a model and later a writer of travel books.
In conclusion, I have absolutely no idea what the point of this post is other than to point out the various class statuses of the Doctor’s companions. Apparently this is just Amy-bashing for the sake of Amy-bashing, and seeing as many of these points aren’t even grounded in anything remotely resembling fact, I have to say it misses the mark a bit.
To add to the above, “moves into a second house” I’m going to assume is Rory and Amy’s flat as seen in The Impossible Astronaut. Who knows how they got it? Hey, we never saw Rory’s living arrangements before he and Amy got married, so maybe it was his flat and Amy moved in with him. Or maybe, you know, they got it together. Rory had a steady job as a nurse, surprise surprise.
Not here for this baseless Amy bashing.
Plus, depending on who is hosting these parties she goes and kissograms at, she may be VERY well paid and make a very nice living indeed. Please be stowing your notions about sex work, if you want to call it that.
this is definitely an uncomfortable post in a lot of ways (amy-bashing, veiled misogyny, sex negativity, etc.), and i’m not sure what its original intention was (nor do i care! death of the author, etc.) but there are two significant things that it highlights about moffat’s early series (5-7a) as opposed to rtd’s tenure
- amy’s position as fantasy-based character whose circumstances change to serve the plot. the first job of amy’s i really understood was when she’s a travel writer in “the power of three”; that said, there are links to embodied performativity and the constant relinquishing of roles in both kiss-o-gram-ing and modeling, so it’s not that there isn’t something we can understand about her from that—but those links that might flesh out (ha ha sorry) her character are never made canon in the way that, say, martha’s “you have to earn the title of doctor” impacted her whole series. she moves so the doctor can ~do something nice~ for her; her job as perfume model is so the doctor can feel sad in “closing time”; we never learn enough about amy-as-amy i feel like. (the most significant and lovely thing, at least for me, that we learn about her is that she’s a total history fangirl, and that endeared her so much to me.)
- rtd, even though he fell down a lot on issues of race and intersectionality, knocked it out the park when it came to thinking through issues of class in modern britain. that rose tyler spoke with a clear working class south london accent, that she was a shopgirl, that she lived on the powell estate (the fictional version of peckham!!)—all of that was so important to the issues of rose as a character—both in her implicit choices and anxieties, but also in terms of how she allowed rtd to highlight issues of class inequality and bias. (one of my favourite moments in all of new who, for this very reason, is when rose gets titled “dame rose tyler of the powell estate”, because fuck yes—there is a world elsewhere, and it’s one where those two concepts don’t clash, and yet rtd knows that the joke is “dame” and “estate” don’t go together in modern UK parlance, and that joke is a fucking warning shot across the bow.) and class, in rtd’s whoniverse, was always a way of thinking about where a character came from; what they would leave behind but also by what they were shaped, and how and why that was a difficult and problematic metric but one that was socially relevant. (science fiction, after all, is so often about showing us what has failed and what could be better.) and by not placing amy at all within any recognisable class, and instead deliberately writing her as not bound by class structures at all, moffat forfeits the opportunity to discuss social implications of one of the most glaring issues in modern british society (at least to an outsider) and creates a fantasy of modern british life where class has no real-world implications. and in a world where the bedroom tax and shrinking benefits and cuts in the university system and pretty much most tory policies exist, that kind of magical erasure strikes me as at best naive and at worst dangerous.
[Potential Spoiler Commentary] The curse is best summed up in Rin’s speech to Tohru in Chapter 82. Their curse is the bond between the Zodiac members and their god. What ties them together in their little world hidden away from everyone else is slowly strangling the life out of everyone. With few exceptions, their immediate families are corrupt and unhealthy, they aren’t able to form friendships outside of their curse, and romantic attachments are mostly forbidden.
They are the heart of the Sohma family, yet each one is broken down and isolated even while they are surrounded by others. Like Rin says, the tight bond between the Zodiac members might look wonderful from an outsider’s perspective, but it will be the death of all of them.
We have a small post about the curse breaking, and a more detailed list of the Zodiac members and their individual circumstances. Kyo’s curse is slightly more complicated. There was also a theory (like yours) about Kyo being the main catalyst in breaking the bonds which was very interesting!
-C & J