That resolution has now been added. You’ll find it titled “Encore”.
NO WAY! That is awesome! *runs off to read it*
Summary:
This belongs to Desecrate through Reverence, but never had any room in the actual fic. Consider it thus as exactly what the title implies. An encore. To tie up some loose ends from DtR. Pretty damn fluffy, might give you diabetes.
I understand that, with me being on the opposite side of the continent and all, it’s hardly feasible. I still felt it was best to get something on file anyway in case something opens up in the future.
Your application shall be judiciously considered as there are some valid strengths that indicate you are a team player. We at Endy Corp are always on the lookout for potential- wait a minute.
IS THAT FUCKING TROGDOR. DUDE YOU ARE SO IN.
/happydance I made the cut! I knew TROGDOR would come in handy. Everything is better with dragons (:
This is great news! I am indeed interested in reading new YA fics (: A Lovely Disaster. Got it! I’ll be sure to give it a read tonight!
I’m slowly adding my favorite billy/teddy fics to my blog while I’m getting my whole tag situation sorted. I have a few up in case you missed them here, and more will be along shortly (:
so i thought it was time for me to do the ‘arthur finally decides to make a reappearance’ thing
In the West, plot is commonly thought to revolve around conflict: a confrontation between two or more elements, in which one ultimately dominates the other. The standard three- and five-act plot structures—which permeate Western media—have conflict written into their very foundations. A “problem” appears near the end of the first act; and, in the second act, the conflict generated by this problem takes center stage. Conflict is used to create reader involvement even by many post-modern writers, whose work otherwise defies traditional structure.
The necessity of conflict is preached as a kind of dogma by contemporary writers’ workshops and Internet “guides” to writing. A plot without conflict is considered dull; some even go so far as to call it impossible. This has influenced not only fiction, but writing in general—arguably even philosophy. Yet, is there any truth to this belief? Does plot necessarily hinge on conflict? No. Such claims are a product of the West’s insularity. For countless centuries, Chinese and Japanese writers have used a plot structure that does not have conflict “built in”, so to speak. Rather, it relies on exposition and contrast to generate interest. This structure is known as kishōtenketsu.
