“That’s My Cat,” The Hero Said.

Mousie’s New and Improved Top 20 Cdramas List

Because why not. These are ordered in terms of being my favorite as opposed to pure quality - if I was trying to be objective, it would probably be rearranged, but I like being petty and subjective.

You will notice that literally every drama on this list is a period drama. Much as I adore period cdramas, contemporary ones rarely work for me.  

20. Princess Agents (tie)

MV: https://www.youtube.com/watch?v=ll6x8zf2CnQ

Our heroine is a slave in a brutal society who becomes a feared general, fighting for freedom and love of a Yan prince. But her heart might actually lie with a seemingly cold adversary who is madly in love with her (I shipped them so hard!) I was one of five people who loved the infamous cliffhanger ending because it made a brutal kind of sense (You can read the novel if you want a different resolution.)

20. Tribes and Empires (tie)

MV: https://www.youtube.com/watch?v=WyRsPAGUz-Q

This one has a hell of an open ending, but it’s so gorgeous and epic, I don’t even care. Set in a fantasy empire, it follows three men - a half-human prince, a cursed son of a general, and an orphaned leader of a barbarian tribe. A feast for the eyes.

19. Ice Fantasy

MV: https://www.youtube.com/watch?v=C05lhfrWgQg

A visually stunning high fantasy with elves, quests, a shockingly wonderful hero, brotherly love, toughest lady general ever as OTP and basically everything I like.

18. The General and I

MV: https://www.youtube.com/watch?v=0XDR17kwXYM

The lengthy OTP separation brings its place in this list down, but otherwise a gorgeous romance between two enemies - a general and a female strategist, is a total swoon and so intense. 

17. Three Kingdoms 2010

MV: https://www.youtube.com/watch?v=j3RVpdYDpYA

This one is a magnum opus of 100 episodes, with a tour de force performance by Chen Jian Bin as Cao Cao. Battles, politics, and even though it’s very secondary, one of my favorite love stories in cdramas. This one is if you want to use your brain as well as your heart.

16. Colourful Bone 

MV: https://www.youtube.com/watch?v=G4O5yb3VBh4

It probably doesn’t deserve to be this high on the list but it hits all my narrative and shippy kinks with a common-sense heroine taking in an abused and mistreated death machine and teaching him to be human. Mmmm.

15. Young Warriors 

MV: https://www.youtube.com/watch?v=BO83qvKaoSM

What do you get when you have seven awesome heroic brothers, a star-studded cast, tragic stories about heroism and love and just amazingness? You get this drama. 

14. Strange Hero Yi Zi Mei

MV: https://www.youtube.com/watch?v=wFVDAuFOyWE

Band of misfits fight corruption and uncover mysteries. This one is the most underrated drama on my list. Also, Wallace Huo has never been hotter in his life and that is saying something.

13. The Battle of Changsha 

MV: https://www.youtube.com/watch?v=RbgFMaUfpnE

By the same people who wrote Minglan, this follows a family in 1930s China and is a quiet, devastating masterpiece.

12. Prince of Lan Ling

MV (warning - spoilery): https://www.youtube.com/watch?v=-jUVGP0HETo

He’s the consummate battle god. She is a mystical shaman. He is fated to be with someone else per prophecy but he doesn’t care and chooses her. True love, politics, battles, jealousy, amazingness, tragedy. I love them so. 

11. Gong/Jade Palace Lock Heart

MV: https://www.youtube.com/watch?v=SVFPVkHaweo

This is Boys over Flowers goes Qing (where Domyoji’s behavior finally makes sense since he’s a literal prince and Rui likes to kill people.) This is such a amazing good fun, about a modern woman time traveling to the time of the fight for the throne between Kangxi’s sons. She thinks she likes the seemingly gentle Four but ends up with hot-blooded, awesome Eight. She herself is tough as all get out and this is pure deliciousness from beginning to end. Yang Mi and Feng Shao Feng had such amazing chemistry, people RPShipped them for years. 

10. Return of the Condor Heroes 2006

MV: https://www.youtube.com/watch?v=JzXsBqVYp0I

My first cdrama ever, and what a gorgeous one it was. That’s what got me into cdramas. The childhood eps are pretty awful but after that, it’s pure shippy perfection with an incredible OTP. If you want to be in a constant romantic swoon, in that story of female master and her male disciple and their forbidden love, this one is for you.

9. Eternal Love/Three Lives Three Worlds Ten Miles of Peach Blossoms

MV: https://www.youtube.com/watch?v=t9-ry-W4Crg

Fated immortal lovers, reincarnations, the whole enchilada. Yang Mi and Mark Chao have insane chemistry that burns up the screen. The first few eps are slow, but it makes up for it afterwards.

8. Legend of Fuyao

MV: https://www.youtube.com/watch?v=SkMX1d0v7t0

A twisty epic romance with a super-powered heroine who is plain awesome and may destroy the world, and a smart, ruthless prince who’s only soft for her. I love it so much!

7. Legend of Condor Heroes 2008

MV: https://www.youtube.com/watch?v=c2fea109_qM

Plot twists, good guy hero with a mega smart OTP, tragic anti-hero who becomes a villain for a while with an amazing OTP, bromance, fights, everything. I just adore this one. 

6. Bu Bu Jing Xin/Startling By Each Step

MV: https://www.youtube.com/watch?v=R9B3Rddrqt0

The one that started the time-travel craze (well, that and Gong), about a modern woman who time travels to the time of Emperor Kangxi’s sons’ fight for the throne, this is a gorgeously filmed tragic love story, with one of the most perfectly brutal endings out there. I adore it.

5. Nirvana in Fire

MV: https://www.youtube.com/watch?v=J4wps7SK9xo

This is a smart story about politics and revenge, where a survivor of a wrongly destroyed family comes to get justice. Seemingly laid back until it explodes. Not much romance but it doesn’t even need it. 

4. Rise of the Phoenixes 

MV: https://www.youtube.com/watch?v=w0BUvMKSj4E

Like the dramas to destroy you? Come right in. A story about a disfavored prince and a lost daughter of a previous dynasty, this is smart, gorgeous, and is going to wreck you.

3. Ever Night (s1)

MV: https://www.youtube.com/watch?v=x99seU5qJuc

I have talked enough about it recently so I won’t say much more, but if you want epic, movie-like quality, characters you will love, amazing battles and cinematography, complicated world-building and an OTP to die for, come right in.

2. The Myth 

MV: https://www.youtube.com/watch?v=-rfyfKM_Ww0

For the longest time, this was my favorite cdrama, to be replaced only by Minglan. It starts out funny and ends up tearing out your heart. This is the only time in my drama watching experience I cried so hard I threw up. The story is about two accidental time-travelers - a photographer and a cook - who end up in Qin Dynasty China. And from then on it’s about how that cruel, horrifying world takes two perfectly normal men and by wracking their very souls turns one into a hero and the other into a monster. To me, this is Hu Ge’s best performance and as you see his protagonist desperately try to hold on to his humanity and his love in a world that is doing its best to destroy it, I dare you not to cry like a baby. His character is my ultimate cdrama crush.   

1. The Story of Minglan

MV: https://www.youtube.com/watch?v=FA7m2QktiUk

Aaaaaand, my n1. cdrama is the amazing, too short at 73 eps, The Story of Minglan. It is very hard to describe the plot of this - a sort of Elizabeth Gaskell meets period China. It follows three interconnected upper-class families, but more specifically, it is about Shen Minglan, a concubine-born daughter of a minister and Gu Tingye, the oldest, legitimate, and hated by his family son of a Marquess. Their narratives run largely parallel for the first half of the story and such is the genius of this drama that I, the ultimate romance junkie, did not mind that. Minglan is a rarity in dramaworld - she is fiercely smart, very collected and emotionally detached. Life in the troubled Shen household taught her to survive and to hide her feelings and talents. Tingye is a big cdrama love. Abused and reviled by his household where he can do no right (the Marquess hated having to marry his merchant mother for money and has displaced that hate on her son), Tingye manages to keep his warm heart but acquires the ability to go his own way. Both of the protagonists are wonderful and smart and magnetic and rootable for separately, but when they get together, the sparks go off the charts and they become my n1 cdrama OTP of all time. A lot of the story is about family battles, women’s world dilemmas and relationship (of all sorts) interactions. There is also politics and battles, but the true charm of this drama are the mundane details of the world and the fully-fleshed out people who inhabit it. If you watch only one cdrama in your life, make it this one.     

despite what popular opinion may lead you to believe, some rocks actually do have scientifically-proven auras! Unfortunately, those rocks are uranium and the aura is cancer. 

A Complete(?) PIDW Timeline Resource

Hello everyone, the next chapter is currently in editing, but I received a request on twitter for a PIDW timeline compilation, so I thought I’d drop it here as well. This is PIDW only, so anything caused by SY transmigrating in is not included. Beware of spoilers for anyone still reading the novel!

Most of these are stated in text, a couple (how Shen Jiu and Yue Qi’s events coincide with Su Xiyan’s and Tianlang-Jun’s, the timing of Shen Jiu’s trial) were placed because I felt I could deduce them with very high confidence. The one thing I couldn’t was exactly when Xin Mo’s first backlash occurred: the only information I could find was SY saying that it took place after the Demon Realm arc started.

Anyway, I hope this is useful!

Me, reading my fic drafts: Damn this is pretty good, when's the author gonna finish it?

Trope Talk #1: Enemies to Lovers: A Deeper Dive

Reports of my death have been exaggerated, but not greatly. While I was in bed for a week lately, roleplaying a Victorian invalid, I watched a YouTube doing a deep dive on the enemies to lovers trope. While it was really fun seeing her break down subtropes (hate to love, rivals to lovers, reluctant allies, villain romance, and more - all of which I adore), I found myself somewhat disappointed by her attempt to discuss the deeper issues surrounding the trope. Like, yes: a lot of people enjoy things in fiction that they would not enjoy IRL and mature readers CAN distinguish between fantasy and reality...but also the media we consume DOES shape us, not all readers ARE as mature as we'd like to think, and while this trope can be executed in a way that's not problematic, it can also be executed in a way that is. Even if we wouldn't all personally draw the line between toxic and healthy in precisely the same place, I think that line does objectively exist. So, here are some of the ways I've subjectively drawn that line in my personal writing and reading when it comes to this trope...

SOME WAYS OF DOING ETL RIGHT

1. Not everyone is going to agree as to what's healthy and what's not, and it's important to listen to others.

Some are going to be mad at me for loving this trope at all, and some are going to be mad at me for thinking that one still needs to exercise judgement and that not everything goes, but hear me out. As a writer, the harder you go with this trope, the more divided your audience will be. Given that we all tend to draw the lines in different places, I think that listening to each other and discussing the reasons behind our own preferences and choices is going to help all of us understand the stakes, avoid hurting or triggering readers who have trauma from toxic relationships, and extend grace to storytellers who don't make the same decisions we would. And we shouldn't be defensive that this is necessary. ETL is actually a fairly new and under-explored trope, which I think is part of why it can be so divisive, especially in a post-#MeToo landscape where a lot of us are starting to rethink the controlling men and helpless women in pairings we've been conditioned to see as romantic. Meanwhile, as an author with a deep love for this trope, I hope that posts like this will help more cautious readers to understand that writing about dark and spiky relationships doesn't necessarily mean romanticising abusive behaviour. Either way, I've benefited from listening in humility and I truly think my stories are better for it.

2. Remember that evil is not misunderstood.

If you'll be writing ETL, then you need to decide early on if the love interest is evil or just misunderstood, and be careful to write him accordingly and be honest about it. If the love interest literally goes around killing innocent people, deal with that. That's evil, that's not (just) a traumatic childhood. On the other hand, if the love interest is antagonistic because of a misunderstanding, but is a fundamentally decent person deep down, he probably wouldn't casually slap the heroine around or otherwise act like a jerk. One mistake I used to see a lot of writers making (less often these days) is trying to convince me that some loathsome jerk is just misunderstood. No, if he's been doing bad things, don't try to explain his guilt away. Confront it head on.

THE LAST JEDI was my gateway drug to ETL precisely because I'd never seen this trope done so beautifully and so uncompromisingly: when Rey is forced to face the fact that the boy she likes is unrepentantly evil, she refuses to join him, explodes him and gets out of there. Ben isn't ready to seek repentance yet; he's a proud, if wavering, villain. Because the movie was absolutely honest about the evil within Ben, I was able to genuinely hope Rey might confront that evil and exorcise it, instead of being gaslit into thinking it was all right.

By contrast, in the very Bluebeard-vibes kdrama MASK, the love interest believes he's responsible for the death of his late fiancee and is being manipulated by the villain into thinking he's criminally insane. As a result, he believes that he's going to kill the heroine, his new wife. Physical touch and dirt are both triggers for him, too, and what the audience sees as a trauma response comes across to the heroine as strong hostility. He tells the heroine he is going to kill her, and she believes him, but the truth is that he dreads it as much as she does. This is a really beautifully done form of misunderstanding. Just remember that to be believable, misunderstandings need to be resolved fairly quickly.

3. Enemies doesn't need to mean hatred or toxicity.

While hate to love is a valid subtrope - especially in contexts where the characters aren't literally trying to kill each other, like in a contemporary romcom - ETL does NOT need to involve toxicity. There's a difference between ordering the assassination of an enemy, versus strangling your wife to terrorise her into obedience; both are bad, but only the latter is classic domestic violence, which casts doubt on any "HEA". Enemies need not hate or even abuse each other to be at odds; they may feel deep personal respect for a worthy opponent, who just happens to be ideologically committed to an opposing cause and therefore duty bound to antagonise the other. Personally, these characters may like, respect, or even passionately love each other - but thanks to duty, they're obliged to thwart each other.

A favourite example of this is Nikita and Michael from the spy show NIKITA. The pair started out as master and pupil before becoming coworkers for a rogue government agency, Division. Now Nikita has gone rogue herself and is working to bring down Division. She knows that Michael is still hanging in there for several reasons - he still believes Division serves his country, he's been skilfully manipulated by the head of the agency, and above all he feels the need to protect Division's young agents who are increasingly exploited by them. Nikita still has respect for Michael because of all these things and because he's the man who trained her to be as awesome as she is - and because she's his best student, Michael returns the sentiment and still goes out of his way to protect her, even as he's trying to hunt her down. Midway through the season, Nikita tries to protect Michael by preventing him from taking out the man who once killed his family - at which point Michael's view of Nikita sours. But she never stops respecting him and he's still willing to work with her when necessary to protect his agents. Throw in some mad chemistry and you've got the ingredients for a perfect ETL situation - although it has some hostility from Michael's side, it's never without that solid core of care and respect for each other. This is what makes the romance work, of course; all romances need a good reason for the character to care about each other. 

4. Remember that ETL is a fundamentally transformative relationship.

This builds on my first point. In ETL, unless there's a valid misunderstanding at play, there are probably moral/ethical differences between the characters. Thus, a huge part of your romance needs to be about resolving those differences, usually for the better. In other words (unless you're really into a corruption arc for the protagonist), the villainous/antagonistic character needs to genuinely repent and change, and we need that change to be demonstrated convincingly in story. At this stage, then, a good ETL story becomes about character growth, which means that it cannot be rushed. If the love interest has genuinely been evil, then he needs to change and prove it.

LOVE BETWEEN FAIRY AND DEVIL is a great example of a transformative ETL story. At the beginning of the drama, Dongfang Qingcang is a terrifying evil overlord who has frozen his emotions, killed his own father to rise to power, mastered hellfire magic and terrorised the three realms. As the story unfolds we do learn that there are some misunderstandings: Dongfang's father is the one who destroyed his emotions and forced him as a child to kill him, as well as instilling in him the fear that his people will be destroyed unless he conquers their enemies. But, this doesn't make Dongfang's villainy okay. Even after his emotions have been reawoken by our adorable heroine he still needs to realise that invading her homeland is not the right way to say thank you. By the end of the story we see that Dongfang is indeed a changed overlord. It takes a while, but it is believable.

5. Related, the characters should be a match for each other, especially when it comes to power and to morals.

I think a lot of the objections to ETL and villain romance pairings come from a perceived mismatch between the two characters: a weak person with a stronger person, or a pure and good person with a despicable manipulative blackguard. I think that it's always a good idea to balance this out. If your story begins with the love interest kidnapping your heroine to be his queen, why not let your heroine run a coup and replace him on the throne - right when he least expects it? The fact that your heroine is willing to get her hands dirty when it comes to this antagonist is not just delicious drama - it's also evidence that the two of them have more in common than they might think, and that in a longterm relationship she won't have any problems standing up to him. Alternately, if your heroine is going to remain pure and good throughout, she should probably be a match for the villain in terms of power, however that is measured in your story (and it can be a totally different sort of power than the villain wields). One of the most delicious things when watching any villain fall in love is finding the one woman whom he's absolutely helpless before.

I think Holly Black did this really well in the FOLK OF THE AIR trilogy. At first, Jude is a powerless mortal in the deadly fae court, and Cardan is the fae prince who delights in tormenting her. Jude proves herself far more cunning and ruthless than Cardan as she maneuvers the two of them into power as reluctant allies. It's clear that what Jude lacks in magic she makes up for in sharp intelligence and will to survive, and her ability to find a happy ending hinges on her ability to let down her guard and be vulnerable to Cardan. On the other end of the scale, Beauty and the Beast in most of its incarnations is about two kind people who want different things for sympathetic reasons, so that even though Beauty is held captive by the Beast we can understand the Beast's desperation to break his curse (and the Disney animated classic makes his motivations even more sympathetic by imposing a rapidly narrowing window of opportunity in which to do so). The Beast is truly gentle, and Belle is just spirited enough to snap back at him when he snaps at her. Both these stories work because the lovers are fundamentally a match.

6. Be creative.

There are all sorts of ways to create that delicious see-saw between "I adore you" and "I am going to kill you". The kdrama THE MASK, as mentioned above, uses the hero's mental health in an incredibly respectful way to create a sense of antagonism. The kdrama FLOWER OF EVIL does something similar. In Megan Spooner's absolutely incendiary SHERWOOD, there's a scene where the love interest goes from nearly killing the protagonist to tenderly embracing and caring for her within the very same chapter. Normally this would be the red flag to end all red flags, but it doesn't work that way here. How did Spooner manage it? Simple. The love interest doesn't know that the outlaw Robin Hood, whom he's trying to capture, is actually the same person as Maid Marian, the fair lady he's in love with - and when a quick costume change takes our heroine from one persona to another, the love interest's behaviour changes too. The emotional rollercoaster is real - but only for her.

7. There doesn't need to be a HEA.

I know, a lot of you are going to be up in arms about this, but it's true. Sometimes, especially in a straight up villain romance, the villain shouldn't get the girl. Maybe that's because she wants someone else, maybe it's because he's too manipulative and evil to be convincing as a long term relationship. But, let me frame it like this: why limit yourself just to writing the viable romances? There's a lot of good fun that can be got out of unviable romances too. You may not feel comfortable settling down with the villain, but that doesn't mean he can't be kissed :3

For example, in THE RINGS OF POWER the showrunners did something I never expected and gave Sauron himself a little crush on his greatest nemesis, Galadriel. The final episode, as he revealed his true identity and did his level best to manipulate her into joining him to rule Middle Earth, put joy into the souls of fangirls everywhere. It also caused a whole lot of people to clutch their pearls for some reason which remains opaque to me. After all, Tolkien was the man who wrote Eol, Maeglin, Wormtongue, and that moment when Morgoth himself was perving on Luthien Tinuviel. That aside, this is never going to be a viable match. Galadriel is married and hates Sauron's guts and Sauron is still a manipulative snake whose plans for healing Middle Earth involve him ruling as its lord and master, hopefully with Galadriel at his side. Galadriel doesn't fall for it for a second, which is one of the very things that makes this kind of story so incredibly satisfying to me. The fact that she won't succumb to his manipulation and temptation is incredibly empowering. As in THE LAST JEDI, the ball is in Sauron's court as to whether he changes to deserve her. And of course he won't - not just because he goes on to become the Lord of the Rings of Barad-dûr but more importantly because he never loved Galadriel for who she is but because of the way she made him feel, powerful and purposeful.

Not all villain romances need to end this way, of course, because some villains are capable of change. I think this is what makes Reylo viable where Haladriel is not. While Sauron and Galadriel each appeal to the EVIL in each other, Rey appeals to the good in Ben; he meanwhile desires the Light in her. This is why her refusal does ultimately prompt him to change, although of course the story's resolution was massively bungled in THE RISE OF SKYWALKER.

8. Love should be what the villain needs - but not what he wants.

It's hard to make absolute rules when it comes to any artistic choice, but this is probably the closest I come when dealing with this trope: because there should be consequences for the love interest's misdeeds, especially when it comes to the heroine. I call this the POTO rule: if the love interest wants the heroine romantically or sexually abuses her, he should not be rewarded by getting her. Enemies to lovers may fight over anything by any means, but not over romantic or sexual possession of each other. If the villain becomes a villain in order to possess the heroine, then a HEA for them involves giving him exactly what he wanted and thereby justifying his bad behaviour. Mind you, this doesn't mean the love interest can never want the heroine on some level; if he did not then this would not be a romance. We're talking about his most fundamental motivation and his most important story goal. She should not be either of them; she should be a distraction, an impediment to them.

This is simply good writing sense. Enemies to lovers normally implies a positive change arc for the love interest. Every good positive change arc involves a character who Wants one thing, say, to rule the world; but Needs something totally different - the capacity to make peace through compassion, say.  Such characters may or may not get what they Want, depending on how good it is for them and the people around them, but they'll always get what they Need. This is why I think ETL works best when the heroine herself is the thing the antagonist doesn't know he Needs. As an enemy, and even more so if he's a villain, he's likely to be unscrupulous in getting what he Wants, and he shouldn't get her for the same reasons that characters often don't get what they Want. Think about it: the villain probably needs some hard consequences for what he's done. He can get them, *and also get the girl*, but only as long as the girl isn't the motivation for his crimes.

{How does this fit with the "stolen bride" genre of story, usually a fairytale? Do I disapprove of those on principle? Mm, no. If the bride was stolen primarily because the kidnapper claimed to have a romantic or sexual attraction to her, I might object. But there's usually some other motivation. He wants to break a curse; he wants to annex her kingdom; he wants to keep her out of his enemies' hands; he might have been ordered to marry her by someone he dares not cross, or bound by an ancient custom; in any case he ought not to be personally motivated to control or possess her. This is one of those grey areas where lines blur and it's wise to listen and be careful because so many real women have been trapped in marriages to real live villains; but the thing is very doable under the right circumstances.} 

I call this the POTO rule because it was inspired by THE PHANTOM OF THE OPERA. In this story, Erik is obsessed with Christine to the point where romantic and sexual possession of her drives everything he does. He kills, manipulates, and gaslights everyone at the Paris Opera in an attempt to win Christine's heart, and ultimately he's willing to threaten to kill the man Christine truly loves in order to get the thing he Wants: Christine's hand in marriage. Now, I know a lot of you ship this pairing and I'm not going to scold you for it; maybe you ship them the way I ship Haladriel, loving the relationship without thinking it should end in a HEA, or perhaps you think Christine can fix Erik through some genuinely transformative plotline, or maybe you just want Erik to get what he wants even though it's messed up, and whatever it is I hope you have fun with it. But personally, from the perspective of a published author with a sense of responsibility to my readers, I really think the story ended in the best possible way. Erik doesn't get what he Wants (Christine) but he does get what he Needs (a transformative moment of transcendent compassion that enables him to act in a truly loving manner, by letting Christine go).

So, most of the time, I think it's wisest if the heroine is what the love interest doesn't know he Needs. Again, LOVE BETWEEN FAIRY AND DEVIL does this SO well. Dongfang Qingcang doesn't have time for love - emotionless and too busy Evil Overlording, he's never been in love before. So, when he's saddled with an adorable, dimwitted flower fairy, he can't wait to break the spell that links them together so that he can kill her and get on with his villainous plans. When her emotions begin to infect him, he can't help falling in love with her, even though he fights it every single step of the way. She's absolutely not what he Wants, but she is everything he Needs to thaw his frozen heart and teach him to act with compassion and empathy. Even though he spends much of the series planning to kill her, the HEA doesn't strike me as being Problematique the way that an Erik/Christine HEA would be - because a HEA with Orchid represents the moral growth that Dongfang needs, rather than the selfish desire he wants.

9. Maybe the villain's HEA is with someone else.

This doesn't mean a villain is irredeemable or shouldn't get a HEA. It just might mean that his HEA is with someone else. (Unless he's actually a rapist. Then just light the man on fire.) Erik shouldn't get Christine because he's done so much evil in order to possess her. But, once she's broken through to him to show him compassion, he might be ready to learn to love and to make amends for his past crimes...perhaps with someone else.

This was a huge part of the inspiration for the character of Vasily in my Bête Epoque stories. He does something which traumatises the heroine so much, there's no realistic HEA for them. Like Christine, she forgives him anyway, even in the midst of betrayal. And like Erik, he finds he's unable to go through with his villainous plans. She gets her HEA with somebody else, but I found myself with this incredibly compelling character whom a lot of people were pulling for. Vasily has already learned a huge lesson through having loved and lost my first heroine - so when he meets my second heroine, even though in a lot of ways he's still a treacherous monster, he's able to start afresh, and do better, with someone far more resilient who holds far greater power over him.

10. Individual characters will need individual things.

Finally, I think it's necessary to use judgement based on the individual characters and what they need. This is another reason why it's so difficult to make hard and fast rules here. For instance, I said that if the enemy sexually assaults the heroine he should forgo any hope of a HEA with her. But I think we've all seen romances that involve, say, some dubiously consensual kissing, which we can understand the kissee forgiving. By the same token, the act which disqualifies my character Vasily from his first HEA is not sexual assault but something which is coded that way within the story world, and experienced that way by the heroine (vampire bite). The fact that it's not literally sexual assault is what makes it possible for Vasily to get a romantic second chance, but the fact that it is figurative sexual assault is one of the main things that decided me against a HEA the first time. So, I think that whether you're a writer or reader, it's important to exercise judgement based not just on the things that are obvious, but also on less obvious things like the characters' specific needs, the thematic symbolism of the story world, and more.

--

So those are my best ETL writing guidelines - and again, this is only what works for me! I think it's really hard to make hard and fast rules for any artistic work, but from thinking about what works for me and what doesn't, these are some of the lines I've drawn for myself. If you're reading this, I hope it provokes some helpful thoughts :-)

Remus: I'm not sure what this sentence means.

Sirius: "Ignorance is bold and knowledge reserved."

Remus: You can read Latin?!

James: You can read?!

Sirius:

Sirius: That's cold, Potter.

You have a soft-spoken, mild-mannered friend who would never hurt a fly. One day, you accidentally overheard them talking over their phone in a cold, apathetic voice, “I don’t care how you do it. If you don’t return the money by tomorrow, you can say goodbye to your family.”

I did this instead of writing

We need more images like these i think