DLC Required

If I had a nickel for everytime I simped over..

An elf with very questionable morals

Who cares deeply for some of the party members

Was manipulating everyone for their own gain until the started to trust someone

Wants to reverse something they did in the past

And is proficient in magic

Id have two nickels, which isn't a lot but its weird that it happened twice

Ok, a small part of me really wants to write a dragon age inquisition and critical role (campaign 2) crossover. Like there is so much potential:

Jester somehow befriends Solas because its Jester and if she can befriend a war criminal, a hag who cursed her friend, AND a chaotic archfey, she can honestly befriend anyone.

👏BLACKWALL👏AND FJORD👏BONDING

Beau not trusting Dorian as far as she can throw him until she finds out about his homophobic dad and he is allowed to join the Empire Siblings club™

Speaking of Empire Siblings, Caleb and Dorian bonding over magic. Also you cant convince me Dorian wouldn't love Frumpkin.

Caduceus and Iron Bull complaining about short doorways. Tall cow man solidarity.

Jester pestering Varric about his nicknames for people. He calls her Blueberry.

Veth adopts Krem. Thats it.

Also Veth "Is There a Mrs. Sunbreaker" Brenatto meeting the Iron Bull. Like shes a married woman and she knows better, but oh boy would she have a huge crush on him.

Caduceus offering Solas some wisdom and good tea, both of which Solas turns down.

Cullen is subjected to Jester's constant and unpredictable messages.

Yasha and Bull getting into a friendly brawl to impress Dorian and Beau

Cole takes a look a Calebs trauma and just.... the angst

Cole and Caduceus getting along really well and being the two weirdos vibing; talking about life and death.

Sera and Jester pulling the best fricken pranks in Exandria and Thedas.

JESTER AND VIVIENNE SHOPPING TRIP

Caleb taking an interest in Fade magic, and probably trading spells and magical knowledge with Solas.

Speaking of magic knowledge, Caleb shows Solas Widogast's Nascent Neinsided Tower

Cassandra and Jester swapping book reccomendations; aka Jester reads Swords and Shields and Cassandra reads Tusk Love

Fjord training with Iron Bull. And also Fjord telling the story of the Nightmare in Ivory (an ancient white dragon) hunting them across Exandria and how they almost killed it.

Jester wingmanning for Dorian and Iron Bull.

Ok but hear me out on this one: The Dread Wolf and the Somnovum being connected somehow. I mean, Aeyor and Elvhenan do have somewhat similar history.

Of course Lucien shows up to wreak havoc at some point and Sera, probably not even knowing that most of Luciens power come from his magic eye tattoos, just shoots him with an arrow in the face. Can't counterspell an arrow.

Also on opposite end of things, the Mighty Nein turn Corypheus into a turtle. He may be an all powerful darkspawn magister, but you cant argue with a failed wisdom save :\ It obviously only lasts for a little while, but it would still be kind of funny.

I’m writing a book about two characters falling in love while dealing with there different mental health problems. As someone who has mental health problems, I want to be real about it but I’m also scared I’m moving my story too fast. Any tips on how to check if your story is going to fast

The general pacing of story typically relies on the depth of events, which is not to be confused with number of events. They are related, however. You can have:

A story with a lot of events that goes into depth of the events (longer story, slower pace)

A story with a lot of events that does not go into depth (longer story, faster pace)

A story with fewer events that goes into depth  of the events(shorter story, slower pace)

A story with fewer events that does not go into depth (shorter story, faster pace)

None of those are necessarily bad, but the kind of story and specific plot the writer has in mind can help determine which place on the + chart that the story should fall. Ideally, the pacing should actually vary per what the event is, but there will still be an overall trend. A story shouldn’t give as much attention to a pit stop as it would to the climax. 

Here’s a post on pacing individual scenes. (link embedded)

Checking for pacing can be a little tough, since a lot of the skill comes from general experience with many types of stories, which contributes to knowing how things should be and how to get them there. You ask specifically about checking for a fast pace, so here are some tips, but they are in no way a substitute for a beta reader who has fresh eyes and can give you an objective evaluation:

Look at the word count of your scenes, then look at the context of that word count. If your important scenes have similar word count to the less-important ones, your story may be too fast. Important scenes should naturally have more exploration which would slow them down.

Check to see if you’re telling, not showing, specifically for things that matter. Telling speeds stories up, and while it isn’t always a bad thing since some things need to be summarized, too much can make a story too fast. Showing helps make scenes more vivid and interesting, and naturally slows pacing because it takes up much more room.

A bit more about show, don’t tell (link embedded)

Three Signs That Mean You’re Telling, Not Showing (link embedded)

Do you have intermediate scenes between major events? Some stories don’t need them, particularity plot-focused ones, but a romance should be more character-focused and therefore should have intermediate scenes.They’re typically less-meaningful scenes than direct plot events, but can help show the depth of characters and help set up major events in the story, particularly if an occurrence needs some form of set-up to make sense and not seem like it’s overly convenient or coming out of nowhere.

Do you have subplots and actual obstacles? Subplots and other obstacles naturally slow down pacing, so a story without them is going to move along very quickly. The key to working well with subplots and obstacles is that they have to tie into the main plot and they actually have to provide struggle for the characters.They are not to be treated as “filler”.

What’s your ratio of dialogue-description-exposition? A well-balanced story is a well-paced one, and dialogue should only be about 40-60% of the story. Any more and it’s very likely that a story would be read too quickly and fail to . D-D-E should be interwoven throughout a story and each scene.

Can you picture the scene with what you write? Related to the previous point, description helps give the reader a mental image of what’s happening. Only read what you’ve written, not how you imagined the scene to play out, then evaluate if you can properly envision the setting, characters, and occurrences. Not enough description often means too fast of a pace.

Good luck with your pacing!

Thinking of asking a question? Please read the Rules and Considerations to make sure I’m the right resource, and check the Tag List to see if your question has already been asked.

Tiefling horns that grow according to their class send tweet.

Yes, exactly!! I’ve always loved fenhawke but they came to mean even more to me after getting out of an abusive relationship myself, and I admire Fenris’s arc so so much more. He really is probably my favorite DA character next to Zevran

Oh handshake and a hug anon, I am also a survivor of abuse and sending all my love to you. 

One of the things that I really love about DA:2 is how much not only does Hawke change, but also how much companions change and develop. They are their own people, away from Hawke.

Aveline doesn’t need Hawke in order to become Guard Captain. Anders doesn’t need Hawke in order to start the revolution. Merrill doesn’t need Hawke in order to repair the eluvian. Varric was always eventually going to find someone to go to the Deep Roads. Sebastian was going to track down the mercenaries if no one else did. I’ve no doubt Fenris would have accomplished what he wanted on his own as well but a key thing to this is - Hawke helps. 

They don’t have a magic solution, they don’t immediately fix things. Aveline asks Hawke to help her on a suspicious patrol. Anders asks Hawke to help him find ingredients. Sebastian asks Hawke to come with him to the Harimann estate. Merrill asks Hawke to help her talk to the Keeper. Varric asks Hawke to come to the Deep Roads.

The companions follow Hawke because Hawke has asked for their help and because they are friends. They don’t do things and change because of Hawke. 

They all subtly develop over the course of the game, having and pursuing their own goals as well as helping each other. In the beginning, Fenris charges into Danarius’s mansion yelling he’s not afraid but by the third act - Fenris asks Hawke for their help, tells them it would mean a lot to him, and admits that he is afraid.

Finding people physically attractive, but being asexual and sex-repulsed at the same time is fucking weird because other people are like “the things I’d let them do to me 😏😏” and meanwhile I’m over here like “I jus…I j-just…wanna…H-Hug him”

This may be because I'm a homosexual, but I would very much like to learn how to fight with a sword.

When you can’t figure out damage and adding bonuses to dice rolls: