Astarbation brainrot

JK / 30 / she/her

[jkthrowaway]

Hello darlings, I have written a black comic Astarbation longfic, and I am here to share the depravity with you! This is a (completed) smutty slow-burn written in literary style, wherein a realistically mentally ill spawn Astarion makes bad (but very hot) choices having a little something to do with... a certain mysterious vampire lord. New chapters and screenshots each Thursday!

https://archiveofourown.org/works/65142685

[spacethatsinbetween]

Don't touch me...

This trend dragged me back into Daz today, but I decided to make it angsty...

[jkthrowaway]

Self-Indulgent Sunday

@spacethatsinbetween @hermetic-principles I will play the game... Astarion got himself pregnant. Yes really.

A preview of my as-yet-unpublished astarbation short...

✧──────✧

Astarion had lost his appetite. He had begun vomiting in the mornings.

“Darling,” he said, one day at breakfast. He was feeling ugly and disgruntled, sick to his stomach, sipping morosely on a cup of hot blood. Ancunín had been enthusiastically consuming an entire roast duck, but when he had seen Astarion looking at it balefully, he’d quietly covered it and put it away. He fetched himself a cup of hot blood.

Astarion burped and covered his mouth. “Do we get sick, now?” he asked.

“Oh.” Lord Ancunín was now looking away, blushing. “Ah. No, we don’t.”

Astarion knew at once. He stood up.

But then, he sat down again. That same feeling of hope and stupidity felt like it was pressing him into the floor.

Ancunín pushed his blood away with a rakish flip of his wrist. He was smiling surreptitiously. And he came up behind Astarion, held him, kissed his forehead when Astarion leaned back against him. He touched the tips of Astarion’s ears.

“Oh, you gods-damned hellion,” Astarion whispered.

And Lord Ancunín leaned forward, allowed his lips to brush the point of Astarion’s ear. That same small, indecent smile in his voice. “You, my dear, are with child.”

Everything in Astarion went still. Everything far away. “You can’t be serious,” he murmured.

But, there was no mistaking it—his cock had given a violent twitch against his thigh.

Lord Ancunín slowly tongued Astarion’s eartip. “You’re carrying my child,” he whispered.

And from just these simple words, these plain words, Astarion found himself going weak. He braced himself on the counter as he moaned, softly. Surprise, fear, hope, disbelief. He turned around. “By the gods.”

Lord Ancunín pulled back slightly. He looked worried. “Astarion, if you don’t want it—”

Astarion put a finger to his lover’s mouth. “Shut up, you idiot.”

To his surprise, Ancunín was blushing to the roots of his hair. “If you don’t, we can—”

Astarion took him forcibly by the lapels of his coat and kissed him, bruisingly, to silence. He wanted to laugh. He wanted to fuck.

And then, he paused. “Ancunín,” he asked, “Does this mean we can’t…”

Ancunín pulled away, smiling. “Astarion. Aha. I think I’d better… explain some things to you.”

✧──────✧

the whole rest of the roughly 30k of this is just smut! Because I had to! I'm going to begin posting it after I'm done posting part 2 of Ancunín. If you want to read it you can follow me on ao3 ig? Maybe that will be in time for mothers' day lol

[spacethatsinbetween]

Self-Indulgent Sunday

Thanks @chaushaus this sounds fun. And I actually have something I had a TON of fun thinking about (and might be partially your fault after reading your Byron fic 😂). Hoping I can devote some time to writing because the idea really took hold.

Astarion/Raphael, vaguely regency AU (like if Baldur’s Gate had a regency era, but idk anything about that era/genre except from what I've seen on TV which is admittedly not much really whoops) where Astarion is young, like early 20s and kinda babygirl coded, and Raph is his father’s hot (older) business associate. There’s a “can’t get his inheritance til he gets married subplot” but really Astarion just wants to bang that old man 😅

After lunch—where Astarion drank only tea and nibbled at a buttered roll—he drapes himself elegantly on the chaise in the parlor that catches the best afternoon sun from the grand window behind it. He crosses one leg over the other, leaning on the arm of the chaise with a book open in one hand. His other arm drapes across the back, wrist falling delicately over the edge. He leans to the side just enough to put the long line of his torso on display and to catch the rays of sun in the halo of his hair. After half a chapter, the crunching sound of horse hooves coming up the drive announces the arrival of a guest. Astarion grins, then schools his features into something thoughtful, focusing back on the words of his book. He hears the doorbell ring, and a servant greets their guest. “Good afternoon, Lord Raphael. Lord Ancunín has been expecting you.” Astarion’s breath quickens, a dangerous development that makes him momentarily lightheaded. The corset laces are far too tight, but his waist looks too good to care about something as trivial as breathing. Still, he calms himself with a slow, even breath. By the time the sound of Lord Raphael’s boot heels announces his presence, Astarion is once more absorbed in his book. The dulcet tones of Lord Raphael’s voice break the silence of the room. “I am but my lady’s servant, sworn to obey her in all things…” Astarion’s gaze flicks up from the book. Lord Raphael stands, one hand aloft like an actor upon a stage. Dressed immaculately as ever in heeled boots, dark pants that hug him like a second skin, and a deep burgundy coat so rich it brings out the red of his swarthy complexion. Astarion lets out a breath he can’t afford to lose.

The dark of Raphael’s eyes glitter with amusement as he continues in the same dark voice that has followed Astarion into his filthiest dreams: “But this shadowed heart beats with the sound of your name.” Astarion’s own heart thumps wildly in his chest. Although he knows Raphael is only reciting a passage from the book, he can pretend for a moment that the words are meant for him. “Nocturne,” Astarion gasps, tossing his head dramatically. He places a hand upon his brow. “Forsake your oath. Become one with me. Let our love light that which is dark.” Raphael’s deep chuckle does things to Astarion, warms him from the top of his perfectly coiffed head to the bottom of his polished boot. Or maybe it’s the way Raphael’s appreciative gaze takes him in, slowly, like a drink meant to be savored. Tasted. “How are you enjoying this one?” he asks, nodding to the book. With a flick of his hand, Astarion closes the front cover, tossing it onto the table beside him. Reconciling the Jealous Heart by Jenevelle Hallowleaf shines in bright purple letters embossed on the cover. Astarion shrugs, deliberately uncrossing and crossing his legs again to lounge against the back of the chaise beautifully. “I liked Craven Heart more, I think.” “Hmm, you’ll like the next one then. Wayward Heart is possibly my favorite in the series.” His tone suggests some deeper meaning, conveying a message Astarion will only understand upon further reading, it seems. “Oh? I can’t wait to read it.”

I don't really know who to tag so if you want to participate feel free! But I'll no pressure tag: @molarsses @sawickibalisong @jkthrowaway

[spacethatsinbetween]

Ra-Ra-Raphsputin, Avernus' greatest love machine!

I felt compelled to add this song... Thank you @redacted-redd for the incredible gif!!!

Link to Redd's Post!!!

[spacethatsinbetween]

Some perfectly normal pictures of Astarion and Karlach. Nothing inappropriate happening here! ❤️‍🔥

Tumblr stop auto-marking my shit as mature ffs you can't see ANYTHING 😭

I love these two so much. Anyone who follows my fic knows I've written this exact scene!

Full version on bluesky!

[ubebaebie]

Astarion would look so fucking cunty in these outfits

aint no hearing me out YOU WILL LISTEN!!! The second i get a chance ouohohoho im drawing my 2nd favorite white boy in these thangs

[barbatusart]

small cazador animatic featuring the guy's voice actor graham hoadly with apologies to graham hoadly LOL

[lenorevp]

Halo [Free] 4K wallpapers available on my Patreon

[lenorevp]

Liar's Face

[Free] High-Res 4K portraits available on my Patreon

[lenorevp]

High-res 4k + Exclusive Desktop Wallpaper available on my Patreon

[lenorevp]

Vesper Preview Full High-Res 4K available on my Patreon

[onlyancunin]

Ok, so @herdarkestnightelegance and me had an idea and–

[onlyancunin]

omg

[onlyancunin]

"He's only being mean because you antagonize him"

(Ascendant vs Spawn)

[traumafetishist]

so what if Ascended Astarion and Ascended Cazador and spawnstarion...

[duckprintspress]

Giving Quality, Motivating Feedback

A guest post by @shealynn88!

The new writer in your writing group just sent out their latest story and it’s...not exciting. You know it needs work, but you’re not sure why, or where they should focus.

This is the blog post for you!

Before we get started, it’s important to note that this post isn’t aimed at people doing paid editing work. In the professional world, there are developmental editors, line editors, and copy editors, who all have a different focus. That is not what we’re covering here. Today, we want to help you informally give quality, detailed, encouraging feedback to your fellow writers.

The Unwritten Rules

Everyone seems to have a different understanding of what it means to beta, edit, or give feedback on a piece, so it’s best to be on the same page with your writer before you get started.

Think about what type of work you’re willing and able to do, how much time you have, and how much emotional labor you’re willing to take on. Then talk to your writer about their expectations.

Responsibilities as an editor/beta may include:

Know what the author’s expectation is and don’t overstep. Different people in different stages of writing are looking for, and will need, different types of support. It’s important to know what pieces of the story they want feedback on. If they tell you they don’t want feedback on dialogue, don’t give them feedback on dialogue. Since many terms are ambiguous or misunderstood, it may help you to use the list of story components in the next section to come to an agreement with your writer on what you’ll review.

Don’t offer expertise you don’t have. If your friend needs advice on their horse book and you know nothing about horses, be clear that your read through will not include any horse fact checking. Don’t offer grammar advice if you’re not good at grammar. It doesn’t mean you shouldn’t give feedback on things you do notice, but don’t misrepresent yourself, and understand your own limits.

Give positive and constructive feedback. It is important for a writer to know when something is working well. Don’t skimp on specific positive feedback — this is how you keep writers motivated. On the other hand, giving constructive feedback indicates where there are issues. Be specific on what you’re seeing and why it’s an issue. It can be hard for someone to improve if they don’t understand what’s wrong.

Be clear about your timing and availability, and provide updates if either changes. Typically, you’ll be doing this for free, as you’re able to fit it in your schedule. But it can be nerve wracking to hand your writing over for feedback and then hear nothing. For everyone’s sanity, keep the writer up to date on your expected timeline and let them know if you’re delayed for some reason. If you cannot complete the project for them, let them know. This could be for any reason — needing to withdraw, whatever the cause, is valid! It could be because working with the writer is tough, you don’t enjoy the story, life got tough, you got tired, etc. All of that is fine; just let them know that you won’t be able to continue working on the project.

Be honest if there are story aspects you can’t be objective about. Nearly all of your feedback is going to be personal opinion. There are some story elements that will evoke strong personal feelings. They can be tropes, styles, specific characterizations, or squicks. In these cases, ask the writer to get another opinion on that particular aspect, or, if you really want to continue, find similar published content to review and see if you can get a better sense of how other writers have handled it.

Don’t get personal. Your feedback should talk about the characters, the narrator, the plotline, the sentence structure, or other aspects of the story. Avoid making ‘you’ statements or judgements, suggested or explicit, in your feedback. Unless you’re looking at grammar or spelling, most of the feedback you’ll have will be your opinion. Don’t present it as fact.

Your expectations of the writer/friend/group member you are working with may include:

Being gracious in accepting feedback. A writer may provide explanations for an issue you noticed or seek to discuss your suggestions. However, if they constantly argue with you, that may be an indicator to step back.

Being responsible for emotional reactions to getting feedback. While getting feedback can be hard on the ego and self esteem, that is something the writer needs to work on themselves. While you can provide reassurance and do emotional labor if you’re comfortable, it is also very reasonable to step back if the writer isn’t ready to do that work.

Making the final choice regarding changes to the work. The writer should have a degree of confidence in accepting or rejecting your feedback based on their own sense of the story. While they may consult you on this, the onus is on them to make changes that preserve the core of the story they want to tell.

Some people aren’t ready for feedback, even though they’re seeking it. You’re not signing up to be a psychologist, a best friend, or an emotional support editor. You can let people know in advance that these are your expectations, or you can just keep them in mind for your own mental health. As stated above, you can always step back from a project, and if writers aren’t able to follow these few guidelines, it might be a good time to do that. (It’s also worth making sure that, as a writer, you’re able to give these things to your beta/editor.)

Specificity is Key

One of the hardest things in editing is pinning down the ‘whys’ of unexciting work, so let’s split the writing into several components and talk about evaluations you can make for each one.

You can also give this list to your writer ahead of time as a checklist, to see which things they want your feedback on.

Generally, your goal is going to be to help people improve incrementally. Each story they write should be better than the previous one, so you don’t need to go through every component for every story you edit. Generally, I wouldn’t suggest more than 3 editing rounds on any single story that isn’t intended for publication. Think of the ‘many pots’ theory — people who are honing their craft will improve more quickly by writing a lot of stories instead of incessantly polishing one.

With this in mind, try addressing issues in the order below, from general to precise. It doesn’t make sense to critique grammar and sentence structure if the plot isn’t solid, and it can be very hard on a writer to get feedback on all these components at once. If a piece is an early or rough draft, try evaluating no more than four components at a time, and give specific feedback on what does and doesn’t work, and why.

High Level Components

Character arc/motivation:

Does each character have a unique voice, or do they all sound the same?

In dialogue, are character voices preserved? Do they make vocabulary and sentence-structure choices that fit with how they’re being portrayed?

Does each character have specific motivations and focuses that are theirs alone?

Does each character move through the plot naturally, or do they seem to be shoehorned/railroaded into situations or decisions for the sake of the plot? Be specific about which character actions work and which don’t. Tell the writer what you see as their motivation/arc and why—and point out specific lines that indicate that motivation to you.

Does each character's motivation seem to come naturally from your knowledge of them?

Are you invested (either positively or negatively) in the characters? If not, why not? Is it that they have nothing in common with you? Do you not understand where they’re coming from? Are they too perfect or too unsympathetic?

Theme:

It’s a good idea to summarize the story and its moral from your point of view and provide that insight to the writer. This can help them understand if the points they were trying to make come through. The theme should tie in closely with the character arcs. If not, provide detailed feedback on where it does and doesn’t tie in.

Plot Structure:

For most issues with plot structure, you can narrow them down to pacing, characterization, logical progression, or unsatisfying resolution. Be specific about the issues you see and, when things are working well, point that out, too.

Is there conflict that interests you? Does it feel real?

Is there a climax? Do you feel drawn into it?

Do the plot points feel like logical steps within the story?

Is the resolution tied to the characters and their growth? Typically this will feel more real and relevant and satisfying than something you could never have seen coming.

Is the end satisfying? If not, is it because you felt the end sooner and the story kept going? Is it because too many threads were left unresolved? Is it just a matter of that last sentence or two being lackluster?

Point Of View:

Is the point of view clear and consistent?

Is the writing style and structure consistent with that point of view? For example, if a writer is working in first person or close third person, the style of the writing should reflect the way the character thinks. This extends to grammar, sentence structure, general vocabulary and profanity outside of the dialogue.

If there is head hopping (where the point of view changes from chapter to chapter or section to section), is it clear in the first few sentences whose point of view you’re now in? Chapter headers can be helpful, but it should be clear using structural, emotional, and stylistic changes that you’re with a new character now.

Are all five senses engaged? Does the character in question interact with their environment in realistic, consistent ways that reflect how people actually interact with the world?

Sometimes the point of view can feel odd if it’s too consistent. Humans don’t typically think logically and linearly all the time, so being in someone’s head may sometimes be contradictory or illogical. If it’s too straightforward, it might not ‘feel’ real.

Be specific about the areas that don’t work and break them down based on the questions above.

Pacing:

Does the story jump around, leaving you confused about what took place when?

Do some scenes move quickly where others drag, and does that make sense within the story?

If pacing isn’t working, often it’s about the level of detail or the sentence structure. Provide detailed feedback about what you care about in a given scene to help a writer focus in.

Setting:

Is the setting clear and specific? Writing with specific place details is typically more rooted, interesting, and unique. If you find the setting vague and/or uninteresting and/or irrelevant, you might suggest replacing vague references — ‘favorite band’, ‘coffee shop on the corner’, ‘the office building’ — with specific names to ground the setting and make it feel more real.

It might also be a lack of specific detail in a scene that provides context beyond the characters themselves. Provide specific suggestions of what you feel like you’re missing. Is it in a specific scene, or throughout the story? Are there scenes that work well within the story, where others feel less grounded? Why?

Low Level Components

Flow/Sentence Structure:

Sentence length and paragraph length should vary. The flow should feel natural.

When finding yourself ‘sticking’ on certain sentences, provide specific feedback on why they aren’t working. Examples are rhythm, vocabulary, subject matter (maybe something is off topic), ‘action’ vs ‘explanation’, passive vs. active voice.

Style/Vocabulary:

Writing style should be consistent with the story — flowery prose works well for mythic or historical pieces and stories that use that type of language are typically slower moving. Quick action and short sentences are a better fit for murder mysteries, suspense, or modern, lighter fiction.

Style should be consistent within the story — it may vary slightly to show how quickly action is happening, but you shouldn’t feel like you’re reading two different stories.

SPAG (Spelling and Grammar):

Consider spelling and grammar in the context of the point of view, style and location of the story (eg, England vs. America vs. Australia).

If a point of view typically uses incorrect grammar, a SPAG check will include making sure that it doesn’t suddenly fall into perfect grammar for a while. In this case, consistency is going to be important to the story feeling authentic.

Word Count Requirements:

If the story has been written for a project, bang, anthology, zine, or other format that involves a required word count minimum or maximum, and the story is significantly over or under the aimed-for word count (30% or more/less), it may not make sense to go through larger edits until the sizing is closer to requirements. But, as a general rule, I’d say word count is one of the last things to worry about.

*

The best thing we can do for another writer is to keep them writing. Every single person will improve if they keep going. Encouragement is the most important feedback of all.

I hope this has helped you think about how you provide feedback. Let us know if you have other tips or tricks! This works best as a collaborative process where we all can support one another!

[brabblesban]

Corsets on the beach.