Hi! I'm Ruth, they/them pronouns, 26, and I enjoy most types of whump! I do art, graphic design and writing.
I try my best to tag, but if I miss a content warning you'd like added, please just shoot me an ask! I won't tag lady whump as a content warning, but anything else I will if you ask.
Whump 2024 advent calendar
Favourite tropes:
RECOVERY WHUMP!!!
Found family
Gagging
Muzzles
Pet whump
Whumper pressing down on whumpee's back to keep them from getting up
Branding
Whipping
Caretaker turned whumpee/whumpee turned caretaker
Hero/villain whump
Tall whumpee/small caretaker (or vice versa)
Tall whumpee/small whumper
G/t whump
Whumpee thinks caretaker is their new whumper
Incompetent/clueless caretaker (they're trying their best but they have no idea they're doing)
General contents: pet whump, dehumanisation, amnesia, PTSD
Sam and Lucan 'verse
In a world where non-humans are enslaved, our characters are just trying to live out their lives in peace. And failing, mostly.
General contents: non-human characters, institutionalised slavery, fantasy racism, dehumanisation, PTSD
A Death in the Family
When his estranged father dies, Tristam, against his better judgement, attends the will reading, and ends up leaving with long-term bloodbag Sunday Afolayan and Eldrida, his father's former employee (and a terribly mistreated one at that, it turns out).
Even with Aileen and Evelyn's expert advice and friendship, it's tricky to bring Sunday back from the depths of his enthrallment, and Eldrida's struggling too. Six years under the cruel fist of Barnabas Sharpe was hard to survive.
It's a difficult recovery for both of them. But surely, things can't get worse now.
Contains: vampire whumper, non-human whumpee (vampire), lady whump, conditioned whumpee, disabled characters (Tristam has ADHD, Eldrida has anophthalmia, and Sunday has joint problems, a badly-healed arm, and an absence epilepsy-like condition), recovery whump, multiple whumpees
Botanist Whumpee
When the rich and powerful Sebastian Beaumont offers Alyssa a place to stay, she doesn’t expect to become his captive for three years. And when Silver rescues her at a party… well, the only thing she’s absolutely sure is better is that they don’t have a basement. They don’t have much of anything, actually. And she doesn’t know whether she can trust them or not, but she stays anyway. With no-one left to care about her, and Beaumont using all his money and connections to search for the pair of them, where else is she supposed to go?
Contains: recovery whump, captivity, lady whump, somewhat defiant whumpee, found family, intimate whumper
Cian and Row
In a world where superpowers are real, heroes and villains exist, and there's a large black market in powered people, Rowan's been enslaved for as long as they can remember. They're befriended when they're three by Cian Sinclair, a local empathic five year old, and at the age of eleven is rescued and adopted by the Sinclairs. Years later they become a supervillain, disappear for five years and reappear to reunite with their family, and attract another enemy, one far more powerful than their previous captors and obsessed with their healing powers.
Contains: slavery, PTSD, minor whump, past minor whump, immortal whumpee, discrimination, villain whump
Immortal Cannon Fodder
Masterlist part 2 - character profiles, character asks
Phoenix, an immortal hero, joins a team that hurts them and uses them as cannon fodder. But their teammates are only doing what's necessary to help them all survive. Phoenix's regular sacrifices are necessary. And it's not like they've got anywhere else to go anyway.
It takes the arrival of Kai, a wolf-shifter and telekinetic, to help them see what's going on. But a friendship and a promised eventual transfer can't fix everything.
Contains: hero whump, abuse, past abuse, immortal whumpee
MD-264N
When MD-264N, the government's best weapon, runs to avoid being decommissioned and collapses on the doorstep of a small ragtag team of rebels, it's a surprise to everyone. But despite resistance, the weapon, now known as Morgan, starts to find their place, and the rebels soon find that they'll do anything to keep them free.
Contains: living weapon, found family, dehumanisation/self dehumanisation, team dynamics, reluctant caretaker (not the main caretaker), recovery whump, caretaker whump, disabled caretaker (forearm amputee)
Operation Badger
In the year 2037, Earth is invaded by the Stex. 14 years later, superpowers start appearing in teenagers, and are apparently humanity's best defence against the aliens. What is Earth Security to do but train these people up as weapons?
Contains: sci-fi, living weapons, team whump, multiple whumpees, minor whump, aliens, disabled character
Out of the Frying Pan
Five years ago Elis, former bodyguard and weapon of Lord Wulfric, was rescued from a fiery death by Col and Sæwin. He now lives in relative peace with them in Sorestan, a peace that's abruptly disrupted after an unwelcome visitor brings his past colliding with the present.
Contains: medieval whump, fantasy elements, living weapon
Out of the Water
Túathal, a merman, is captured and kept prisoner by pirates for his valuable scales. While Robyn, the youngest of the crew and not very popular, takes care of him, the others only bother with his scales (and anything that makes their extraction easier). Especially James. And once the rest of the pirates discover that Robyn and Túathal have become fond of each other, things only get worse.
Whumpee is captured by a Whumper who wants to teach them survival skills. Painfully.
Contains: survival skills whump, sadistic whumper
The Greatest Show on Earth
Damon and Pythias are an unwilling two-person sideshow act in The Greatest Show on Earth, Pythias forced to kill Damon multiple times a day for the entertainment of paying circus patrons. Damon has been in captivity since birth, Pythias not quite so long (although certainly long enough), and they're both ready to get out.
But the outside world is even trickier to navigate than they imagined.
Contains: non-human whumpees, multiple whumpees, immortal whumpee, lady whump, circus whump, public whump, captivity, recovery whump, temporary character death (both implied and shown at times), guilty whumpee, whumpee as caretaker
Other writing:
Non-series whump masterlist
Miscellaneous writing, art and graphics
Fanfic/fanart (AO3)
BBC Merlin, Good Omens, Doctor Who, The Sandman, The Murderbot Diaries
Not only is this allowed but it's something i encourage all writers of any kind to play with! :D
The idea that all writers know what to say all the time and just splash fully-formed drafts out one word after the other is false. There are some who can do it, but i think most of us... can't. Which is why we need tricks like square bracket notes! They're not cheats or lazy writing or some other flavour of Not Allowed, but instead really really important tools that we should use as much as we need to.
Some of the most helpful tricks I've collected over the years are:
make some notes in square brackets – e.g., I had to write a scene on a sailboat, but I know nothing about sailing so i literally just had notes like [boat part] and [how to do X thing?]. If you use square brackets as punctuation anyway, use something else like [[double square brackets]] or a unique letter combination like XY at the start of the note; the point is to pick something you can search for easily later on.
(You can also style inline comments in a different font/colour. Scrivener has an inline annotation feature; if you use Word, you can make a specific Style to make notes stand out at a glance, etc.)
bullet-point your way through any tricky parts – this can be pure stream-of-consciousness vague ideas. it only needs to make sense to me later. much more helpful than just leaving big blank gaps that Future Me has to work out how to fill, but also better than dwelling on a piece of writing forever.
use comment tools – mostly do this if I have ideas for alternate events and/or phrasing, or if I want to check something for continuity purposes.
write out of order – Best advice i ever got for academic writing is to know or even write your conclusion first and your introduction last, which your main argument in between. Similar principles apply in fiction, or any kind of creative writing. If there's a part of the essay that I can visualise clearly or a part of the story that is particularly exciting or important, I might write that first, then figure out how it fits/how everything fits around it.
keep a loose scenes and/or "outtakes" folder – anything that i write out of order goes here, along with any notes for how I think I want to incorporate it into the full text. In the same vein, if I delete something but don't know for sure it will never be relevent ever again, it gets cut and pasted into an outtakes folder.
Basic rule though is that you do not have to get your writing perfect on the first try. This is where drafts come in. The way I see it is to treat each draft as a fresh start – I create/open a new document (well, new Scrivener file) and start over as if from scratch. Each draft gets a narrower focus than the last. This is my process, as an example:
first draft is the word vomit. You do whatever you need to do to get it onto the page, and it can be terrible. In fact, it probably should be terrible. You can fix everything later. it's fine.
The second draft is a half-hearted cleanup attempt. I'll re-type everything because everything is subject to change, from the characters' personalities to the pacing to the order of events. It's all primordial goop, basically. i'm just poking and prodding and making a few adjustments, but mostly trying to create a more stable version of the first draft. All shortcut tricks continue to be my best friend.
By draft three I'll let myself copy-paste between documents if I'm particularly happy with a passage, but try not to get hung up on anything specific. I'll still make liberal use of square brackets etc. as I need to, but try to address as many from the previous draft as I can. This is where I get more brutal with making decisions and trying to fix parts of the story in place.
Draft four is usually my final draft, but there's literally no rules about how many drafts you're allowed to write. It's at this point that I try to keep square brackets etc. to a minimum (unless i've diverged significantly from the plot of a previous draft and having to rewrite large chunks), and make sure to address all the notes and problems encountered in previous drafts.
This is when I move on to revisions. Revisions are the "final do-overs", for me. I start them when I'm satisfied with all the large-scale aspects: plot and chronology; characters' personalities, motivations and arcs; large-scale pacing (so the over-arcing pace, rather than the pacing in individual scenes); backstories; and worldbuilding. I'll copy the last draft's document instead of starting with a blank one. First I run through those large scale things one more time and tweak until I'm happy, not just satisfied. Then I shrink my focus to in-scene pacing, dialogue, and the quality of the writing itself.
I'll also rewrite my plot outline between each draft, too. The act of actually re-writing stuff is very helpful for making your brain think about it.
Drafting like this isn't for everyone, but realising that you can just bullshit your way through chunks of text was a massive game-changer for me. Some people will do a draft, then work on something else, then come back and do another draft, work on something else, etc. Some people's drafting process will look more like what I consider to be revisions. Do whatever works for you. Just remember that from the moment you first decide you Want to Write a Thing to the moment you hit "post" or "publish" or give your manuscript over to a publisher, you can keep making as many changes as you like in any way you like. (And if you go the querying to traditional publishing route, you'll probably get suggestions for, and have space/time to make, changes to the manuscript quite far into the process).
I don't believe I've ever met two writers who have exactly the same process. Every writer I've spoken to about the craft of writing has their own process, usually developed over years and years of practice and trying things out.
For example, I don't rewrite at all, that sounds horrendous, I just save-as to create a new draft. I also get the big structure stuff done in outlining, but I'm a weirdo who writes 20k word outlines. As mentioned above, I am one of those people who needs space between drafts--or at least, between rough draft and first revision. And I do my first revision on paper, always. The human brain processes screens and hardcopy differently! I write all over my printed rough draft, and then go back to the doc and apply those edits and anything else that occurs to me at the time, so my draft 2 is more sort of draft 2.5??
There's a lot more, obviously, and it's different between novels and short stories (I don't print short stories unless I'm really struggling). But I'm always experimenting with different ways to write, and sometimes they work and sometimes I get stranded and have to go back to the drawing board. Some people have a lot more hand writing in the prep stages, in notebooks or on index cards--I visited someone once whose dining room walls were covered in butcher paper and index cards with pushpins!
So if you're a newbie writer, experiment! Read about a bunch of different ways to get those words down! Try new things! Put notes and placeholders and such in your drafts, write by the seat of your pants, try out the whole in-depth outline thing, revise every paragraph before moving on to the next one, whatever works!!
Also please feel free to come talk to me about it! I love hearing about how people write.
*torturing you* dude trust me, something really cool happens. you just have to reflect on it for a bit. i'm doing this because i want you to reach your full potential okay?
vampires are so full of shit. "oh the human race is beneath us, you're just livestock to us" I don't think you know what livestock is. do you feed us? care for us? protect us from predators? no. you just slink around dark alleys and ambush people. that's not what a higher being does. that's a bottom feeder. a parasite. karate punches your head off
- sprawled exhausted and limp on a muddy riverbank, arms and legs splayed limply out and draggled hair half-covering their face, coughing uncontrollably under the frantic helping hands of a friend
- back against the wall, shoulders heaving for breath, clenched jaw and shaking knees; a sword loosely gripped in one hand, point trailing on the ground, and blood dripping fast and faster onto the cobblestones
- blue-gray lips and shaking hands, clutching at snow-crusted clothing, clumsy numb feet stumbling over hidden roots and rocks, eyes fixed on the entrancing firelight in the distance as the wind gusts grow stronger
- a vial of medicine half-full, a cup and spoon on the table, half-open window curtains letting in the fresh daylight, tangled bedcovers around a restless feverish body, someone kneeling on the floor blinking back sleep with a worried frown on their face
- tucking a pillow under their head as the tremors start again and strengthen into another fit of convulsions, sitting back breathless and waiting, counting the moments till they lie still again; smoothing back tousled hair from a sweaty forehead when it’s over, giving another spoonful of an antidote you’ve almost stopped believing in, ever so gently drying spilled drops from over-sensitive skin and waiting and hoping for a change for the better
Ok adding to this though that even though it is extremely relatable, this is a KNOWN thing with professional writing. 10k is often referred to as "having a pot boiling" or "having a stew" - it's the point where you often see an idea coming together and it's exciting! But THEN... 30k-50k is the point where that fun has to start coming together. In theatre, it's usually week 3 of a 5 week rehearsal period where you have to stop talking about the play and really get it all up on its feet and cohesive. In art, it's committing to what are going to be the final visible layers of colour and texture, in sculpture the moment where you're truly at the point of no return with carving out the shape.
It usually feels really bad. Because this is the point it becomes real craft. It's so, so difficult to really be able to identify if it's truly not going to be anything or you're just in the hardest part of the process, and really the only way to know is to... write through it. Write it badly. Or, if you really can't, put it in a drawer and come back to it after a few months of breathing space. Remember, you can fix so much in the edit, but you can't fix nothing!
(I say, fully looking at my latest draft of my book and considering throwing it in the bin. But my editor said exactly this to me, so I'm passing it along.)
this is 100% true. I've written 6 complete novels at this point and every single time around the 40k mark I feel lost in the woods. Nothing seems to be working. I feel awful; I can't sleep. I keep going even though I'm convinced I'm going to fail. And then... It's like leaving a tunnel and getting back out in the sunshine. Stuff starts coalescing. Things that weren't working have obvious fixes. I "can write" again, except I was writing the whole time. It just felt hopeless in the moment. It's not. You just gotta get out of the woods.
Your character needs to be put through horrors so great that they don't even know how to ever talk about what happened. Years have passed and they have people they love and trust with their life now, but they're still unable to tell them about everything they've been through.
It's just too much and they've been shaped by it so thoroughly that talking about it in any way would feel like they're peeling their skin off and completely exposing every vulnerable part of themself.
“Whoa, whoa, whoa.” Whumper cuts Whumpee off, grabbing them by the roots of their hair and wrenching their head back so their neck is exposed and vulnerable. “I don’t know who you think you’re talking to. I can do any damn thing I want.”
Abused angel without the language to articulate their trauma bc "angels never get hurt" 🤝 abused demon without the language to articulate their trauma bc "demons always deserve it"
post rescue/almost losing each other, character a and character b refuse to sleep without each other. Character b, still out of it, begs character a to stay, and character a sits beside the bed and holds their hand until they both eventually fall asleep.
(mostly) whump @pigeonwhumps - Tumblr Blog | Tumgag
