The first rule of fandom is have fun. The second rule of fandom is find an enabler and become an enabler. Yes you should write that fic. What if it was even hornier? What if it was angstier? What if you wrote it just for me?
kleya and luthen conversation transcripts: season 1
typed these up for me and @agentsofquack to have on hand and thought people might also appreciate having them for quick reference needs!
[S2 Pt.1] [S2 Pt.2]
(speaker alternates on line breaks and brackets indicate an action)
Season 1, Episode 4: Aldhani | 28:00-28:18
"Senator Mon Mothma's here. New driver."
"Anyone we know?"
"Nerver seen him."
"Chandrilan."
"[sigh] One would think."
~
Season 1, Episode 5: The Axe Forgets | 37:30-39:04
"I thought you were turning it off?"
"I was just going to."
"You said that an hour ago."
"Am I keeping you up?"
"[sigh] There's nothing coming through tonight. You want to be useful? Go clean some coins."
"[unplugs radio] Happy? âŠHave you checked your walkaway pack?"
"Yes."
"And the one on the Fondor?"
"I don't like seeing you nervous. There's nothing else you can do Luthen. They're either gonna be okay out there or they're not."
"Ha, that's a daring prediction."
"Vel's the only one who traces back."
"No. The thief. Andor. I wasn't careful."
"You wanted this to happen. This is what it took. It's never gonna be perfect."
"I wanted it too much."
"..We have clients in the morning."
"Yeah, I'll be ready"
"It'll all be over this time tomorrow."
"Or it'll just be starting.
"Or that."
~
Season 1, Episode 7: Announcement | 7:12-7:21
"Mon Mothma."
"..Without warning?"
"Wipe the smile off your face."
~
Season 1, Episode 8: Narkina 5 | 37:28-39:21
"Kleya. ...Kleya?"
"It's the shop owner on Ferrix. She's trying to find Cassian Andor, his mother is ill. ..We're not answering. We can't!"
"She could point us in the right direction."
"She's asking us!"
"She knows more than we do. So much more. She might have a lead."
"More likely it's the ISB working her radio."
"You're guessing!"
"And you're slipping! We're shutting down Ferrix. The code. The frequency. All of it. I'm thinking clearly and you're not. Tell me to shut it down."
"âŠIt's Andor. Knowing he's out there knowing me. Not knowing what he knows. I took him on the Fondor⊠What I insane?"
"You were despertate for Aldhani to work and it did. And we'll find him, just not like this."
"Vel was out hunting. She and Cinta. Are they in Ferrix yet?"
"I'll have a listen. We're being extremely careful with it."
"The woman's name is Bix Caleen. Vel could have a look if it's safe. They know what they're doing. I'm not slipping, Kleya. I've just been hiding for too long."
"It's all different now. We're going loud. Vulnerability is inevitable."
"..I'm not slipping."
"I know. I just need you to wake up. There's a lot to do."
"Shut it down."
~
Season 1, Episode 10: One Way Out | 14:22-15:02
"There was a mark on the fountain."
"Could be anything."
"That's what I thought, so I went to the stairs. The rail was gone. A clean break. Fresh. He wants a meeting, face to face."
"There goes the day."
"I don't like it. Not now, I don't like the timing."
"You don't like anything."
"[sigh] At the very least you need to let me go. Take the Fondor, get someplace safe, and let me take care of it."
"You know that's not happening. Stop wasting time. It's been a year. I'm surprised he waited this long."
"And if it's a trap?"
"Oh, it it's a trap, we've already lost."
~
Season 1, Episode 11: Daughters of Ferrix | 30:32-31:34
"Where are you?"
"He wanted to reopen the offer."
"And did you close the sale?"
"I did. It was more expensive than i hoped, but I wasn't in a position to bargain."
"So, you're coming home?"
"Depends. I'm most curious about the other piece."
"[pause.. and then inhale] You should come home."
"Is it no longer available?"
"No, it's very much on the table. The negotiations are ongoing and our representatives are involved, but there's a number of other buyers on the ground and your presence would only complicate the bidding at this point."
"We need that piece. We lose that and we'll have to close shop."
"There's nothing more you can do."
"That's never true."
"It's a crowded market."
"You need to think of the consequences of losing that piece to another collector."
I want you to write for pleasureâto play. Just listen to the sounds and rhythms of the sentences you write and play with them, like a kid with a kazoo. This isnât âfree writing,â but itâs similar in that youâre relaxing control: youâre encouraging the words themselvesâthe sounds of them, the beats and echoesâto lead you on. For the moment, forget all the good advice that says good style is invisible, good art conceals art. Show off! Use the whole orchestra our wonderful language offers us! Write it for children, if thatâs the way you can give yourself permission to do it. Write it for your ancestors. Use any narrating voice you like. If youâre familiar with a dialect or accent, use it instead of vanilla English. Be very noisy, or be hushed. Try to reproduce the action in the jerky or flowing movement of the words. Make what happens happen in the sounds of the words, the rhythms of the sentences. Have fun, cut loose, play around, repeat, invent, feel free.
The most interesting question you can ask about any character is not what do they want. it's what do they believe they deserve. because those two things are almost never the same and the gap between them is where your entire story lives. a person can want love completely and believe they don't deserve it and that belief will destroy every good thing that comes toward them in ways they won't even notice they're doing. write the gap. the gap is the character.
Writers have two modes and they are "i haven't written in three weeks and i am rotting from the inside and everything feels wrong and i don't know who i am anymore" and "i wrote for four hours straight and forgot to eat and it's dark outside and when did that happen and i feel like a god" and there is nothing in between. no chill. no medium setting. just famine or feast and a very confused nervous system.
It took me until writing this column to fully appreciate just how much naivete is an intentional part of Reyâs characterization and not just the result of the screenwriters failing to make strong enough choices about her personality. Two moments really define Rey in The Force Awakens. The first is that, even after an exhausting day of scavenging has left her with barely enough for a single dinner, she still playfully throws on an old starfighter helmet while she eats. Even the toughest day on Jakku canât rob Rey of her whimsy. (As Cinderella puts it, âthey canât order me to stop dreaming.â)Â
The second is when sheâs finally headed towards her first-ever alien planet and earnestly marvels, âI didnât know there was this much green in the whole galaxy.â Though Rey takes a second to warm up to strangers, sheâs inherently open to the wonders of the universe most people take for granted. Thatâs a pretty clear explanation as to why sheâs able to access the Force so easily. Back in A New Hope, Luke is so distracted by his yearning for glory and adventure that he has to be taught to âstretch out with his feelings.â Rey is nothing but feelings. Her yearning isnât for adventure, itâs for connection, which seems to be what the Force is looking for. (In that way, her closest comparison is young Anakin in The Phantom Menace, who was also a bit of a Jedi savant thanks to his openheartedness.)
THE WORLD WASN'T READY FOR REY by Caroline Siede
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