#PennedPossibilities 1045 — When was a time that your MC had to say no but wanted to say yes?

Lightning Bolt, the MC, and Shugh (short for Steamed Milk and Sugar), the reporter, are the source of unresolved sexual tension in the novel, not planned when I started writing, but the characters insisted. In a society like theirs, Shugh the closest to trans as you can get. He has always thought of himself a female, acting and associating with the girls when a boy and with women at university and after—but he's attracted to women. His life has been… interesting. Being accepted amongst his peers (i.e. other women) has been challenging due to societal issues that are completely different from what trans people deal with in our world.

Bolt simply has a masculine attitude, ought to be perceived by the reader as a tomboy, hung with the boys growing up, and competed against them athletically—but revels in being female. At one point, she talks about her high school Flight and Field team (all male) as her "string of ponies," none of whom disliked being ridden. Unlike Shugh, Bolt doesn't think of herself as a man who's attracted to men. She's who she is, and doesn't care squat what others think.

Yet, Shugh and her resonate with the discrimination they've faced; they deviate from typical gender roles. Fact is, the more often they meet and work together, the more they resonate.

However, she's a day angel; she has beautiful wings, blue and shaped (and patterned) like an owl's. He's a saint; he has no wings. To Bolt, raised amongst the featherfolk and new to living in a diverse city, she can't help but see his lack as an amputation. At the beginning, anyway. He also has a roommate—a night angel she now knows and works with in her side gig—and Shugh and the woman have a relationship. An open relationship. It's the rule in their society not the exception, but Bolt sees it as them being close, thus her ethics interfere with her desires.

I've already written a scene where Bolt says no, but for the situation would have said YES. In the same scene, however, he guesses her profession, close yet incorrectly. Added to the mitigating factors above, she flies away. She really likes his feminine side. She finds it attractive. In this one scene, he looked and acted sexy to boot. Her perception, anyway.

Not sure if they'll hook up eventually, or he'll turn out to be the novel's fourth antagonist. Shugh is a reporter and Bolt's day job is a reluctant courier for the mob. When he figures out her mystery, what will he do? Even I don't know!

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#PennedPossibilities 1044 — SC POV: What stupid question have you heard someone ask (or have asked yourself)?

(Molt, University student, an MC Bolt "love interest," SC:)

Bolt once said, "[†]," and it not only made me laugh, but I consented to do as she asked. She's disarmingly direct around me, like an upper schooler jock who failed to grow up after graduating expecting to get away with anything on good looks and an athletic aura. Can't believe she's ten years older than me.

† She said something equivalent to May West's famous line:

Is that a gun in your pocket, or are you just pleased to see me?

Except there's no fire arms in their world and, for reasons that are spoilers so I can't explain, pockets are problematic. Still. Something like that. Bolt's like that around men she fancies.

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#WritingPride day 2: Do you have any queer antagonists?

Having a queer antagonist is a situation I try to avoid since it can turn out very stereotypic and offensive, but the current work does have one. The reader should get that were circumstances different, the antagonist would be a stuck-up but cute and lovable air-head who has trouble keeping a job, rather that the sometimes violent gangster with a chip on his shoulder he's become. His being gay had nothing to do with how he turned out, and the story does heavily touch on his soft spot in an oddly heartwarming way. At least I hope it comes off in the manner.

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#WritingPride Day 12: Are your queer characters out to their families?

In the current WIP, for reasons discussed in my day 11 answer that discusses this same character, it doesn't matter what his preferences are, nor would his family care.

His family would care (if that were a story point) that he's a bad attitude bully, and would be very unhappy to learn that's he's now a gangster mostly useful to the mob because he'll do the scut jobs. In fact, he admits he's estranged from them. Though he's the least of the three antagonists, he's also a troubled youth who in his badness is still (marginally) empathetic such that when he finally hooks up with his high school crush, readers ought find a warm spot in their heart for him. Albeit tiny and small. But definitely there.

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#WritingPride June 11: are there any closeted queer characters in your story?

In the Reluctance Series, there can't be. Nobody cares about your preferences, except maybe a disappointed wannabe lover. So, by definition, there are no closeted characters. What matters is consent and the ability to revoke it, and a society that honors the concept. In the current story, there's an energetic gay sex scene that the MC walks in on. She's amused, considering the circumstances and characters involved she's surprised and enjoys the irony of it in the story's context, though she's unamused that the pair snuck into her home because they didn't have a place they could hook up in!

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#PennedPossibilities 1042 — MC POV: What is something most people desire that you feel is more trouble than it’s worth?

[Bolt from Reluctant Courier (for the Mob):] I have no freedom to desire most anything most people desire, but definitely anything that makes me noticed by, or conflicts with, what Boss Mead wants. When I let my hobby photography blow up into a sensation (not that I think I'm at all that good) and I ended up photographing Rainy Days, the Director of Home, he found out. In terms you might understand, I got recognized by our Queen Elizabeth the first. The mob boss decided I'd become his ear in her "Palace." He had me kneel and patted my head, telling me I was a good girl.

I wanted to quit taking pictures that moment. So not worth it.

Unfortunately, I have friends that wouldn't let me do that.

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#PennedPossibilities 1035 — How does your antagonist behave when they’re sick or injured?

Pigeon the Pilferer is a punk bully kid who never grew up even as he entered his 20s. He's alienated his family and has zero friends. The only reason he still has a job (with the mob) is that despite his bad attitude, he's still good for small jobs where a bad attitude (and body odor) is a positive. Sick or injured, he'd have no one to turn to (until the middle of the novel) and he wouldn't admit to being scared. He'd hide away, paranoid somebody would hurt him when he's weak; he'd definitely take advantage were the situation reversed! He does have a Health Services ID. Unlike Bolt (the MC), he'd use it for free care if he thought he might die or be too feverish to protect himself.

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#PennedPossibilities 1034 — If one of your characters could visit any time period in the history of their world, which would they choose? Why is that?

It would be a toss up for Rainy Days, the main series antagonist sometimes MC. She was born in year 91 after what we'd call "the singularity."

She wonders why, when it was considered "an age of new beginnings," that her society effectively kept women as chattel—something she would violently put an end to, horribly maiming the world in the process. She'd want to go back in time before the event to see what caused the abomination, maybe preventing what she saw as a perversion of human behavior. (She'd be disgusted seeing our civilization; she'd let it burn.)

The other time she'd go back to? To her teenage years before she was forcefully taught she was subhuman chattel as far as the men in power were concerned. She had a twin brother named Harvest Days. That was so long ago, she only remembers he existed, was autistic, and that her intense love for him was what led her to fix the world that so badly mistreated him. She misses him.

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#WritersCoffeeClub #WCC 2026.06.01 What sense is easiest for you to describe?

Let's chalk up me writing about the hardest sense (smell) to my dyslexia! Visual is the easiest for me, but like all the rest of the senses, it's usually in revision that I tease out the metaphors that go beyond simple color and geometry, and relate what seen to the character's context and relate it to their concerns.

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#WritersCoffeeClub #WCC 2026.06.01 What sense is easiest for you to describe?

All of the senses present their challenges, but smell, which is an extremely important sense to my 1st person narrator MC, Bolt, is particularly challenging. She not only talks about intimate human scents, but the ambient scents—food, plants, buildings, magic—in her overheated sweaty world.

I want this quote to apply for the reader: "Toto, I have a feeling we're not in Kansas any more."

There are a limited set of adjectives that aren't analogies to choose from, without repetition. For example acrid or fetid as compared to vinegary or like camembert. If I write vanilla, I have to think whether such a thing as vanilla could exist in her climate-disaster world. It can quickly become a show don't tell disaster! As for something cheesy, do they even have dairy? Sometimes I settle for a word to mislead so that I can surprise the reader later to demonstrate how alien the environment is. For example, horses are mentioned and we later learn that the animal has a row of stegosaur plates for cooling purposes down its spine, which renders it rather difficult to saddle. Some things totally don't exist as when Bolt describes them; the reader will have absolutely no reference other than the narrator liking them or being disgusted.

Don't get me started about the difference between what I rush to paper in the first draft, and the metaphorical stuff that arrives during revision!

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