stormy-seasons

[stormy-seasons]

The way twitter and tiktok talk about dopamine responses you would think everyone was posting from a convent

You can make anything you hate in a "pathology" by writing about how it triggers a dopamine response: food, sex, social media, pop music, whatever.

And because you use big words, people will take it seriously when you speak, even if what you are saying is "doing something enjoyable is bad because it weakens your moral fiber." Because you didn't say those words, you said "this behavior rewirses your brain by triggering a dopamine response."

When quite literally any form of pleasure triggers a dopamine response! When I beat someone online at chess, it makes me happy. Does that mean chess is "the same as any addictive drug."

I joke, but the funny thing is, people did used to say this about pleasures we now see as enriching or classy. Reading novels was supposed to rot your brain, and Beethoven was too stimulating and could ruin your morals.

[stormy-seasons]

I must not mock Gen Alpha. Mocking Gen Alpha is the mind killer. Mocking Gen Alpha is the little-death that brings total generational solidarity obliteration. I will engage with Gen Alpha lovingly. I will permit them to be cringe. And when they grow up I will turn my eye to their accomplishments. Where mocking has gone there will be nothing. Only generational solidarity remains

[stormy-seasons]

thinking about how when you experience a lot of shame in your formative years (indirectly, directly, as abuse or just as an extant part of your environment) it becomes really difficult to be perceived by other people in general. the mere concept of someone watching me do anything, whether it's a totally normal activity or something unfamiliar of embarrassing, whether I'm working in an excel spreadsheet or being horny on main, it just makes my skin crawl and my brain turn to static because I cannot convince myself that it's okay to be seen and experienced. because to exist is to be ashamed and embarrassed of myself, whether I'm failing at something or not, because my instinctive reaction to anyone commenting on ANYTHING I'm doing is to crawl into a hole and die. it's such a bizarre and dehumanizing feeling to just not be able to exist without constantly thinking about how you are being Perceived. ceaseless watcher give me a god damn break.

[stormy-seasons]

thinking about how when you experience a lot of shame in your formative years (indirectly, directly, as abuse or just as an extant part of your environment) it becomes really difficult to be perceived by other people in general. the mere concept of someone watching me do anything, whether it's a totally normal activity or something unfamiliar of embarrassing, whether I'm working in an excel spreadsheet or being horny on main, it just makes my skin crawl and my brain turn to static because I cannot convince myself that it's okay to be seen and experienced. because to exist is to be ashamed and embarrassed of myself, whether I'm failing at something or not, because my instinctive reaction to anyone commenting on ANYTHING I'm doing is to crawl into a hole and die. it's such a bizarre and dehumanizing feeling to just not be able to exist without constantly thinking about how you are being Perceived. ceaseless watcher give me a god damn break.

[stormy-seasons]

LESS THAN TWO HOURS AGO: four cornell students have been suspended (and at least the one reporting was evicted, unknown about the others) for their involvement with their campus's gaza solidarity encampment. during a school year centering freedom of expression no less!

#us politics #protests

[stormy-seasons]

Thanks for the question, Anon! I had to combine the “10” with the “more than 10” because I ran out of space! Hope it works.

For me I have a lot of health issues and can’t work because of it, and family issues as well, but if it was a perfect world, I would choose two kids. That way they have each other.

-submit your poll!-

#in that hypothetical #2 or 3 #but isnt ever going to happen #for multiple reasons unrelated to the logistics

[stormy-seasons]

This is the public statement from @alepresser and myself which went up at Webtoons tonight.

Now for some ranting. Just from me, not from Ale—she's innocent of the art crimes I've committed in the past, and boy howdy have I committed art crimes.

This is the first page of my first webcomic, A Girl and Her Fed. I started this thing back in 2006. (I don't actually need a head count of those reading this who weren't yet born in 2006. I'm sure you're delightful and I wish you well in college.)

And this is the last page I drew in early 2020 before I turned art duties over to Dr. Beer. It's better, right?

Well, these days, A Girl and Her Fed has pages like this:

I drew this comic for fourteen fucking years because it's a story I wanted to tell, and I thought webcomics were the perfect format for it. I didn't know how to draw. I got better through sheer obstinate perseverance and sticking to deadlines as best I could for, again, fourteen fucking years. I sought out a replacement artist when I ran into time constraints and couldn't do art plus writing anymore; I'm a much better writer than an artist, so I had no problems whatsoever kicking art to the curb.

The first time Ale sent me art that would go up on the website—art I hadn't needed to draw myself—I literally cried in relief because I had been grinding myself down for, yet again, fourteen fucking years.

So when I read comments from people who say they want to make a webcomic but can't draw themselves and therefore need to resort to AI, that little line between my eyes gets dangerously deep.

This isn't like I'm some old dude who's bitching over student loans getting cancelled after making regular payments. This is me, someone who threw raw art onto the internet like a monkey hurling fresh poo, because I wanted to make a webcomic and the art is part of the process of storytelling via webcomics! I could've (arguably should've) hired an artist right out of the gate, and that would've been part of the process of making comics, too: a partnership between an artist and a writer is also something which grows and develops over time.

For example, after Dr. Beer and I spent two years working on AGAHF, we decided we enjoyed our partnership so much that we set out to make another webcomic! It's great! It's got wonderful art and consistent storytelling! You should read it!

But turning art duties over to unaltered images generated by AI because you want to make a webcomic but "just can't draw" is, frankly, a bullshit excuse. I'm not talking about persons who are physically unable to draw due to disability—I'm talking about people who say they want to make webcomics but simply don't wanna do the art part.

Friends, if you don't want to show your entire ass in front of God and country, you don't actually want to make a webcomic.

Do the thing yourself.

If you're scared, don't be. Take the plunge. Set a goal of twenty strips and do the thing yourself. If you can already draw but can't write? Great! Write twenty strips, write forty panels, etc. You might surprise yourself. If you can write but can't draw? Great! Draw twenty panels and see what happens.

Whatever comes out of it, it's a thing you've done yourself. It's something new you've given to the world, no matter how big or small. Be proud of that. And if you need to partner with someone else to make your comic dreams work? You can do that, too! It's still a thing you've done yourself, and many projects are stronger when done together.

...but maaaaaaaaaybe hire that partner before you've busted your own ass for fourteen fucking years. That one's on me.

[stormy-seasons]

The fastest way to shut down my "freelance life means I have to constantly be working" thoughts is to remind myself that if I was a boss holding a worker to the standards I hold myself to, their union would hunt me for sport and nobody would blame them.

[stormy-seasons]

Something I made while dealing with my own stuff and hoping drawing this would pick me up somehow. Maybe it worked.

FT my cat. His name is Mischief

[stormy-seasons]

So, there's a dirty little secret in indie publishing a lot of people won't tell you, and if you aren't aware of it, self-publishing feels even scarier than it actually is.

There's a subset of self-published indie authors who write a ludicrous number of books a year, we're talking double digit releases of full novels, and these folks make a lot of money telling you how you can do the same thing. A lot of them feature in breathless puff pieces about how "competitive" self-publishing is as an industry now.

A lot of these authors aren't being completely honest with you, though. They'll give you secrets for time management and plotting and outlining and marketing and what have you. But the way they're able to write, edit, and publish 10+ books a year, by and large, is that they're hiring ghostwriters.

They're using upwork or fiverr to find people to outline, draft, edit, and market their books. Most of them, presumably, do write some of their own stuff! But many "prolific" indie writers are absolutely using ghostwriters to speed up their process, get higher Amazon best-seller ratings, and, bluntly, make more money faster.

When you see some godawful puff piece floating around about how some indie writer is thinking about having to start using AI to "stay competitive in self-publishing", the part the journalist isn't telling you is that the 'indie writer' in question is planning to use AI instead of paying some guy on Upwork to do the drafting.

If you are writing your books the old fashioned way and are trying to build a readerbase who cares about your work, you don't need to use AI to 'stay competitive', because you're not competing with these people. You're playing an entirely different game.

[stormy-seasons]

[stormy-seasons]

(first | previous | #untitled shenhe game)

> head to a grocery store

Enough procrastinating. You are strong of heart. You will obtain your Noodles (and/or Flour), no matter how distressing the crowds.

You head towards Chihu Rock, where there are grocery stores with more sensible prices.

The smell of gailan and overpriced flour fades as you leave the fancy grocery store behind. (The smell of necrotic flesh and coconut milk does not fade. This is likely a sign that there is some carcass stuck to your spear.)

As you proceed, you encounter an obstacle. A wheel has fallen off a cart in the middle of the road. The crowd has slowed to a crawl around it, and some people are shouting angrily at the cart's owner. It is very difficult to get past.

(NOTE: "Go around" implies a detour. The other options are, of course, literal.)

#untitled shenhe game

[stormy-seasons]

What are your thoughts on companies like this that offer 'coaching services' for hopeful unpublished novelists?

This smells of scam to me but maybe I'm just a cynic:

Publishing Your Book

Query Letter Coaching/Editing – $550 per book (this includes two passes)

Synopsis Coaching & Editing – $750 per book (this includes two passes)

Proposal Coaching & Editing – $1,500 per book

Traditional Publishing Coaching – $200/hour (finding an agent, crafting your proposal, etc.)

Indie Publishing – $1000 (distribution to all platforms for optimal international exposure, guidance on pricing, blurb-writing, logistics, and keywords)

ISBNs for Indie Publishing – $150 per book format. Free if publishing through [the company selling these coaching services]

Briefly: before I got involved with any such operation, I'd want to talk to (multiple) people they'd worked with previously and find out what kinds of experiences they'd had. And in line with this, I'd be extremely cautious about any operation that wasn't run by professionals with a verifiable track record, and which wouldn't offer verifiable examples of feedback from people whose reality as non-sockpuppets could also be confirmed. And whom you could contact without having to go through the company in question.

On other issues: I'm looking kind of askance at some of those prices. (Here adding the disclaimer: I know people who do this kind of work out of a grounding of significant expertise and in good faith, and I'm not clear on what they're charging because I haven't really looked into it... not particularly needing it myself at this late stage in the game.)

At least part of the problem I'm having with the prices being charged in your example is based on the knowledge of how very much information of this kind is available free online. And yeah, there's the old chestnut about "The advice is worth what you've paid for it"... but that has sort of an unspoken negative corollary: "Except when you've paid for it and it nonetheless turns out not to have been worth much."

The trouble with the non-independent-publishing suggestions is that all of them deal with imponderables. Even if all the advice you purchase from those people at all those varied prices is absolutely right on the money, there's still no way to guarantee that any of it is going to lead to success in getting query letters, synopses or proposals actually looked at. Which puts this whole concept squarely in the nature of a gamble.

Not that luck doesn't have a role to play in a professional writing career. Sometimes you're just standing in the right place at the right time with a manuscript in your hands. But getting the idea that you can depend on that luck for any reason is unwise... as divine Fortuna is anciently famous for wandering all over the room, blowing on other folks' dice. (And if this makes me sound like I fall well down on the "Fortune Favors The Prepared" end of the spectrum: yeah, that.)

My advice would be to spend a good long while online, thoroughly researching all the free sites that have info to offer on all the traditional-publishing-facing topics. Then, after exhausting the available possibilities, if you still think you need to engage paid professional assistance... make inquiries among as many verifiable professionals as you can non-invasively query, before parting with any money at all.

As regards the indie-oriented fees: I'm finding those pretty steep. The prices for ISBNs in particular bother me. (Especially since in many places you can routinely buy packages of ten for about what these folks would charge you for two.) Yes, they're free if you publish with them: that sounds lovely. But publishers would normally buy many of those packages of ten. Or packages of a hundred: the more ISBNs you buy at once, the cheaper they get. And if you're paying the company for other services, who cares about the ISBNs? They're making money off you in different ways. Possibly equally overpriced ones.

So to finish: this is very much caveat emptor territory. There will inevitably be scammers out there, claiming their rates to be less than "bigger companies" are charging, but still too much. Therefore... advance only with utmost care.

...And adding this: @petermorwood glanced at the price list over my shoulder and said, "I wouldn't touch any of those with a barge pole."

At any rate: HTH!

...And now a word regarding our regrettably fickle non-sponsor, via Ol' Blue Eyes. :)

#writing #writing advice #paying for breaking-in coaching #writing meta

[stormy-seasons]

Not to be a Boomer but your social media should be your own space, not something employers are allowed to look at to judge you beyond the qualifications stated in your resume and cover letter

[stormy-seasons]

[stormy-seasons]

For all my fellow oversharers out there.

[stormy-seasons]

Tesla has made Autopilot a standard feature in its cars, and more recently, rolled out a more ambitious “Full Self-Driving” (FSD) systems to hundreds of thousands of its vehicles. Now we learn from an analysis of National Highway Traffic Safety Administration (NHTSA) data conducted by The Washington Post that those systems, particularly FSD, are associated with dramatically more crashes than previously thought. Thanks to a 2021 regulation, automakers must disclose data about crashes involving self-driving or driver assistance technology. Since that time, Tesla has racked up at least 736 such crashes, causing 17 fatalities. This technology never should have been allowed on the road, and regulators should be taking a much harder look at driver assistance features in general, requiring manufacturers to prove that they actually improve safety, rather than trusting the word of a duplicitous oligarch. The primary defense of FSD is the tech utopian assumption that whatever its problems, it cannot possibly be worse than human drivers. Tesla has claimed that the FSD crash rate is one-fifth that of human drivers, and Musk has argued that it’s therefore morally obligatory to use it: “At the point of which you believe that adding autonomy reduces injury and death, I think you have a moral obligation to deploy it even though you’re going to get sued and blamed by a lot of people.” Yet if Musk’s own data about the usage of FSD are at all accurate, this cannot possibly be true. Back in April, he claimed that there have been 150 million miles driven with FSD on an investor call, a reasonable figure given that would be just 375 miles for each of the 400,000 cars with the technology. Assuming that all these crashes involved FSD—a plausible guess given that FSD has been dramatically expanded over the last year, and two-thirds of the crashes in the data have happened during that time—that implies a fatal accident rate of 11.3 deaths per 100 million miles traveled. The overall fatal accident rate for auto travel, according to NHTSA, was 1.35 deaths per 100 million miles traveled in 2022. In other words, Tesla’s FSD system is likely on the order of ten times more dangerous at driving than humans.