I just want to say, that I agree with almost all of your Critical Role takes and you have 1000% better and more nuanced takes than all of Twitter and I greatly appreciate it! The takes over there regarding Liliana and the gods are just wild and you bring some much needed sanity to the content I see
Thanks! I hope you don't mind because I've been thinking about this re: the Twitter takes but the thing about Twitter and Liliana specifically that I've seen is that there's this really bizarre fetishization of like, the fact that she is a (white) southerner (this also weirdly happened for Birdie though to a much lesser extent, and the person who spearheaded that wasn't even American so I have to assume this is a specific corner of Twitter Culture At Large). And like, here's the thing. It's true that fantasy tends to be very British in its accents, and it's also true that accents in a fantasy world are used to convey the same things we'd assume in our world - RP British for educated, southern American for rural, Cockney for rougher types, etc.
It's also true that laying the exact socioeconomic parallels from our world onto, say, Liliana and Orym (who reads to me as non-regional but I, like Liam, am from the Northeast originally) is a recipe for disaster. Or rather, it's not, but it is going to reaffirm your own biases, some of which are dangerous to reaffirm.
There was a popular post on Tumblr a while back, probably not long after Trump was elected, of someone talking about how they were convincing a relative with the confederate flag towards socialism by appealing to the idea of "isn't in unfair how uneven wealth distribution is and how a small group has so much control" and a number of people were rightfully like "uh, maybe you should focus on the racism" or "hey OP ask your relative who they think that small group in control is because I'm getting a really bad feeling they're going to say it's The Jews." And I feel that a lot of the empathy for Liliana from those spaces feels like that OP. Or in other words: I get that you see your relatives in Liliana. Unfortunately, I cannot help but see me and mine in Orym.
You see someone trapped by circumstance and desperation in a dangerous ideology. I see the fact that I haven't gone to a synagogue in easily 6-7 years without there being a security guard present and usually, the doors locked with someone looking through the window to let you in, and then in the sanctuary there's been an installation so that you can quickly bar all the doors in case an alarm goes off or you hear shots in the lobby.
I think there's a great case for seeing yourself in Imogen, who is in a painful struggle with the fact that her mother does love her very much but is in dangerously deep and has done a number of incredibly terrible and harmful things. That latter point is important, incidentally; I get that cult members sometimes rise through the ranks but all but the leader are being manipulated. But the fact remains that a brainwashed person can still commit atrocities, and in this story, they have, many times over. It's especially true because like...sure, plenty of people are like "I lost my relative to a cult and I just want them back and I couldn't harm them," but also, as we've seen, this cult can and will harm Imogen! Plenty of people are also like "yeah I gotta cut them off, it hurts but unfortunately my horribly bigoted and violent relative, while a victim of brainwashing, is a threat to me too." It's not even the full picture of the Temult side of things, let alone the picture that includes the Vanguard's victims.
I also think the Southern gatekeeping is unhinged because it's like. guys there's QAnon members and other cults across the country; the Confederate flag example above was actually notable in that OP wasn't even Southern so you couldn't even write the flag off as deeply misguided heritage but rather was explicitly being used as a hate symbol. It's awfully presumptive to assume all southerners have the same experience (especially since the Temults are portrayed, physically and in accents, as white southerners, not that the experiences of white southerners aren't also incredibly varied). It's awfully presumptive to assume that people find Liliana threatening because they have no personal experience with people like her; often, it's because they have all too real experience with people like her, and it says something even worse about you if you can say "but you guys, I see me and my family in Liliana" when people are telling you that they see them and their families in Orym. I would not, personally, publicly admit that one's empathy extends to the people who remind you of your family but runs out before it reaches their victims. Nor would I publicly admit that I assume everyone who disagrees with me clearly has never had personal experience with this topic.
I should also note that, as I've noted a number of times before, that these are fictional characters and not real people. Twitter seems to be really fucking bad at grasping that. Like, yes, this is the other thing; I do not think that OP should kill their Confederate flag-toting relative, whereas if Imogen did so to Liliana I'd be like "hell yeah." The former is a real person who I do hope gets deprogrammed, just, you know, maybe adjust those priorities; the latter is a fictional character in a story.
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Things That May Be Causing Your Writer's Block- and How to Beat Them
I don't like the term 'Writer's Block' - not because it isn't real, but because the term is so vague that it's useless. Hundreds of issues all get lumped together under this one umbrella, making writer's block seem like this all-powerful boogeyman that's impossible to beat. Worse yet, it leaves people giving and receiving advice that is completely ineffective because people often don't realize they're talking about entirely different issues.
In my experience, the key to beating writer's block is figuring out what the block even is, so I put together a list of Actual Reasons why you may be struggling to write:
(note that any case of writer's block is usually a mix of two or more)
Perfectionism (most common)
What it looks like:
You write one sentence and spend the next hour googling "synonyms for ___"
Write. Erase. Write. Rewrite. Erase.
Should I even start writing this scene when I haven't figured out this one specific detail yet?
I hate everything I write
Cringing while writing
My first draft must be perfect, or else I'm a terrible writer
Things that can help:
Give yourself permission to suck
Keep in mind that nothing you write is going to be perfect, especially your first draft
Think of writing your first/early drafts not as writing, but sketching out a loose foundation to build upon later
People write multiple drafts for a reason: write now, edit later
Stop googling synonyms and save that for editing
Write with a pen to reduce temptation to erase
Embrace leaving blank spaces in your writing when you can't think of the right word, name, or detail
It's okay if your writing sucks. We all suck at some point. Embrace the growth mindset, and focus on getting words on a page
Lack of inspiration (easiest to fix)
What it looks like:
Head empty, no ideas
What do I even write about???
I don't have a plot, I just have an image
Want to write but no story to write
Things that can help:
Google writing prompts
If writing prompts aren't your thing, instead try thinking about what kind of tropes/genres/story elements you would like to try out
Instead of thinking about the story you would like to write, think about the story you would like to read, and write that
It's okay if you don't have a fully fleshed out story idea. Even if it's just an image or a line of dialogue, it's okay to write that. A story may or may not come out of it, but at least you got the creative juices flowing
Stop writing. Step away from your desk and let yourself naturally get inspired. Go for a walk, read a book, travel, play video games, research history, etc. Don't force ideas, but do open up your mind to them
If you're like me, world-building may come more naturally than plotting. Design the world first and let the story come later
Boredom/Understimulation (lost the flow)
What it looks like:
I know I should be writing but uugggghhhh I just can'tttttt
Writing words feels like pulling teeth
I started writing, but then I got bored/distracted
I enjoy the idea of writing, but the actual process makes me want to throw my laptop out the window
Things that can help:
Introduce stimulation: snacks, beverages, gum, music such as lo-fi, blankets, decorate your writing space, get a clickity-clackity keyboard, etc.
Add variety: write in a new location, try a new idea/different story for a day or so, switch up how you write (pen and paper vs. computer) or try voice recording or speech-to-text
Gamify writing: create an arbitrary challenge, such as trying to see how many words you can write in a set time and try to beat your high score
Find a writing buddy or join a writer's group
Give yourself a reward for every writing milestone, even if it's just writing a paragraph
Ask yourself whether this project you're working on is something you really want to be doing, and be honest with your answer
Intimidation/Procrastination (often related to perfectionism, but not always)
What it looks like:
I was feeling really motivated to write, but then I opened my laptop
I don't even know where to start
I love writing, but I can never seem to get started
I'll write tomorrow. I mean next week. Next month? Next month, I swear (doesn't write next month)
Can't find the time or energy
Unreasonable expectations (I should be able to write 10,000 words a day, right????)
Feeling discouraged and wondering why I'm even trying
Things that can help:
Follow the 2 min rule (or the 1 paragraph rule, which works better for me): whenever you sit down to write, tell yourself that you are only going to write for 2 minutes. If you feel like continuing once the 2 mins are up, go for it! Otherwise, stop. Force yourself to start but DO NOT force yourself to continue unless you feel like it. The more often you do this, the easier it will be to get started
Make getting started as easy as possible (i.e. minimize barriers: if getting up to get a notebook is stopping you from getting started, then write in the notes app of your phone)
Commit to a routine that will work for you. Baby steps are important here. Go with something that feels reasonable: every day, every other day, once a week, twice a week, and use cues to help you remember to start. If you chose a set time to write, just make sure that it's a time that feels natural to you- i.e. don't force yourself to writing at 9am every morning if you're not a morning person
Find a friend or a writing buddy you can trust and talk it out or share a piece of work you're proud of. Sometimes we just get a bit bogged down by criticism- either internal or external- and need a few words of encouragement
The Problem's Not You, It's Your Story (or Outline (or Process))
What it looks like:
I have no problems writing other scenes, it's just this scene
I started writing, but now I have no idea where I'm going
I don't think I'm doing this right
What's an outline?
Drowning in documents
This. Doesn't. Make. Sense. How do I get from this plot point to this one?!?!?! (this ColeyDoesThings quote lives in my head rent free cause BOY have I been there)
Things That Can Help:
Go back to the drawing board. Really try to get at the root of why a scene or story isn't working
A part of growing as a writer is learning when to kill your darlings. Sometimes you're trying to force an idea or scene that just doesn't work and you need to let it go
If you don't have an outline, write one
If you have an outline and it isn't working, rewrite it, or look up different ways to structure it
You may be trying to write as a pantser when you're really a plotter or vice versa. Experiment with different writing processes and see what feels most natural
Study story structures, starting with the three act structure. Even if you don't use them, you should know them
Check out Ellen Brock on YouTube. She's a professional novel editor who has a lot of advice on writing strategies for different types of writers
Also check out Savage Books on YouTube (another professional story editor) for advice on story structure and dialogue. Seriously, I cannot recommend this guy enough
Executive Dysfunction, Usually From ADHD/Autism
What it looks like:
Everything in boredom/understimulation
Everything in intimidation/procrastination
You have been diagnosed with and/or have symptoms of ADHD/Autism
Things that can help:
If you haven't already, seek a diagnosis or professional treatment
Hire an ADHD coach or other specialist that can help you work with your brain (I use Shimmer; feel free to DM me for a referral)
Seek out neurodiverse communities for advice and support
Try body doubling! There's lot's of free online body doubling websites out there for you to try. If social anxiety is a barrier, start out with writing streams such as katecavanaughwrites on Twitch
Be aware of any sensory barriers that may be getting in the way of you writing (such as an uncomfortable desk chair, harsh lighting, bad sounds)
And Lastly, Burnout, Depression, or Other Mental Illness
What it looks like:
You have symptoms of burnout or depression
Struggling with all things, not just writing
It's more than a lack of inspiration- the spark is just dead
Things that can help:
Forget writing for now. Focus on healing first.
Seek professional help
If you feel like it, use writing as a way to explore your feelings. It can take the form of journaling, poetry, an abstract reflection of your thoughts, narrative essays, or exploring what you're feeling through your fictional characters. The last two helped me rediscover my love of writing after I thought years of depression had killed it for good. Just don't force yourself to do so, and stop if it takes you to a darker place instead of feeling cathartic
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rpf tier ranking
tier 0: actors. too easy. actors fall in love all the time due to proximity and amount of time spent together, especially if they are playing characters who are themselves in a relationship.
tier 1: bands (post-80s). writing songs together is incredibly intimate and requires emotional vulnerability. tours are great opportunities to spend a lot of time in an enclosed space together. sometimes they will sing into the same microphone at the same time so their mouths are close together which is basically making out if you think about it.
tier 2: bands (pre-80s). see above. however this requires slightly more mental fortitude because a lot of their fans will insist on their heterosexuality and get really mad when you say simon and garfunkel were kissing on each other or whatever.
tier 3: contact sports team. sports can be emotionally intense if you care about that sort of thing and obviously there are a lot of opportunities for intricate rituals wrt touching another's skin and locker rooms and all that. but this requires more imagination because there is less text (i.e. songs or correspondence) to use as evidence.
tier 4: solo artists. this is where things can fall apart. you have to choose both figures in the ship wisely and exercise a decent amount of creativity because they are not compelled to be together all the time (see above). you can cast a wider net but that lack of specificity may hurt those with weaker imaginations. also they don't always write their own songs.
tier 5: historical figures. this varies a lot both in terms of plausibility and social acceptability. depending on how old the figures are you could legitimately turn this into an academic dissertation if you wanted to commit that hard to it. however you may also come up against a lot of opposition among your colleagues. one must be intellectually prepared to present concrete evidence and argue one's point. (however, you are also more likely to convince people b/c the figures are old and dead and can't deny it. and probably didn't know what rpf is.)
tier 5.5: historical figures who have been fictionalized in media. this depends on the tone you take but unfortunately you will always be up against thomas jefferson hatsune miku binder as the starting point for the general public's thoughts on your hobby. so good luck.
tier 6: racecar drivers. if you are into racecar rpf i assume you are capable of seeing colors that are not visible to the ordinary human eye. they are literally in cars. the creativity required to wring a [romantic] narrative from people driving cars around a track is beyond my comprehension.
tier π: living politicians. you are a pariah among even your most deranged peers. no one respects you. you are categorically a weirdo and beyond help.
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taurus degrees in the natal chart (2°, 14°, 26°)
2° = really connected to your physical senses, strong + stubborn preferences, naturally gifted + can easily attract money, gets money but doesn't necessarily know how to sustain it, self worth is connected to what the planet represents, hoarder, consumes without much discernment, creativity comes easy, attractive, gluttonous, strong innate connection to the earth, strong values instilled from childhood, usually traditional, stubborn attitude it comes to your missions on earth, don't let the world rush your process, naive, here for a good time + a long time, strong libido, sexually immature, make sure your taste grows as you continue to grow, naturally clairaudient
14° = strong attachments, hard to move on, here to develop your self-worth, changes in values that are more authentic to you, loyal to a fault, need to learn how to manage utilize sexual energy to your advantage, blocked throat chakra, stand on your values, hedonist, struggles with poor diet, people usually see your worth + potential before you do, tendency to overwork self, earth witch, struggles with stagnancy, strong sacral energy, values strong foundation, establish strong boundaries, too practical + too little faith, being gaslit for strong boundaries, craves peace, young mom vibes, lack of patience, enjoy the journey, great taste but pockets need to match that, promiscuous, stubborn + picky eater, affirm yourself: i deserve this!
26° = overcome poverty mindset, self-sustenance is a big theme in life, money savvy, empress energy, strong values, the marriage type, strong fertility, oshun archetype, meant to be wealthy, generational wealth, disciplined + dedicated, the stronger the self-worth/values the more money you accumulate, alchemize with the elements, knowing what's best for you + standing on that, very bougie, can manifest with ease using womb/sacral energy, emotionally grounded, use sex to create your dream life, sugar daddy/mommy vibes, family looks at you for financial support (set boundaries), findom, your creativity supports your lifestyle
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fantastic rebuttal to "writers don't deserve better pay because the stuff they write is terrible/unoriginal", full thread here
(to explain, the "Unknown" under his name is from a add-on bot detector; it usually can assign a percentage likelihood that a user is a human being and not a bot, but I think the blue check system disrupted the add-on so it says "Unknown" underneath his name now.)
[image id under the read more:
May 7, 2023 tweet thread from Tom Vaughan @/storyandplot
With #WGAStrong rightfully in the spotlight this week, I've seen some less-than-sympathetic comments focusing on the lack of originality in our projects. This is a fair criticism of the system, but not the writers. A quick history of how we got here (thread emoji)
The first thing to understand is that Hollywood has NOT run out of new ideas. The studio’s preference for I.P. has nothing to do with regurgitating ideas and everything to do with MARKETING.
The late 60s-70s is generally considered the artistic high of the studio system. Ironically, many contribute this to corporations buying up the studios! The corporations knew they had no idea how to run a movie studio, so... they put creative people in charge.
This is how you got the run of so many great films the studios would never make today. They also took bigger chances on young, promising talent (the first "film school generation" of filmmakers.)
But with the success of JAWS and STAR WARS, the corporations demanded more of those kinds of hits. The creative folks insisted such things were unpredictable, and the business folks said let's make them less so.
(Sidenote: This was also the same time a completely different phenomenon was happening. A/C was becoming the norm for theatres, making summer movie-going much more attractive.)
Over the next decade, more and more MBAs and marketing people gained influence in the studio system. Being business folks, huge hits were not a creative problem as much as a product/marketing problem.
The 80s is when the “high concept” became pre-eminent because it narrowed a sales pitch to one sentence, a trailer, and a poster. This made everyone a marketing agent for a movie because everyone could explain what it was about!
In the 90s, marketing became just as important as the film itself (reflected in their respective budgets) when Hollywood discovered they could profit from fifty years of pre-existing awareness for old TV shows and movies.
This allowed the marketing department to move away from pitching a movie and convincing you to go see it (lower success rate), to simple “audience awareness” and building anticipation. (higher success rate.)
The audience knew what THE FLINSTONES the movie was. They just needed to know the casting and when it opened. No one needed to have the remake of GODZILLA explained to them. They just needed to know when it opened.
The marketing department prefers AWARNESS over SELLING because awareness is something you can throw money at. Selling is harder, and it’s less predictable. This is why franchises are so valuable.
Whenever someone says, “That’s something I can sell!” It’s usually something that can sell itself. What they mean is, "I just have to let people know about this!"
Hollywoods's reliance on property the audience is already familiar with is 100% because... the audience is already familiar with it. It is easier to market the product and this increases its chances of success.
This focus on I.P. has become so pervasive, many, including executives themselves, have forgotten WHY it's valuable. They'll option an unknown comic BECAUSE it's I.P., forgetting that it's unknown and lacks the main asset of I.P.
Writers do love writing on an I.P. that means something to them. Every Star Wars fan who became a filmmaker would love to work in that universe. But we do not love it more than our own original work. We would always rather work on that.
So when you see another remake, or reboot, or adaptation, and think, "Can't they come up with something new?"
Remember, the answer is yes. Yes, we can. And we want to. You can blame the market or the marketing, but either way, the widespread production of truly original content is just not the studio business model we're in right now. #WGAStrong
end ID.]
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