hey it's nanowrimo. i have tips bc i've done it about 34 times.
Don't edit. Ever. Stop it. If you just decide to start a new project half thru this one with all new characters, no problem. pick up and keep writing as if you'd already written the first half of that.
"but i spelled it wrong" whatever. "but the grammar" whatever. make it exist first. no time for sense. think like you're working on a typewriter. no backspace. only forward go.
Don't re-read further than a paragraph or two backwards. "did i mention the gun before?" listen - it doesn't matter. if you need there to be a gun there, the gun is there. put it back in once you finish the book.
"i forgot the specifics of X thing i already wrote" whatever. change it, make a note/comment to figure it out later, and just write what makes sense for the moment. "no raquel it's legit the characters name and origin" idc that character is now reborn as Claudius from Elsewhere. it's fine.
only you see your mistakes. nobody else knows. one of the ways writing and dance overlap - only you know the choreography. nobody else will know if you miss a step, so just keep dancing and pretend you meant to do it like that.
it's an illusion that you need to write linearly - from point A to point B to point C. Nah; that's just timeline propaganda. I've written a LOT of books out of order and just reordered them once i've finished. if you have a scene you'd LOVE to write but can't get there yet because of plot, just fuckin write the scene. I've always found its easier to establish "point F" "point J" and "Point A" and then wiggle my way between those scenes.
write what you WANT to write. 230 pages of smut? of well-researched discussion on bread? whatever. the point is to strengthen muscles however you can.
if you miss a day, a week, whatever. not the end of the world. we all have dry days. also time is a myth so u can do this challenge whenever u want.
as soon as you try to write for a specific audience, you kill your voice. you are writing for yourself. stop thinking about how people will take ur book. it don't matter. what matter is u, enjoying writing. i luv u.
play to your strengths. i have characters talk so much because i don't know how to write a plot if it kills me but i'm really good at dialogue so.
i love a flight of fancy. write a poem in there. shift tactics and write in code. keep it fun for yourself.
see what happens if you shift something major about ur main characters - gender, wealth, superpowers. or if you change point-of-view. or if you kill everyone in a big explosion. do NOT edit anything before this or after it. often these little weird one-off exercises teach me what interests me about what i'm working on. it is never what i thought. plus it is a fun way to add like 1k words.
stretch.
it's for fun and for practice. stop doing that project if it's giving you anxiety. once my nano was literally 50k words of half-started stories. just things i tried and tried and tried and wasn't able to flesh out. oops. but i am now 50k words of a better writer.
add dragons?
read books/listen to books on tape/etc. people often make the mistake of "buckling down" to just write. you need inspiration. you need to like. fill up on words. you need to remember how it feels to lose yourself in a story.
i don't have the time or space to really talk about this in this post but a lot of creative people turn to drugs/alcohol because it can help you be more creative. this is harmful, and walking a blade that only cuts deep. if you notice you and your loved ones are turning more to substances, please know i love you and i hope you are able to get help soon. i feel like this almost never gets mentioned because it's kind of a hazy underbelly to art. you are always more important than the work.
on that note. drink your fukin. water.
don't talk about a story until you've finished it. once you tell the story, it exists already, and isn't about discovery. i usually have a very canned "haha we'll see" response.
grapes :) tasty snack.
i love you be free.
2K notes
·
View notes
In watching more interviews with Liv about Van and the escalation of Van's pragmatism to such dark degrees, I find myself genuinely baffled that anyone could ever think Van the bad guy. I mean, I'm perplexed at finding ANY of these girls The Bad Guy. The bad guy is the situation. It's being lost. It's freezing. It's starving. It's being scraped down to the barest bone of being alive. They make choices that might be snippy, or cruel, or hard-headed, sure--Shauna refusing to just hash it out with Jackie; Jackie being too stubborn to come inside; Taissa refusing to discuss her situation plainly; etc--but by the time we reach the end of season 2, it doesn't even matter. Petty bullshit doesn't matter. Jealousy doesn't matter. Those things are still going to be present and complicated, because--for all their choices, for all the distancing they're trying to do--these kids ARE still human beings. But it isn't the point.
The point is survival. Plain, simple, straightforward. Van's pragmatism is survival. It is the difference between living another day with blood on your teeth or dying pretty. It is the difference between fighting forward through the fire and the snow and the hell of it all, and laying down to die. Van knowing, in watching the ritual violence of Shauna beating Lottie nearly the death, that they will be killing and eating one another soon. Van coming up with the cards for the hunt. Van not blinking when the moment comes, Van choosing a weapon that doubles as a tool to bring the body back, Van refusing to apologize for staying alive--it's not evil. It's not Bad Guy behavior. It's purely about survival, because there is nothing else left to her--or to any of them. They can play the pretty little Sweet Angel Girl game and die, or they can get dirty, bloody, horrific and fight. Van chooses the fight. Van chooses to fight for herself, for her lover, for her team, even knowing not everyone is going to make it out...because the alternate path there is that no one makes it out. Van knew the baby wouldn't live. Van knows the rest of them won't, either. Not unless they start making the hard choices.
And, honestly, the fact that Van sees this narrative coming. Comes up with this plan. Brings out the cards. To me, that is the opposite of Bad Behavior. That is as close to justice as anyone can find in the wilderness. If someone else came up with an idea, maybe it would have come down to voting--but that would have had such a human element to it, with bitterness or hostility or whatever ultimately petty shit always comes of humans selecting who to Other. The cards don't leave room for that. It isn't fair, because the situation isn't fair, because Man vs. Nature isn't fair, but it's as close to a just system as they could possibly find. It's the kindest solution to an unwinnable game. Not to bring it back to American Gods again, but all I can think is "it's easy, there's a trick to it: you do it, or you die." Van gave them that.
251 notes
·
View notes
emizel tucker and shilo bathroy are sosoososos perfect in my mind. not like, morally, yknow, but they are two perfect characters to compliment each other.
emizel's a kid raised on the streets of LA by his gang brothers and he forced his way up the ranks by being brutal and unforgiving and not showing weakness. he's powerful because he refuses to doubt his own capabilities, and pushes himself past what he should be capable of, because he's cocksure and drowning in hubris. and then he gets turned into a vampire and all of the sudden he's in the middle of a brand new society and it runs on violence. and emizel knows violence! he's good at violence! literally this is all he's ever known!!! he's got this, he thinks he understands how to climb the ranks but in reality, he doesn't get it. at all. vampire society is this strange mix of posh old money and a violent underbelly and to really survive in it you have to manage both ends, but emizel only knows the violent underbelly.
and then shilo. shilo, who only knows the opposite: the grand old money, the power, the manipulation. and he's okay it at- he's better at it than he thinks he is, and he's way out of his depth when it comes to vampire LA. he grew up sheltered from the violence of vampirism- sure, death isn't unfamiliar to him but the really gritty stuff, the blood, even the point of not being able to feed without it being served to him has been withheld. but he knows, theoretically, how vampires are supposed to work. he's not at all confident in himself which is such a detriment because he is a manipulative little shit at his core, and if he wasn't so overwhelmed all the time he'd be pretty good at the politics thing. he's smart! he's personable! the reason he fails in LA like he does is the fact he doesn't understand the violence-
which is where emizel comes in.
they are literally perfect for each other. twin brothers, two equal sides of this fucked up vampire world, and if they worked together (and with arthur, i think arthur is key here for them not losing their humanity, y'know) i 100% believe they could take over the fucking world.
123 notes
·
View notes
I might just be insane but with Geto what’s always made me feel weird is that, in practice, he could be stronger than Gojo. Curses becoming stronger with Gojo’s birth is effectively benefitting Geto cause then the curses he can use are stronger. He doesn’t have any restrictions for his technique aside from the horrible taste. He can send curses off with a command with unlimited distance between them, he can use an unlimited amount, if the curse is strong enough he can just use its abilities. Like the world is your oyster quite literally my man idk what your problem is (its a joke i know his issue is depression, im just saying if i had the option to eat and then use a hyperspecific creature i would not refuse)
To reach this point of strenght Gojo had to train since birth and also die
Instead of learning Reverse Cursed Technique you can just consume a curse that can heal. Just saying dude your progression is objectively easier to achieve. Gojo out there has to bend physics and write equations while you can just go eat some curses I—
36 notes
·
View notes
'To Catch a Changeling' was the first episode where Jim actually kills someone (not counting goblins), and I've always wished there had been some kind of focus on the moral ramifications he experienced because of that.
Because there's no way he just went from being unable to kill a gnome, a creature considered a common pest, to killing a person with no afterthoughts other than: "oh man! I killed our only evidence of changelings in arcadia!"
Though I guess he could've just been doing a shit ton of compartmentalizing as well as justifying it to himself with the fact she was going to kill both him and Toby. But still, there's no way he didn't feel at least somewhat guilty.
84 notes
·
View notes