#so that i can experience it at all but the prose is a bit of a barrier to enjoyment for me

[annabelle--cane]

"the magnus protocol had a whole ARG beforehand? what?"

yes! it did!

"oh so I need to have participated in this whole big thing to actually understand the podcast?"

not at all! from the official post-mortem put out by RQ, "while the ARG was not something that was necessary to participate in to understand the magnus protocol, it was designed to contain a wealth of background story and context that would enrich any player's listening experience."

"a wealth of background context that would enrich my listening experience 👀👀👀 how can I learn about this?"

SO glad you asked. sadly, many of the materials made for the arg have been taken down since the game ended 😔 (ex., the official OIAR, magnus institute, and bonzoland websites. (edit ii: I found partial wayback machine captures! see below) though @strangehauntsuk is still up!), so we're a bit low on primary sources, but in terms of learning about what happened:

for a starting point, I would really recommend this video by @pinkelotjeart

it's super accessible, it was made in real time as the game progressed and follows the solving and revelation of clues as they happened, it hits all the major points of the mystery and moments of community insanity while eliding some of the nitty gritty puzzle grinding, 10/10 would recommend.

here's the official summary put out by RQ, and I'd recommend reading through this once you've already gotten a basic handle on the flow of the story and the basic connections between major clues and events. it's got some fun behind-the-scenes info and lays out the thought process behind the puzzles in simple terms

here's the full masterdoc of all puzzles and resolutions put together in the statement remains discord server. masterdoc my absolute BELOVED, masterdoc my bethrothed, masterdoc my soul mate. I'd recommend this as a second port of call after the above video as it either contains all details about the puzzles or links to other expanded docs that do.

here's the narrative summary doc that lays out all the plot and lore discovered in three pages of plain prose. if you just want to get to the good bits as fast as you can and get blasted directly in the face by contextless lore bombs, this is the doc for you. if you don't want to start with the video, I'd say this is another good entry point.

once you've got the lay of the land, some of the game materials that I found particularly interesting include:

the in-universe east germany expat usenet forum, with all content translated into english. most of it is irrelevant space filler with occasional extremely sus lore, but I still found it fun to read through. love to soak in some fictional forum drama.

chdb.xlsx, the spreadsheet of the names of all the children the protocol 'verse magnus institute was studying/experimenting on. EDIT: here is a version of the sheet without any annotations and with all of the names in their original order, kudos to @theboombutton for catching that the commonly shared copy had the order swapped around.

klaus.xls, a (very corrupted) spreadsheet with what looks like the classifications of a bunch of old OIAR cases.

EDIT: have a few more saved materials from the game that I forgot to include.

an in-universe audio ad to apply to the OIAR that ran before archives episodes and kicked off the whole game.

an in-universe video ad to apply to the OIAR, this one is an official upload that's still up from the game itself. you can subscribe to the OIAR's official youtube channel today, if you so chose.

the robo-voicemail greeting from the OIAR's phone line.

EDIT II:

here is a wayback machine capture of the OIAR's official website.

here is a wayback machine capture of the bonzoland website.

(pretty sure both of the above captures just archived the home pages, though I haven't tried clicking all of the links. I'd say they're still worth looking at, the home pages give a good window into the vibes.)

once you start poking around in these documents, you'll find a bunch of links to others with further information, the materials I've included here just contain what I feel to be the most relevant details to getting a broad feel for the whole game. once again, huge shout out to the statement remains server, I was barely in there as the ARG was in progress and only ducked my head in every so often to find links like these. true mvps of the fandom.

#gonna pin this for a bit because every day I get 2-5 asks saying 'there was an arg? how do I learn about it?' #tmagp #video #marina marvels at life

[tkingfisher]

So I write all sorts of things (fiction, fanfic, screenplays) and my mind is cluttered garden of flowers and weeds and shiny ideas, and I'm wondering how to form a writing practice to clear it into tidy rows? Is it possible to shepherd untamed ideas into order?

How do you manage all your wonderful worlds, characters and inspiration and not feel haunted by the story bits and pieces in your head? Any practical tips beyond dark magic?

Thank you, you are such a constant inspiration for me, both prose and just your presence. <3

*laugh* Oh god, Nonny, if I ever find out, I’ll tell you! When you read books, you’re getting the Instagram-filtered view of a writer’s brain, all the flowers that grew out of the compost heap, carefully composed and shot in optimal lighting. The real inside of my skull is a magpie nest of Neat Shit I Read/Saw/Thought Up While Lying Awake At 2 AM. There are characters and ideas in there that I’ve been trying to get into a manuscript since I was twelve and typing on an Amiga 500.

But, that said…really, I think it’s okay. Creativity is inherently untidy. The compost heap can be corralled into a very pretty box made of sustainably harvested materials, hand-stained by traditional artisans being paid a living wage by an employee-owned company, but as soon as you lift the lid, it’s all worms and coffee grounds and old potting soil and cow shit and the vegetables you swore you were gonna eat this time before they went bad. That’s what compost is.

Nevertheless, having been in the business for…uh…fifteen years now? (@dduane is snickering at me, I can feel it) and having written nearly forty books, I can offer three bits of something less than advice. It’s what I do. It may not work for anyone else, but it’s what I do.

Un-Advice The First: If you get a shiny idea and you are super excited by it? Go ahead and chase it. Pull up a new page in Word or whatever and slap down a couple thousand words while it’s exciting. I know that this absolutely flies in the face of common wisdom, but quite frankly, my enthusiasm is a much rarer commodity than my time, so if I’m excited about something, I write it down until I’ve taken the edge off.

Then I usually save it into a big folder called “Fragments” and go back to work on whatever I’ve got a deadline on. (Usually. Sometimes the edge doesn’t wear off, and I wind up with another book. Which, y’know, darn.)

There are vast numbers of people who will tell you that a shiny idea is a sign that something is wrong with your current project and the solution is to knuckle down and work! through! it! And those people are probably right for them, and I trust they know how their own brains work. Me, though, I got ADHD like a bat has wings. My hard drive is a vast swamp of story beginnings, neat ideas, random scenes. And that’s okay because I still get books finished.

In fact, it’s better than okay. Not that long ago, my agent sent a novella to a publisher and they said “We’ll take that novella and three more novels. What’ve you got?” And I ended up plundering my hard drive and sending the editor a good dozen random beginnings until we found one that we both liked, and then I wrote the rest of that book. And then another one. If I hadn’t had all those fragments lying around, though, it would have been a miserable experience of writing book pitches and trying to think of stuff I could get excited about. (This may not be how some editors work, but it’s how my editor and I work, anyhow.)

Un-Advice The Second: Trust that everything will find a home eventually.

This one is easy to say and hard to do because sometimes you get that overload that if you’re writing the book about, say, werebear nuns, you aren’t writing the one about the alien crustaceans. Or worse, you feel guilty. If you don’t use that one cool thing, was all that time you spent on it wasted?

Breathe. Be easy. Every single cool thing does not need to go into a single book. There is no sell-by date on the neat character. You will probably write many books in your life and all those random characters will find a home. (Seriously, the werebear nuns were lurking for like a decade.)

For me, at least, when I find the spot where something fits, it often snaps into place like a Lego. Easton’s backstory as a soldier from a society where soldiers were a third sex had been kicking around in my head for a few years, derived from about three different sources, and then I wrote the opening to What Moves The Dead and all of a sudden Easton was there and alive and they had strong opinions about everything and I had ten thousand words practically before I turned around.

You can also stave off guilt by writing some of your ideas in as highly personal Easter Eggs. A couple of my books have references to a white deer woman, a heroic deed done by a saint and the ghost of a bird, and a woman with dozens of hummingbirds on tiny jeweled leashes. Those are all characters and stories I’ve had vague notions about, but haven’t managed to work in anywhere or learn much more about. Still, the passing reference is enough to make me feel like I haven’t abandoned them.

(The advantage to this is that once you DO write those in, the readers are all “oh my god, she foreshadowed this a decade ago, she must have planned this all out in advance!” Then you look really clever and well-organized and no one has to know that you have no idea what you’re doing.)

Un-Advice The Third: Write the kitchen sink book.

At one point, I had so many stray ideas that hadn’t gotten into a book yet—the tree of frogs, the dog-soldiers, the stained glass saint, the albatross and the shadow of the sun, and also I wanted to write something with Baba Yaga—that I hauled off and wrote a book where I just put in everything and the kitchen sink. It’s called Summer in Orcus. There are bits in there that I had been cooking in the mental compost heap for decades, but that weren’t enough on their own to sustain a whole book. The phrase “antelope women are not to be trusted” showed up in my head some time in college. It’s a fun little book and I’m proud of it, but it’s very much a patchwork quilt of weirdness. But it’s also written so that if later on, an antelope woman shows up in another book in another context, that just adds to their mythology, it doesn’t break canon or whatever.

(Pretty sure I’m not the only one who has done this, either. China Mieville has said that he wrote Perdido Street Station because what he really enjoyed was writing all the weird monsters.)

So yeah, that’s my advice, for what it’s worth. Some days I just tell all the fragments and ideas that I promise that I’ll get them a home eventually but I need to write this thing here now. Sometimes I throw down enough words to get the story stabilized and then I’m okay to move on. Sometimes I write multiple books simultaneously.

Any method you use to write the book, so long as it doesn’t hurt you or anyone else, is a perfectly valid method. If anyone tells you different, you send them to me.

(…god, I hope that was the question you were actually asking, Nonny, and that I didn’t go off on a completely different tangent when you just wanted to know how I keep track of a plot or something.)

#long #rambling #writing

[its-your-mind]

This is a call to action for all the PJO girlies (gender neutral) that I know are sleeper agents on this webbed site

Go read Trials of Apollo. Go do it. Do it right now.

I know what you’re thinking. “Tbh I didn’t love Rick’s writing towards the end of Heroes of Olympus” “There’s no Percy so why bother” “All of the Argo II crew are kinda OOC” and listen my friends. You are so valid to have those opinions. I felt the same way after Blood of Olympus. But listen to me. Look at me.

Now that you have had some time away, you must give these books another try. For me. For Uncle Rick. For the demon baby grain spirit who is only able to say his own name (Peaches).

Do not worry friends, I do not expect you to read just based on my say-so - I also provide:

A list of reasons why you (yes you) should go read the Trials of Apollo series right now gogogo:

(Spoiler warning - all broad plot things that you learn early on, but I know some people (including me) avoid that shit at all costs)

All the chapters are titled in bad haiku. Ya know that one scene in Titan’s Curse where Apollo just starts reciting apropos of nothing? That’s every chapter title. They’re all so bad it’s amazing.

Apollo is so up his own ass about everything, and it’s so cool to experience the same world through the eyes of someone who is not used to being in amongst the chaos

Oh yeah the plot. That’s a reason to read it.

Okay so

Basically Zeus continues his streak of being a shitty shit parent and decides to blame like… every bad thing that has happened on Apollo, and punish him by turning him mortal and enslaving him to a demigod girl named Meg who is a garbage gremlin with a little demon baby guard named Peaches (see above)

And like the A plot is they gotta save the oracles from shitty old Romans who wanna take over the world (stop me if you’ve heard this one before)

But like the B plot is about what it means to discover that you’ve fucked up, you’ve made mistakes, you’ve hurt people, and you gotta fucking own up to that shit

But also

You do not deserve to be punished for every horrible thing that has ever happened because of you, or even around you, and when a parental or authority figure in your life tells you that, they are an abuser and they are wrong

And yet

It can be so hard to fully separate yourself from them. Because for so long, they were all you had.

But that’s okay, because when you start to learn that the people who were supposed to care for you and love you were not actually doing that, there are people around you who will love you, who will support you, who will pick you up and hold you close and make sure you know that you are okay

And they can’t fix you

But they can give you the safe space to fix yourself

hmm that was an essay about themes and metaphors BUT THATS WHY YOU SHOULD READ IT

also there’s a wikipedia arrow who only speaks in Elizabethan prose (in all caps)

OH ALSO ALSO you get to see Will and Nico being a CUTE AS FUCK couple in the first book. Nico smiles. Also makes skeletons grow out of the ground when people annoy him. Fuck I love this little gay death boy so much.

AND. You get to see so MANY of your old friends. And they still! Get! Plot! And! Character! Development!! Even though they are only there for a little bit

OH OH OH there are two old lesbians who run a halfway house for people who are tangled up in magic shit with nowhere else to go

Did I mention Peaches? I did. He’s my favorite.

OH ALSO. This is “unreliable narrator” executed SO FUCKING WELL. Like, all narrators are unreliable. But Apollo used to be a FUCKING GOD. He has not had to deal with the reality of death all that much. He’s used to people praising his name and bowing down at his feet. But that ain’t happening!! And he is Unhappy about that!! But it also lets there be such a clear juxtaposition between what Apollo believes about himself and about the world and what is really true, which is such a wonderful way to write about recovery from trauma.

Ahem

Anyway it’s just real good Uncle Rick continues to knock it out of the park but he just did something different and we (at least I) needed some space from OG PJO fan brain before I could appreciate how fucking awesome this series is.

OH OH OH and if you like audiobooks Robbie Daymond (hello CR mutuals - yes, this is the one who is our beloved Blue Boi who we (Orym) so desperately need returned) is the audiobook narrator and he is. So fucking good. Absolutely NAILS the dramatic-ass-inner-monologue of this dramatic ass ex-deity. Also nails all the other voices as well. 15/10 audiobook narration I’m lichrally gonna go listen to other books JUST cuz he reads them.

okay why the fuck are you still here. GO. GET THESE BOOKS. If your public library does Libby you can absolutely get them on there. GO FORTH.

#trials of apollo #toa #rick riordan #uncle rick #pjo #percy jackson #pjo apollo #peaches the karpos #robbie daymond

[ohcorny]

hey corny. so i always see people recommending to outline their story before starting it, but could you talk a little bit more about what that means? what is an outline and how do you structure one? how long are the ones you write, depending on the project? do you focus on plot beats or feelings? how specific do you get? can u recommend any readings for learning more?

up front i don't have any resources for this, only experience. and outlines feel like one of those things where it's like... there are a million ways to do it and the way that works for me might not work for you. i have a friend who writes out all his ideas on index cards and that, for me, is insane. but he's also a better writer than me so who can say what is right or wrong.

anyway an outline is essentially a sketch but for a story. you go through the whole thing, start to finish, and figure out what goes where and what happens when. the idea is that this is the stage where you work out all the big picture stuff and make sure it all fits together, now, and not after you've drawn twenty pages and suddenly go "wait shit that doesn't work" and have to do it over. it is much easier to delete and rewrite a paragraph than to redraw several pages.

doing anything more, ie including dialogue or feelings, depends entirely on how useful that information is to you at that point in the process and whether the purpose of the outline is for your own guidance, or so somebody else can tell what you're trying to achieve.

this got really long with multiple examples

here is an excerpt from the original outline i used to pitch Hunger's Bite to publishers. this one had to be polished to a professional standard, because somebody else was going to read it and decide whether they wanted to give me thousands of dollars to tell this story. (also several of the details are no longer accurate. for instance it now takes place 9 years earlier lmao)

this paragraph represents the first eight pages of the book. the final book is 264 pages long, and the outline was 12 pages of paragraphs as dense as this one.

it establishes where we are, who's there, and what they're doing. i describe their conversation, but i don't commit to the dialogue. i will occasionally include snippets of literal dialogue, but usually only if it's Important Dialogue, or i just don't want to forget a good idea i had while outlining. it's not expected at this step.

an outline written as part of a pitch to a publisher should tell the whole story, with all the important details, and leave nothing ambiguous. they need to know the tone, shape, and the arcs. no secrets! all the spoilers. outlines for yourself should do this too, but outlines for others need to be as clear about your vision as possible. again, an outline like this exists for the purpose of getting you paid thousands of dollars. you should write it like that.

in comparison, here's an excerpt from the outline i wrote for revisions to my WIP prose novel, so i could show it to my agent (who already read the draft) to be like "do these changes sound good?" i'm not selling it to anyone yet, just making a guide so i can have a conversation about it. so it doesn't need to be neat, it just needs to be functional and clear. the first chapter was entirely new stuff. the second bit was just writing down what was already in the chapter that existed.

i have historically been very bad at outlining things when i don't think i "need" to, and only wrote this one after having written like 60k words of the book without any overall plan. i gave what i had to my agent for feedback and then sat down and figured out how i could apply it. it's made the whole revisions process significantly less daunting. now i have a checklist for things i need to do! this one was a paragraph or two for each chapter, with the ones that needed a lot of rewriting given a bit more detail.

lastly, here's a bit of the outline for the first roger crenshaw book. i was the only person who had to see this, and since the story was planned to be very short i didn't have to worry about a whole lot. as long as i knew what was supposed to go where, it would work. honestly it's not a whole lot different from the previous example.

this one was like five paragraphs and it did the job, and this story was like 15k words. you only need as much or as little as will actually help you on the page.

basically if you take nothing else from this, it's that there are multiple ways to write an outline, that it does not need to be perfect if you're doing it for yourself, and that it only needs what you think is important (unless it is for other people. then it should have everything). and also it's a good idea to do it earlier in the project than after you've written 60k words or drawn--jesus christ i got up to 12 chapters in never satisfied? it's amazing i didn't quit sooner

[makethosenarratorsfight]

UNRELIABLE NARRATORS; SIDE C

*NOTE; propaganda is out of order due to poll length!

Eugenides Propaganda:

the entire plot hinges on a detail he lets the reader (and every other character) assume is true. I don't want to spoil it because it's a really fun reveal but he is lying from the first second he appears on the page and you can't trust him to tell the full truth about ANYTHING related to himself and his goals. he mostly does it to keep his advantage and not have other characters be suspicious of him but it's just so fun when you realise he's been lying the whole time

Harrowhark Propaganda:

She gave herself a lobotomy and gives completely incorrect flashbacks to the previous book. Things that straight up did not happen. Gaslight gatekeep girlboss.

She’s schizophrenic (confirmed by the author) and also lives in a world with necromancy and ghostly revenants. She’s not just an unreliable narrator for readers, she’s an unreliable narrator of her own internal experience. She knows this and has to work with people around her to compensate for it. Descent into spoilerville below. Seriously Do Not Read if you want to read these books. There’s also the little matter about how she is *not actually the narrator* of a huge chunk of the story that we are initially led to believe is being told from her perspective.

(Spoilers) Holy shit she is THE most unreliable narrator. This gremlin gave herself a lobotomy so that she could forget about Gideon Nav, the most important person in her life (for magic soul-preserving reasons) so half of the second book in the series is spent gaslighting the reader about a book they just read. She comes up with an entire alternate version of the events of the first book in the series to carefully exclude any mentions of Gideon, and any time someone says ‘Gideon’ in front of her she LITERALLY has a stroke and/or an intercranial hemorrhage as her brain overwrites the word with someone else’s name. God occasionally intentionally triggers her memory revision to get out of difficult conversations. She also hallucinates ALL the time (unrelated to the lobotomy). She shows up at her frenemy’s room in the middle of the night (think little kid stumbling to their parents’ room and saying “I frew up”) to ask her to come check underneath her bed for the corpse that’s been wandering the space station. When frenemy checks underneath the bed, frenemy claims not to see anything, and Harrow is such an unbelievably unreliable narrator that it’s an open question in the fandom as to whether frenemy genuinely didn’t see the corpse or if frenemy was just yanking Harrow’s chain. Harrow is also haunted by a literal ghost that fucks up her already fucked up alternate history. Girlie will pick up a piece of paper and read from it the most violent and haunting piece of prose ever composed, when in reality all that’s written on the paper is the elementary school Superman S*. I am NOT joking that is a real goddamn scene. Harrow was created to win this poll. TLDR; she has brain damage and memory loss, she hallucinates, and is also haunted. * https://twitter.com/vestenet/status/1301012651145859072

Girl is so unreliable, she unreliably tells me events I was there for!!! She's retelling the previous book and I'm like "girlie, this is absolutely not how it happened". Also, she gave herself a DIY lobotomy, it has to impact your memory center I guess

She literally had a lobotomy, how can she be reliable

More Propaganda under cut!

Harrowhark is simply the unreliable narrator of all time. Can’t remember shit because of a lifetime of trauma? Check. Maybe lying to yourself and those around you a bit? Most definitely. Being gaslit by the survivors you depend on to orient you to reality? For sure. How about a little bit of canon schizophrenia? She’s got it all. Ghosts? Or something? Spirits that are attached in some way to your body and are not perceivable by others? Sure, sure! But how about spirits that are attached in some way to your body and are gonna use you to hijack others’ bodies and maybe kill God, too? Absolutely. Wee bit of DIY brain surgery? If it would make you an unreliable narrator, friends, then Harrowhark Nonagesimus has been there, been subjected to that!

Okay I don't know that much about this series since I haven't convinced myself to read all of the first book, but this is my blorbo in law so I'd feel bad not spreading propaganda (all of what I'm saying is something I've read, as to prevent myself from straight up submitting misinformation). So all of Harrow's unreliable narration takes place in the second book, Harrow the Ninth. Basically, without her even seemingto acknowledge it, Harrow's brain is very fucked up during this book, to the point where even she's not sure how reliable her narrative is. There's many questions left unclear as a result of her fucked up little brain, like what's real, what's fake, whether we can trust her judgement, whether even she can trust her own judgement, whether her original cavalier is dead or not (Harrow is convinced she is), etc. Let me tell you, I adore unreliable narrators who aren't even that sure if they're reliable. I have yet to eat that trope up here in this circumstance, but this poll might not run again by the time I do, so for now, here's my messed up blorbo in law.

OKAY SO REMEMBER MY GIDEON SUBMISSION? HARROW DOESN’T! SPOILERS AHEAD BECAUSE SHE LOBOTOMIZED HERSELF TO FORGET GIDEON BECAUSE THAT’S A HEALTHY WAY TO GRIEVE AND THEN IN THE ONLY PARTS OF HER BOOK THAT SHE NARRATES (THE REVISED CANAAN HOUSE PARTS) IT’S LITERALLY A ROOM FULL OF GHOSTS HER BRAIN SUMMONED TO DEAL WITH THE FACT THAT SHE CUT HER BRAIN IN HALF TO FORGET GIDEON. she also is a) haunted and b) psychotic, experiencing hallucinations her entire life of both the ghosts haunting her and less supernatural hallucinations- bells tolling, bones rattling, her parents (some of the only dead people NOT haunting her), etc! in the revised history of canaan house that her brainghosts invent, she brings along someone who knows about her psychosis to help reality check her when she tells him go! her caregiver as a child and support when she got older, crux, is a horrible man- but at one point, when someone other than harrow is in harrow’s body and tells him “i am not harrowhark, i am sorry,” his response is simply “aye, you’ve said that before too. who are you then, if not my lady harrowhark?” showing his familiarity with her psychosis and his love for the child he wouldn’t dare see as a daughter. but enough about that lets talk about her unreliable narration! she lies about her feelings of course but she also simply hides the truth from everyone, all the time, compulsively. also literally the entire section of her book that she narrates is a lie she’s telling US about a lie she’s telling HERSELF and no one understands even a little bit of the truth until like the last act of the book. queen.

#eugenides #the queens thief #queens thief #harrowhark #harrowhark nonagesimus #harrow the ninth #unreliable narrator battle #unreliable narrators #polls #side c

[howtofightwrite]

How can I write a fight scene with opponents who are not just extremely capable fighters but extremely cunning and resourceful. Who adapt and the fight is never just about physical skill.

There isn't a single correct answer to this question. One common, and effective, solution is by breaking or countering a fighter's tricks.

One way to establish a character's skill in combat is to give them some specific tricks that they'll employ in a fight. Of course, having typed that, now the only specific example that comes to mind is The Operative's nerve strike from Serenity (which is, unfortunately, a terrible example for this conversation.)This is usually something like a character having a hidden weapon, or a specific method of disarming their foe. When you're using this method, letting another character hard counter their trick can instantly inform the audience that this character is far more dangerous than they initially appear.

In a very abstract sense, you can think of combat as characters having an array of actions available to them. Skilled combatants are likely to have a much wider range of options, options that are better tailored to the situation they're in, and in some cases, options that are specifically designed to counter things an opponent would attempt to use on them. Unskilled characters are likely to have a bunch of options mixed in that are either completely useless, actively detrimental, or both, with no idea which ones those are. For example: Every backyard wrestling video ever.

When you're looking at inexperienced characters, in that context, they'll attack their opponent, and then either act again if their opponent is unable to retaliate, or their foe will act against them. I will criticize writing combat as turn based, but with characters like this, it can be helpful to understand how they're operating. When you have experienced fighters, they have the ability to immediately respond to what their foe is doing. This doesn't always mean, directly countering their opponent's attack, sometimes it can mean they'll use their foe's action as an opportunity to get in.

Now, that's the abstraction, a lot of this does have some relation to the real world. Experienced fighters will have trained, and honed their responses into their muscle memory. They won't need to think about what they're going to do, they'll simply, “go.” Inexperienced, and untrained fighters will have their minds cluttered up with things they've seen in action movies, and they'll need a moment to filter through what's on their mind, and they won't have the background of knowing (either through instruction or experience) what will or won't work. So they need a moment, and then they'll try to do something.

This leads into the biggest problem for you, which is, combat between experienced fighters is fast; but, if you're writing prose, your ability to control the speed of a scene is limited. You can speed the reader up by keeping the text as spartan as possible, but it can also result in a very perfunctory, and unsatisfying, fight scene. This is part of why there's an appeal to the simplistic, “character has some combat tricks, antagonist can counter them,” structure. It can quickly convey that idea without getting too far into the weeds.

Now, one piece of bad news is the bit about how inexperienced and untrained fighters will have a lot of, “junk,” options floating around. This is also a problem for writers staging fight scenes. If you have absolutely no experience with combat, it can be pretty difficult to realize when some of those options that seem viable to you, simply wouldn't work. There is some range of forgiveness, after all if you think it should work, and can stage it out, maybe you can convince your readers that it would work, but it is something to be cautious of. A lot of the simpler, “can you do X?” questions we field tend to be cases where either that is something that works, it's similar to something that works, or it really doesn't work. Knife throwing comes to mind as one we've discussed repeatedly over the years. (It's a cool party trick, but not a great idea in a fight.) But, if you can write a scene where stabbing someone through the eye with an arrow is believable, it doesn't really matter that doing so is nearly impossible. So, even if you do run with some options that wouldn't really work, it doesn't mean that your fight scene won't.

One other piece of advice, that might first sound like a non-sequitur, it's okay for you to take breaks. Yes, your characters are fighting each other, and they're a fraction of a second away from being murdered in the most horrific ways possible, but you have the luxury of sitting back and really thinking about what their options are. Just because they could make those choices in the moment doesn't mean that you need to be just as fast.

-Starke

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#writing reference #writing advice #writing tips #how to fight write #starke answers

[islandofsages]

Pomefiore boys with a friend (male reader), how is a hopeless romantic, where they help him (the reader) to win over his crush or comfort him when he is rejected.

characters: the pomefiore boys x male reader

tags: platonic, canon compliant, fluff, comfort, imagines format

warnings: mentions of beating people up LMAO, some physical contact in epel's

author's notes: ngl i was kinda debating writing this bc i was like hmmmm crush but yknow what? it's not romance with the main cast so i'll let it slide plus im excited to get a request after so long sorry if this isnt as good! pretty rusty from not writing imagines in so long ahaha

Vil Schoenheit

You went to the right person - who else has better rizz charm than Vil Schoenheit himself?

Of course, his first word of advice would be to just be yourself but just in case “yourself” isn’t enough, Vil has extended two generous offers to you: he will personally tutor you on how to steal your crush’s heart and if somehow they still reject you, he’ll have a uh… nice little talk with them. Totally. He has a reputation to hold up you know

Jokes aside, he truly believes you can catch your crush’s attention. He may be a little tough on you at times but he’s only trying to push you in the right direction

“Remember. If they do not give you the time of day, then they are not worth any of your precious time.”

If you get rejected, he’ll admit he feels a bit guilty - mostly disappointed in the crush (unless they have a good reason to reject), but still

Of course you insist that he doesn’t have to be sorry but he takes it upon himself to make up to you somehow

Whatever you need to recover from the rejection, he’ll try his best to fulfill your wishes

He’ll make time in his busy schedule to go out and treat you to something to cheer you up

In all the love in the world, maybe your crush isn’t yours to keep. But at least Vil’s is.

Epel Felmier

He may not have much experience with confessions or being a wingman but he’ll try his best for you!

He might search up how to impress a crush online and have you genuinely try the ideas he found and let’s just say that some of them are… interesting alright

You know he means well so you just follow along. At least the embarrassing times make for good memories to look back on and laugh over

“Maybe this’ll work…? How are we gonna find these though…”

He also offers to beat your crush up if they reject you but you quickly shut him down.

He’s there somewhere, hiding in a nearby bush (or whatever is nearby), when you confess to your crush, face scrunches up as if watching an intense Spelldrive match

If you get rejected, he’ll be a shoulder to cry on. Literally - he’ll sit beside you and offer to let you rest your head on his shoulder if you want

He may end up not saying much but he can listen to you for as long as you need him to

The tears of rejection may be salty, but the memories you made with your friend could sweeten any taste.

Rook Hunt

He’s delighted that you trust him enough to go to him for support

You think that you’d like to be more charming like him, what with his way of speaking and how he carries himself

Tears prick the corner of his eyes already; you have to ask him if he’s alright

“To think you saw me in such a light… it would stir any soul.”

He would even offer to teach you the delicate art of poetry if you so desire to win your crush’s heart through prose

If you get rejected, he’ll empathize with you, wearing a frown that you almost feel worse about than your actual rejection

He’ll let you say whatever you need to say or let out whatever’s weighing on you

When you’re done, he tells you that even such heartbreaking events could bloom into a beautiful flower one day - that you need not be concerned and see it as a learning experience

You laugh; how could you forget? There are many types of people out there. Just like how there could only be one copy of your crush, there could only be one of Rook.

#writing #twst #twisted wonderland #twst x reader #twisted wonderland x reader #platonic twst x reader #platonic twisted wonderland x reader #twst x m!reader #twisted wonderland x m!reader #twst x male reader #twisted wonderland x male reader #vil schoenheit #vil schoenheit x reader #vil x reader #epel felmier #epel felmier x reader #epel x reader #rook hunt #rook hunt x reader #rook x reader

[canmom]

comics and animation have a lot in common, but one interesting difference is that arranging pictures in space rather than time means there's a tradeoff between the amount of drawings you use to show an action, the amount of space each drawing is given, and the amount of pages you cover which determines the 'pacing' of the comic.

if you slice the page up into a lot of tiny boxes to show many stages of a motion like an animation, then each panel has correspondingly less space for background details, and it may affect the aspect ratio of panels. if you give yourself space for a large splash panel, then the pace will slow.

one solution to this problem is to break the convention that a panel is a single 'frame' of action and show multiple images of a character in the same background. Kentaro Miura did this sometimes, and Tradd Moore (on here - @traddmoore) is an expert who uses it frequently (I'll reblog his spiderman comic in a minute). Kamome Shirahama, a genius at creative paneling, also uses it in a couple of places.

a similar trick will have a single background continuous across multiple panels, showing a static 'camera shot' at different times.

the limitation of these methods is that breaking convention makes the panel a little harder to process - you need to make absolutely sure you cue the reader clearly about where to enter the panel. and it requires action that involves a large movement so the drawings don't overlap. so most authors use it as a 'once in a while' thing.

an opposite approach, used in early parts of Superpose by Seosamh and Anka and Goodbye, Eri by Tatsuki Fujimoto, is to go even harder with the cinematic convention and give each panel the aspect ratio and detailed backgrounds of a film camera, taking all the space you need - Superpose opens with about two panels per page which may be very similar to each other, creating a very deliberate sense of pacing. to pull this off you need to be either extremely fast at drawing like Fujimoto, or accept your comic taking a long time to get anywhere - and you also need to be very good at placing the camera in space. you're basically drawing fully rendered storyboards at that point.

one of the interesting difficulties of comic-making is controlling pacing. if you draw many very similar panels it will convey a sense of high concentration and intensity, or a heavy atmosphere, like a long take in a film. much like in prose, if you spend a lot of pictures on something it draws attention to it. so you want to use the 'slow down' sparingly for effect.

as in animation, you're also limited by your own capacity to draw all those pictures, and moreover the space to put them. this is one reason why comics in magazines tend to be sharply limited in page count, and webcomics tend to be very slow compared to other forms of serial fiction. (perhaps manga can make heavier use of pacing tricks by virtue of cheaper printing and endemic overwork. i don't think that's the full story though.) meanwhile, when Transmetropolitan started to experiment with manga-style pacing, apparently it upset fans who felt the story progression was being diluted. when reading Transmet in one go, though, you don't even notice. what works well in an anthology of hundreds of pages may work poorly in a serial.

i think the pace of the reader is often controlled primarily by the text - at least for me I find I sometimes have a tendency to jump very quickly over panels to get to the next bit of the story and have to consciously slow myself down to make sure I don't fail to appreciate the art. so while a series of text-less panels is effective artistically, you might want some words to act as speed bumps. but too much text per picture and your comic becomes exhausting to read, like Subnormality. and you don't want to over-explain what's conveyed perfectly well by the pictures, as many older comics do.

ideally, you use your text, small panels and large panels to create a sense of rhythm. a big splash panel can act as the full stop in a sentence, or a longer take after a series of rapid cuts. negative space is an especially powerful device in the right hands: when you hit a page of Chainsaw Man or Berserk that is almost entirely white after several pages of dense illustration, a character bursting into the void, there's an immediate 'wow' effect before you even process what's happening in the illustration. (i can't seem to find the chainsaw man example i had in mind, so here's one from berserk.)

and on that note, the other thing that comics have that animation doesn't is the impact of being confronted with the whole gestalt page. in the manga I was helping Fall translate when she died, We Are Magical Boys (Bokura wa Mahou Shounen), Fukushima Teppei frequently puts one panel much larger than the others so it dominates the page, usually a close-up or full length character portrait, allowing the cuteness of their unique art style to treasure centre stage. Sandman, which I'm currently rereading, is full of elaborate page compositions, where a drawing might not even be a panel per se, but a visual element. Witch Hat Atelier is full of elaborate borders and clever compositions. just look at this...

how did she come up with that! the absolute madwoman! the right side is relatively standard Atelier (establishing shots, the main cast eagerly stepping out of their panel) but on the left, we have a set of panels falling down from above onto a large splash panel. even though this image is concurrent, the panels invite us to appreciate it in chunks, and the page as a whole has this great visual of the pages of a book, continuing the image of the previous page. (more of this on upcoming post on Atelier)

a character emerging from their panel to overlap others, breaking up the monotony of the grid and adding a sense of depth to the page as a whole, is a reliably appealing motif. also, drawing one panel borderless, so it implicitly continues behind the other panels. large areas of black and white and choices of colour saturation can convey a mood to the page as a whole.

the danger you run is always the loss of clarity. the reader must be able to tell what panels to read in what order without thinking about it. Sandman will sometimes do a double page spread where you're supposed to read across both pages, and this consistently trips me up. Dresden Codak is by an adhd author and her drive to give every page an elaborate layout is very familiar to me, but especially in Hob, it messes with the flow of the comic overall.

so every comic page, every comic, is a fascinating balance of all these factors. how to create a strong, visually interesting composition, control the pacing appropriate to tone, create a thrilling sense of rhythm... all without sacrificing clarity.

not much more to say about this as yet, it's just something I'm thinking about while trying to lay out a page of Ghost Barrier. my tendency is to generally use larger panels, and try to be creative with layouts, but you have to consider not just each page in isolation but how they relate to other pages. so to make the splash panel land, I need to contrast with a denser page immediately beforehand.

the more I make comics the more of a feel I'll get. cool medium!

#comics

[moodymisty]

hi! i hope you feel better soon!

i was wondering if you plans for continuing your ‘legions reacting to their primarch’s partner’ series ?

have a good one :) 🐊

Part 1, Part 2

Author's Note: Sure, here's the rest of them :3

Relationships: Implied Leman Russ/Reader, AlphariusOmegon/Reader, Sanguinius/Reader, Lorgar/Reader, Ferrus Manus/Reader, Mortarion/Reader, Jaghatai Khan/Reader, Horus/Reader, Fulgrim/Reader, Corvus Corax/Reader (A NOTE: almost all of these are gender neutral, but a few might have the term mother or another female term in it, so fair warning)

Warnings: None really

➧ Space Wolves:

Pretty average. They're definitely one of the better legions to be around if you're a baseline human, as they're not only pretty chill, but actually somewhat... nice? By Astartes standards.

You enjoy listening to them tell battle stories around the bonfire or whatever you're all camped around, and they like how easy it is to impress you with their feats of strength. Evenings can quickly devolve into one on one duels if you're around, and there's enough Mjød involved. Impressing Wolf Mother with your spur of the moment honor duel is the height of accomplishment, for a hammered Space Wolf.

You would hope Russ would stop these shenanigans, but you’ll find yourself disappointed when he joins in, brawling his own Astartes for your attention that he already has.

They also all find it absolutely hilarious when you use one of their tamed Fenrisian wolves as a mount, as it puts you at eye level with them.

➧ Alpha Legion:

Your relationship with Alpharius & Omegon is as ambiguous as how the Alpha Legion Astartes feel about you.

They don't like the twins having a potential weak spot that can be exploited by enemies, and their myriad of plans and spiderweb of secrets could get easily unraveled; But if the twins brought you into the inner circle, they’ll place trust that they did it for a reason.

It's just a bit, disorienting having so many men- some of which look very similar- coming in and out of your life. The twins know that you can tell them apart from their legion lookalikes (somehow and it pisses them off), but they still find it funny to try and slip things past you.

➧ Blood Angels:

As one of the kinder chapters, you being brought into the fold is of little resistance, largely because they see how happy Sanguinius is when you're around. They may be battle hardened warriors, but they find it difficult to express their worries when their Primarch has never looked happier holding your much tinier hand.

However the Blood Angels already have a protective (border-lining on obsessive) nature with their Primarch, and that is something that now extends in fold to anyone Sanguinius is close to. Being you.

Do not expect to go anywhere with any less than three fully armored Blood Angels. They will glare at anyone who comes close, they will scold anyone who speaks to you without proper prose, and you will have to deal with it. Some may have a developing soft spot for their kind Legion Mother which allows you to order them around, but they are very strict in this regard.

And Sanguinius will not stop it; Because he feels the same way as them, he's just better at hiding it.

➧ Word Bearers:

Largely neutral at first, but over time they begin to warm up to you as Lorgar's loving gazes and borderline worshipping talk wears on them. It also helps that they have some non-violent experience with other humans.

There are some however who don't approve of your closeness to Lorgar; Especially as it becomes more obvious that Lorgar's priorities are changing, and his distractions are getting worse. You becoming the idée fixe of Lorgar's mind is more than a bit concerning for some members of the legion, particularly ones touched by Kor Phaeron.

They hold their tongues, but you know they don't like whenever the two of you are alone. You've heard the word 'temptress' uttered more than once.

➧ Iron Hands:

Extremely blunt, and to the point. like the Imperial Fists, but without the protective streak. Iron Hand brutal efficacy doesn't exactly mix with the slow nurturing of what one could consider romance.

But you show genuine interest in the practices of the legion and don't impede on their chapter traditions, so the Iron Hands suppose it could be worse. They'd much rather their Primarch not be distracted however, and that is a theme that will remain present in any conversation regarding you for a long while. Expect them to basically ignore you for the first portion of your relationship with Ferrus.

Rude...

➧ Death Guard:

The Death Guard are one of the legions that is definitely more conflicted about the whole thing.

On one hand they say that he will end up distracted, eyes pulled away from his crusade to more frivolous things like romance. But on the other hand, if it does away with some of Mortarion's depressive moue, then they can bite their tongues about it. Either way, they definitely aren't fans of it, and you'll more than hear about it.

Legion meetings are, more than a bit stressful. Mortarion often times comes back ragged and angry after being told he should be rid of you.

Things are strained. You hope they'll level out with time.

➧ White Scars:

Probably one of the better legions to be in. Helps that they don't despise baseline humans, and actually know how to smile sometimes.

It's refreshing to be around Astartes who are a little less, stuck up, something you say under your breath not long after being officially introduced to them. They find it absolutely hilarious.

You have a few Astartes you're a bit more familiar with that Jaghatai trusts to be your personal guard, in the rare moments he isn't close. Pretty chill all around.

Unless there's about seven of them all eagerly surrounding you trying to teach you different Chogoran words, then it's significantly less chill.

Also jetbike rides sound rad af

➧ Luna Wolves:

They have their doubts as all legions do, but given Horus' charisma it isn't long before they toss those doubts aside, and quickly welcome you into the fold at Horus' side.

Also similar to the Blood Angels in that they get near feral protecting their genefather's beloved. It's like his obsessive nature somehow has somehow manifested or has been genetically implanted in them. Horus always makes sure you have a guard at your side, no matter where you go.

It was all fine at first, but now you're beginning to feel a bit like a prisoner.

➧ Raven Guard:

The Raven Guard are pretty tame all things considered. While conversations tend to be respectfully brief, you've noticed overtime that it's less so disinterest, and more a so near nervous formality. It's almost like they don't know how to talk to a baseline human woman for more than a few moments. It's, cute.

Nykona doesn't seem to mind you though; Largely because he overheard you mumble that you think his armor is the most impressive out of all of the Raven Guard Astartes during a sparring session between him and Corax.

Overall, they’re happy Corvus is happy, and as long as his main mission isn’t compromised, they’re content to have you here.

While most legions say ‘Legion Mother’ however, the Raven Guard tend to use the title ‘Raven Mother’ instead when being formal. When they started saying that instead of just legion mother, you noticed how it intertwines with how they refer to Corvus.

Once you realized you got a little bit too excited they’d finally started accepting you, and scared the shit out of no less than three guards by abruptly crying.

➧ The Emperor's Children:

They do enjoy being around humans that can appreciate the arts, and they don't hold much ill will towards you as the jewel of their Primarch's eye. If anything, they seem almost pleased their Primarch is able to pursue such things. You're welcomed into the fold with little fanfare, and Legion business continues on with nary a peep about Fulgrim's new wife.

Many of them create things for you, which while incredibly sweet, makes Fulgrim a little miffed if you show too much joy about it. He just gets a bit jealous, but it's harmless. You find it kind of cute.

#fulgrim x reader #corvus corax x reader #leman russ x reader #horus x reader #mortarion x reader #jaghatai khan x reader #ferrus manus x reader #lorgar aurellian x reader #sanguinius x reader #AlphariusOmegon x reader #primarch x reader #warhammer40k x reader #reader insert #reader #mywriting

[books]

Writing Workshop Week 1: Show & Tell

Hello, writers of tumblr! It’s @bettsfic again with this week’s generative workshop. 

Today we’re doing what might be my favorite class activity: Show & Tell. 

You might be thinking, do you teach kindergarten or something? No, I teach college. But my students are often weary, downtrodden 20 year olds who are more than happy to go back to basics. Tumblr—being a website of people who care deeply about things and share that passion with others—seems like a great place to host Show & Tell.

Speaking of basics, let’s first talk a bit about…

The Writing Identity

The goal of many writers is to become better at writing. While I think this is an admirable goal it’s also a complicated one, because good writing is entirely subjective. Everyone has their own definition of what good writing looks like based on their knowledge base, history, and personal tastes. And so I often encourage my students, before they begin their journey of becoming a better writer, to step back and ask themselves, “What does good writing look like to me?”

And that’s the thing: you can’t really become a better writer. You can become a more patient writer, with the ability to write and revise multiple drafts of a work. You can become a more ambitious writer, with the ability to write longer stories and deeper themes. You can become a more detailed writer, with the ability to render images and the small details of living that maybe other people don’t notice. Writing is a skill that requires practice, but it also requires joy. You have to enjoy the work more than you fear the potential for failure. And to enjoy the work, you need to honor yourself, your interests, and your ideals. In other words, to become a better writer, you have to become more you.

I remember when I first started writing, I frantically sought out writing advice. I clung to simple adages and rules: active verbs are stronger than passive verbs; remove words like “think” and “realize” and other indicators of your characters’ interior experiences; take out adjectives and adverbs. If you were to adhere to all this advice, your writing wouldn’t become stronger, it would become colder. You would write like Hemingway. There’s nothing wrong with Hemingway, but Hemingway already did Hemingway, and that means you’re free not to be Hemingway. 

Don’t we read to feel closer to people, to experience that which we couldn’t otherwise experience? The beautiful thing about prose is that it’s the only medium that conveys consciousness, because language is the way we contain our thoughts, and writing them down offers others the chance to understand them. E.M. Forster in his book Aspects of the Novel says that the only difference between a character and a person is that a character’s secret inner life can be known, but a person’s can only be understood in observed behavior. Novels are stories of consciousness; biographies are stories of deeds. 

In my early days as a writer, those inane adages of “good writing” began to weigh on me, and I found myself frequently opening a blank document and telling myself, “I’m just going to write something for fun, for me, and so I don’t have to follow any rules.” Every time, that lawless thing I wrote would become better than anything I’d written when I followed the rules. And in this case, “better” means I was proud of it; in writing as close to myself as I could, I was able to help my technical skill reach the level of my personal taste. 

Good writing advice doesn’t spout shallow adages of what should be, it tells you all the things that could be; it opens your mind to possibilities and techniques. “Should” restrains creativity; the entire point of writing is to be creative. To be creative means to make something that has never existed before. And so one of the first things I tell my students is: You already know everything you need to know about your own writing. You already have good and important stories in you. You just have to sit down and write them.

“Show, Don’t Tell”

One such adage that still really gets to me is “show, don’t tell,” which a lot of writers believe. Many people take it to mean that you should describe the exterior circumstances of your narrator in order to allow the reader to interpret meaning. Instead of describing how your narrator feels, these people would rather have you describe their facial expression. But if you’re so interested in rendering the exterior rather than the interior, you’re better off becoming a director. 

Others take it less literally: you show your story instead of tell your story, which, sure, is a valid personal belief for your own work but it’s ambiguous and impractical, and also denies the nature of people to tell stories. Fairy tales and fables are stories that are told. Telling stories came long before showing them.  

In some ways, “show, don’t tell,” can be useful. If you spend a thousand words of character A lovingly and carefully describing every detail of character B, you don’t then need to say something like, “She was pining for him,” because you’ve allowed your description to do that work for you. So no, you don’t need to say it, but maybe you want to. Maybe you want to make it inarguable that character A is pining for character B; you don’t want a reader to say, “I think she’s paying that much attention because she wants to kill him and she’s looking for his weak points.”

And so that’s what it comes down to—choice. Ultimately, writing is about making decisions, and those decisions are stronger when you understand all your options.

Behind the adage is a more difficult truth to swallow: prose is both infinite in its potential and also frustratingly limited, because you have no control over your audience. You can lovingly describe every snowflake that falls in a blizzard, and your reader will be taking their own meaning from it—for people who can mentally visualize things, it’s the images their mind conjures; for those who can’t, it’s a mass of facts. And there are also those who are sleepy and missing details, or who are skimming to get to the bits they’re most interested in, or who accidentally dropped their book in the bath and now the bottom half of every page is warped and unreadable.

Or you can say, “It snowed.”

No matter what your beliefs are on “show, don’t tell,” the truth is that it’s a false dichotomy. The very nature of prose is to navigate this divide. Some stories call for more showing, for example when your narrator is at a distance, when we don’t have much access to their thoughts or feelings. Other stories will ask you to tell, especially if we’re deep in your narrator’s head and they’re giving us everything. Showing lends itself to setting, imagery, and plot. Telling lends itself to character, voice, and style. One is not inherently better than the other, in the same way that a screwdriver isn’t better than a hammer—the tool you use depends on the task at hand.

Any time you encounter a trite rule in writing, it’s usually pointing to something much greater and more fun to think about. In this case, showing and telling are two integral tools in meaning-making. For this week’s activity, we’re going to use both show and tell to make meaning.

Prompt time!

In Donald Barthelme's essay “Not-Knowing,” he calls objects magical. “What is magical about the object is that it at once invites and resists interpretation. Its artistic worth is measurable by the degree to which it remains, after interpretation, vital.” 

So what does that mean? Although this essay is a hot mess (lovingly), part of its intended work is to be a mess. In fact Barthelme describes the mess of his desk and allows it to define him. It’s covered in coffee cups, cigarette ash, unpaid bills, and unwritten novels. In reality, those objects are just objects, but when rendered in prose, they give us an impression of this particular world and the character within it. The writer renders; the reader interprets. The things we own, that mean something to us, are also things that can define us. Who is the person who carries a leather wallet embossed with their initials, with the inside holding credit cards and a stack of neat bills? Who is the person who carries a canvas wallet with a faded Punisher logo on it, attached to a chain, and the only thing inside it is a Subway rewards card?

Objects are important. Especially in this world we live in where so many things have become virtual, tangibility will always be integral to us. We are a species that reaches out and touches. We like to hold things in our hands. We love things which cannot love us back. 

For this week’s prompt fill, I want you to find a magical object for Show & Tell. Ideally, it’s something with a long personal history that’s important to you. Maybe it’s the object you would save in the event of a fire, or maybe it’s something you lost long ago. 

First, I’d like you to show us the object by describing it. Then, tell us the story of it.

You can write about how you acquired it and the memories it conjures. Allow yourself to link and associate memories and feelings. Don’t box yourself in too much—just see where it takes you. 

But you can also put a spin on it. Here are some ways you can do that:

If you want to try fiction, you can write the same story about your favorite character’s beloved object, or you could completely make up an object and its history. 

If you want to try something experimental, you can write a story from the perspective of the object, and maybe its beloved thing is you. 

If you want to try poetry, write a poem of your object. This is a separate lesson, but T.S. Eliot’s concept of an objective correlative may be illuminating to consider. 

The purpose of this activity is to dig through your memories and/or observations, connect them, and use something external to conjure meaning from them. You begin with what your object is and it will eventually lead you to what it means.

Questions? Ask ‘em here before EOD Tuesday so @bettsfic can answer them on Wednesday. And remember to tag your work #tumblr writing workshop with betts if you want her to read your work and possibly feature it on Friday!

And, for those just joining us: @bettsfic is running a writing workshop on @books this month. Want to know more? Start here.

#tumblr writing workshop with betts #writers’ room #writeblr #writing advice #show and tell #long post #long text post

[balioc]

Is this a concept-formulation that's already kicking around out there somewhere? It might well be. It feels like the sort of thing that someone would already have developed. But it's new to me, at least, so I'll muddle around with it as best as I can.

On one end of the spectrum, you've got the musical hook. A hook is maybe two seconds of music, if that. And when you hear it, if it's good, you get a concentrated spike of -- oh, yeah, that's the shit right there, this exact experience in this exact moment is fucking awesome. And then, as soon as it's come, it's gone. All you can do is wait for it to come back later in the track, or rewind a few seconds, or maybe just replay that tiny little scrap of music in your head.

The pleasure of a good hook is incredibly condensed. It doesn't even really extend into the rest of the song, let alone into the rest of your life. To experience it, you have to be listening to those exact few bars (if only in your mind). It has no penumbra, no shades-of-experience that color other aspects of your existence. On the other hand, well...when you're listening to those exact few bars, you know it, and it's great. If it's a good enough hook, you kinda just want to listen to it over and over again, like you're popping Pringles or something.

All the way on the other end of the spectrum, you've got something like a traditional-style TTRPG campaign.

Even when it's being run masterfully, a game like D&D has a very low proportion of that's the shit right there moments, and a very high proportion of tedious yak-shaving stuff. Every so often you get your critical success in a high-stakes moment, every so often you get your awesome monologue or your big-drama scene or whatever...but for every moment like that, there's a hundred moments or more of the other stuff. The commonplace D&D play experience is famous for its vast amounts of OOC joking-around, which is not how things look when people are deeply engaged with the art on a moment-by-moment basis. And, of course, not every campaign is run masterfully. Sometimes boredom, or eye-rolling, is what you get in almost every moment.

And yet people love their D&D campaigns, like really incredibly a lot, and are deeply affected by them, and not-uncommonly have their whole lives changed by them.

The correct model here, I think, is that the pleasure generated by that kind of TTRPG experience is super diffuse. It's almost all penumbra. The awesomeness doesn't inhere in any one moment, or even any one scene or any one story arc. It inheres in the broad strokes of the campaign, in the ongoing knowledge that YOU ARE YOUR COOL CHARACTER and you go on a million cool adventures, in the mythos and the running jokes that add up invisibly over time into magic. And it pervades the entirety of your existence. You can think about it when you're lying in your bed, you can chat about it with your friends over lunch, and the awesomeness is just as much there as it is when you're actually playing. Maybe more so.

**********

Once you start looking at art through this variable-diffusion-of-appreciation lens, you can see many different points on the spectrum.

It's obvious that a short story is more concentrated than a novel, which is more concentrated than a series; it's obvious that a movie is more concentrated than a TV show. But it's not just the choice of medium that pushes in one direction or the other. It's a million different choices concerning content and style. Lushly descriptive language, in prose fiction, serves to concentrate the reader's appreciation into the moment of reading -- it forces the expenditure of extra attention for the sake of creating a beautiful mental moment, which in the vast majority of cases will be gone and forgotten almost instantly. Abstracted and philosophical language does the exact opposite, pulling the reader out of the narrative for a little bit for the sake of giving him something to roll around in his head. Suspense, and surprising plot developments, are concentration techniques that can have their full effect only during the transition from unspoiled-to-spoiled (and they serve to emphasize and heighten the moments of that transition). Archetypical, iconic plots are diffusion techniques that trade predictability-in-the-now for satisfaction-in-contemplating-the-story-later.

Sitcoms strike me as being vehicles for diffuse appreciation, to a huge extent, even more than other TV shows of comparable length etc. Much of what makes them good is just the presence of the characters and their distinctive shticks in your mindscape, in a way that builds from episode to episode without any particular grounding in specifics. When I think about a sitcom that I like, I find myself concluding that I like the show overall more than I like any single given episode. Which is weird, right? You'd expect some sort of bell-curve thing where the best episodes, or even the best individual moments, rise up above the averaged-out mass of the whole. But no.

**********

Fannishness is, overall, a very diffuse form of appreciation. This is true in the very-obvious sense that you're enjoying the work during a time when you're not actually consuming the work, by dint of consuming/producing fanworks and talking with other fans etc. But it's also true in the somewhat-less-obvious sense that the enjoyment-of-the-thing usually ends up very unrooted in the specifics of the thing, the plot beats and characterization details and so forth. You have a big beloved vibe, with lots of bits and bobs attached, and you can take the bits and bobs you like best and rearrange them however you like best when you're engaging in fandom.

**********

I believe it is overall true that concentrated appreciation is much more legible than diffuse appreciation. More legible to artists and art theorists, more legible to marketers and consumers. When you talk about art being good or bad or successful or unsuccessful, it's very easy to think in terms of "what is it like to consume this moment-by-moment?", and much harder to think in terms of "how does each piece of the work pervade the whole of the work, and also the general thoughtscape of the consumer?" For this reason, concentration techniques are associated with prestige, and high-prestige analysis tends to focus on a work's ability to generate concentrated appreciation.

...I also believe that different people want to be appreciating art, in the ideal case, at different levels of diffusion. There are people for whom a good artistic experience means lots of crack-hit awesome moments, and others for whom a good artistic experience means getting to live in an infinite penumbra, and others who fall at every point in between.

**********

For reasons I may discuss later, I think this concept-suite is extremely valent to the construction of theater LARPs, and the tension between people who expect more-concentrated enjoyment and people who expect more-diffuse enjoyment is responsible for a lot of the Wars Over What's Good within that sphere.

#media analysis #spectrum of appreciation diffusion

[mediocrevideopodcast]

Ok so, imma start off simple, may i req a Rocky Rickaby x calm, collected, polite yet lowkey mysterious reader? It can be gender neutral pls. You can do this req later. Love your work and i hope your eating and doing well! 💖

Thank you so much for the request!! Bit shorter than I would have liked, but I hope it's alright!! <3

This is a textbook case of opposites attract. 

Rocky’s been around a lot of fake-polite people -- Southern Hospitality only goes so far, nevermind Midwest Niceties. He’s been on the receiving end of far too many sneers from the so-called “polite” upper-class businessmen. 

But you? Your politeness isn’t skin-deep.

You actually listen when he talks, are always courteous, and god isn't that just the most wonderful change? Needless to say, he attaches himself to you like glue. A bit of kindness goes a long way with Rocky. I won't say it's love at first sight… but it's pretty damn close. 

The two of you are quite a sight. It’s not uncommon to see him practically vibrating where he stands while you sit calmly. He'll prance around you in circles, waxing poetic as he sways to and fro while you gaze up at him. 

He is endlessly, and I mean endlessly, fascinated by you. Your past, and the way it guides your actions in the present , is shrouded in heavy mystery. And while he would love to know you on a deeper level… he won't pry. Lord knows he has enough secrets… it wouldn't be right to pry into your past without divulging his own. But sometimes when the music is loud and the conversation takes some of the weight off of him, he'll simply gaze at you. His pupils dilate as he recesses into his own thoughts, thinking about all of the possibilities that surround you. Maybe he's had a bit too much coffee today. 

He's actually rather hesitant to confess to you, despite the prose that he spills for you on the daily. You're, well, you. And he's just Rocky. He's not blind to the signs of infatuation and adoration -- he recognizes it very, very well in others. And if you had eyes on anyone else, he'd pick up on it in an instant. But he doesn't recognize it so much when it's directed at him. It'll either take quite the break of character from you to lay it on a bit thicker for him, or for one of you to have some near-death experience for him to confess. 

But when he does? Oh boy, if you thought you were attached at the hip before… 

He was always rather open with his affections -- the behavior doesn't change as much as the intensity does. His poetry gets a bit more syrupy, a bit more fanciful. And if you'll have him, he loves to touch -- to hold -- to be held. 

The only time you can get him to sit quiet and still  is when he gets to lay his head in your lap. The rest of the Lackadaisy crew would think he was dead, had it not been for his happy little tail flicks. 

You're a staple in many of his soliloquies -- it's only fair, with how often you occupy his thoughts. You'd think with the mystery that surrounds you that you'd be compared to a shadow, or a locked box, but he finds that comparison far too cliche and reductive. Nay, he sees you as the endless oceans -- deep and calm like the Pacific, yet as warm as the Atlantic. Naught to be truly known, yet beautiful all the same. 

All in all, you're his rock. The calm in his storm. The two of you couldn't be more different if you tried, but damn if you don't work well together. 

#lackadaisy x reader #rocky rickaby x reader #lackadaisy rocky x reader #lackadaisy imagines #roark rickaby x reader

[ceilidho]

Do you have any writing tips?? Like you write so GOOD

you could write shakespeare but could shakespeare write a great cod fic? I doubt it

first of all.....i am going to scream........second of all thnx u........

hmm i have some tips but tbh a lot of writing is just trial and error, like doing a bad job for a very long time until suddenly it's good. and these are just tips/rules that i follow; i don't think they're objectively the best tips in the world and they work for the way i like to write, but plenty of people have different styles and would maybe disagree with me, which is perfectly fine!

i really enjoy writing vivid sensory experiences, but i think to write a really immersive environment, you almost have to use words that seem unnatural. it's really difficult to evoke specific qualia in people so you have to do it in a roundabout way. this is really hard to describe and i'm doing a poor job here, but like for instance, here's something i wrote about a girl having trouble sleeping:

a bit of a play-by-play is fine (like "she went downstairs to get breakfast and went to the fridge and pulled out a carton of milk and then set it on the table" sort of thing), but it takes way too long to use that kind of narration all the time and it's not needed. if you find yourself describing the texture of like, their cereal, and it's not actually relevant to the plot, it's just extra writing for nothing.

this is work, but i think you really need to fall in love with words. learn new words, write down their definitions, group words together by their sounds so you know what sounds nice together, don't choose a word simply because it describes the thing you're talking about but also because the word itself feels dry/wet/elongated/or otherwise mirrors the content of what you're writing.

if you struggle with finishing things or get overwhelmed by long projects, set limits for yourself. only 500-1000 words a day or something like that, and then don't touch it after you hit your limit. it gives you some control over your anxiety imo but it also allows you to slowly chip away at your project.

read a lot. read so much. i have learned soooo much from reading other people's work and actually deeply respecting and appreciating how they write. this isn't the most recent thing i've learned but i've come to looooooooveeeee seeing something like ["Sure," he lied] in a story like OOOHHH it's so thrilling to be in on something that other characters aren't in on.

don't feel confined to a specific style of writing. some fics might call for a sparser style because it suits the tone of the story, but some fics might call for more purple prose, you know? and that's fine! you can play around with your writing and try different things. i feel like i have a pretty specific style, but even i eschew it sometimes when the mood feels right, like how superstore is NOT the same kind of fic as saltwater - saltwater was meant to be more introspective and lush, so the style reflects that, whereas superstore is supposed to be more direct and put you a little on edge.

anyway, just some thoughts!!! the thing to also remember is that nobody's doing it perfectly because everyone has a different style and a different way they want to tell stories. sometimes i'll find a really good writer and feel like briefly consumed by jealousy, but i can also write certain stories that they can't and vice versa. so don't beat yourself up while you're learning!!

[callmearcturus]

==> You have three doors

DOOR ONE: Reading Homestuck using the Unofficial Collection

Pro: Everything is immaculately preserved at the highest quality. Official HS took beautiful animations and turned them into 360p fuzzy horseshit. UHSC has everything in HQ.

Pro: Navigation controls. I set everything to "auto open pesterlogs" and then use arrow keys to go to the next page when I'm done. Very smooth experience.

Pro: You can fucking mod out the worst slurs from early Homestuck, which is a relief.

Pro: It maintains the browser games as well as the incredible formatting tricks of Cascade, A6A6I1 and others.

Pro: It's literally officially endorsed by the creator as The Way to read HS.

Con: Windows and Mac only, not mobile, unfortunately.

Con: No matter how many times I read the explanation for First Time Reader Mode, I'm always still a bit confused.

Con: The Troll quirks.

DOOR TWO: Experiencing Homestuck with Lets Read Homestuck

Pro: The entire comic read to you, with matching visuals, is really a fucking treat and probably the most low effort way to experience it.

Pro: CANNOT OVERSTATE HOW FUCKING GOOD THE ACTING IS SOMETIMES. OFTENTIMES. Duckum's Rose performance is more deserving of oscars than most shit I've seen get awards. Karkat's performance is always a delight but the emotional rollercoaster of Murderstuck? Holy shit. Also I did not like Terezi until LRHS, now I love her.

Pro: Sometimes, Homestuck is hard to read. Making sure you find every secret in every walkaround? Trying to figure out what the trolls are saying through their quirks? Oh my god the fucking SBaHJ interludes? There are parts of the Meenah walkaround I totally missed bc I could not parse the quirks. LRHS makes it a complete and total non-issue.

Con: In my opinion, it takes them a while to find their footing. Act One is just kinda rough. Act Two is better, but things become fantastic pretty much as soon as Duckums takes over as Rose.

Con: It's not complete. LRHS is up to the Trickster Arc deep deep deep in Act 6, so they're nearly there, but the last 15% of the comic, you have to read yourself.

Arc, what the fuck: I have all of LRHS ripped as MP3 so I can listen to it like an audiobook. Lemme know if you want the files.

DOOR THREE: Official Homestuck Website

Pro: It does work on phone and tablet.

Pro: You can pair it with the HQ upload of all HS Flashes and have an okay time.

Con: The walkarounds are removed. The entire game of Jane's land is a fucking YOUTUBE VIDEO. The special effects for Cascade and A6A6I1 and even the stupid horse segments are gone. The entire gravity of the Retcon is removed. They couldn't even fucking preserve Gamzee's dumb potion shop bit. What the absolute fuck.

Con: EVEN THE FUCKING UPLOADS THEY DID LOOK LIKE HORSESHIT. Compare the official intro of Rose's world to a reupload of the original flash. How the FUCK was this allowed?! Who OKAYED this?!

This is garbage. Homestuck is a multimedia experience of prose, text, music, animation, interactive storytelling, and Viz Media fucked it.

The choice is yours. I suggest Door Two, but I'm a podcast person before everything else. Door One is a very very good door once you get going. Door Three is if you HAVE to use mobile. but please, fuck, use the All Flashes video, I'm begging you.

OH BUT WHATEVER OPTION YOU CHOOSE: stop at Act 7 or Credits. Do not read the Epilogues or the post canon stuff.

#homestuck #this is a better version of my other post tbh #whomstve

[olderthannetfic]

I've done some reading challenges before and I think they can be fun if they have a purpose: for instance, something like the Read Harder challenge, ones that encourage you to read from different genres or read more diverse books, etc. I have a sort of evergreen challenge where I encourage myself to read more books written by authors from different countries, and keep a spreadsheet of which countries I've "read." (I also do this with other kinds of entertainment like movies.) But it's definitely true that some of them just seem to be for the gimmick and aesthetic, and for people who prize quantity over quality of reading in a sort of commodity-fetishism (as they're prizing books as markers of intelligence over the actual experience of learning and expanding your world via reading). Like when the challenges start to be things like "read a book with an orange cover" that's where I start to roll my eyes a bit, haha.

I will say that while I try not to be a snob about reading, it does drive me nuts when I've had people lord over how many more books they've read or how many more pages when they're reading beach reads and YA and other easily digestible stuff whereas I'm reading stuff that is heavier. One time when I was working some crappy minimum-wage job in college, I was reading this big omnibus of all Jane Austen's works (because I was taking a class on her where I was required to read those, not that I wouldn't read Austen otherwise lol) on my break, and one of the other employees asked me how many pages it was and I answered and he was like "pfft, that's nothing, I read all the Harry Potter books in a week and they're more than that!" And I wanted to be like.... yeah, me too, dipshit. I mean, I didn't literally read them in one week, but when each one came out, I devoured it within a day or two like a lot of people did, despite it being 800 pages. Because Rowling's prose is really easy to gobble up like that. Not that Austen is impenetrable or anything (I don't think she is and I think that's precisely why she remains so evergreen popular), but she does require more effort than *that*, particularly when you're reading her work for a literature class where you're expected to write a paper analyzing it, so you want to linger to make sure you really deeply understand it.

I've read academic monographs that were 150 pages long that took me weeks to get through, and I've read 800-page bestsellers that I ripped through in a few days. Pure page length does not determine how long it takes to actually read something. I mean.... in fandom we should all be aware of this, how many of us have devoured some 100k fic in a night or two? As someone who has written some of those academic monographs myself and therefore is familiar with how word count tends to relate to book page length, I can verify for you that that is the equivalent of devouring a novel in the same time frame. But it's a lot easier to do that when you're reading relatively invisible prose and are invested in your OTP getting together (or whatever) vs. if you're trying to digest someone's very dry and convoluted argument about Foucault.

--

I just read all of Scum Villain in about five minutes, yeah. And it was great, but nothing to brag about as an achievement.

I've got this friend who goes on about reading sooooo fast but then admits to often rereading to catch things that she missed the first time. It came up when I was explaining how seldom I reread or rewatch anything. I tend to remember it far, far too keenly after one time through, and it just doesn't hit the same a second time. I still read pretty fast, but not that fast.

I don't think it's snobby to roll your eyes at people who clearly don't grasp the difference between different difficulties of reading and—this is key—who are trying to wave their dick at you about how great they are. They started it!

The time I do roll my eyes is when people think you should read mega hard prose in order to learn, especially in order to learn vocabulary or get faster at reading. That's not what the science says. (Apparently, the fastest way to improve on that kind of thing is to read mass quantities of faintly hard-for-you stuff, not stuff that's hard hard.) But to learn how to decode confusing arguments? Yes, absolutely.

I do wish people would put a little more effort into unwinding their own tortured syntax on Foucault though.

[ethanwylan]

writeblr intro!!!!!

hello hello hello!

welcome to my new writeblr!

i am not new to tumblr, i’ve been a user for many years but have never fully ventured into the creative/writer spaces of this platform. but i decided that now is the time to put my silly words out there!

my name is ethan, im a 19 year old english major and former freelance writer. i am queer and trans and would love to follow more queer writers!

- currently, i am trying to get back into writing (specifically fiction) because i am not very well practiced right now

- AND (!!!!) i recently began brainstorming what might become my very first novel! i am in the very very very beginning stages but yeah! i wanted to make this blog so i could document the plotting/drafting process of my first major project!

- the idea is very rough right now, but basically its gonna be a speculative fiction/fantasy about witches and magic and haunted mansions and talking to ghosts and such! its very very much in the ideas stage so nothing set in stone, but i think if i share updates and stuff on here i can hold myself accountable and find motivation to begin writing this book for nanowrimo! (thats my goal)

- i mainly write poetic prose and personal essays and such these days, though like i said im looking to get into writing fiction: fantasy/mystery/magical realism/romance…. just all kinds of magical and beautiful fiction! i have experience in technical writing as well tho so yeah lol

- as i work on plotting this idea, i also want to use all those lovely prompts that are so abundant on tumblr to practice my fictional prose and just writing overall.

- i will most likely be posting some bits of my brainstorming/drafting process as well as any random stuff that i write to practice. so if you want to see anything like that, follow me!

i am totally down to hear all about your current WIPs and would love to build a silly little community of creative people!

if you’re a writeblr, i will follow back! i really want this blog to be a space for all things writing, and i hope you will join me on my journey :)

until next time,

- eeefhan (092423)

#writeblr #writers on tumblr #writing community #creative writing #new writers corner #new writers on tumblr #new writeblr #writeblr intro #queer writers #writing