ravenkween

[ravenkween]

[ravenkween]

If there’s a piece of writing you love, that makes you wish you had the ability to do what it does, the tools you're looking for are inside the story itself. Fiction is rarely mysterious in how it works. All you have to do is pay attention with the right mindset.

What you’re looking for is cause and effect, set-up and pay off. What does that piece of dialogue set up a) within the scene and b) later in the narrative? What purpose does this moment serve for the story as a whole? Can you identify the turning points within the scene and the turning points in the larger narrative? How do they fit together? You’ll find these things tend to fall into general patterns. Don’t get distracted by focusing on character details, analysis, or speculation! Fandom tends to overemphasize character to the exclusion of everything else. You probably already know how to analyze characters, but how much time do you spend thinking about the mechanics of the narrative? If you can figure out what makes the stories you love work, you can teach yourself to do any kind of storytelling you want to.

[ravenkween]

[ravenkween]

Carrie Fisher, Mark Hamill, and Harrison Ford review the script for “The Empire Strikes Back,” 1979.

[ravenkween]

[ravenkween]

— Megan Fernandes, “Do You Sell Dignity Here?” from I Do Everything I’m Told

[ravenkween]

The ice is cracking steadily, like something's breathing just beneath it

[ravenkween]

Nandor + Guillermo + each other's beds

[ravenkween]

Edward Hopper, Night Shadows, 1921. Etching on paper.

In Night Shadows, Edward Hopper creates an atmosphere of suspense by placing the audience at a high vantage point, looking down on a lone figure at night. The print demonstrates the vigorous cross-hatching, deeply bitten lines, and heavy inking that are typical of Hopper’s etchings. The starkly white paper and shades of black ink represent an effect called chiaroscuro, which is Italian for “light–dark.” The subjects most identified with Hopper are empty scenes—an isolated house, a vacant room, an abandoned street. These eerie settings, amplified by manipulation of shadow, unusual vantage points, and simple composition, add to the mystery and psychological tension in his work. When Hopper does include figures in his art, they are often alone, weighted by solitude or dwarfed by their modern environment. —Weisman Museum

Photo: Weisman Art Museum, Univ. of Minnesota

[ravenkween]

One of the things that’s really struck me while rereading the Lord of the Rings–knowing much more about Tolkien than I did the last time I read it–is how individual a story it is.

We tend to think of it as a genre story now, I think–because it’s so good, and so unprecedented, that Tolkien accidentally inspired a whole new fantasy culture, which is kind of hilarious. Wanting to “write like Tolkien,” I think, is generally seen as “writing an Epic Fantasy Universe with invented races and geography and history and languages, world-saving quests and dragons and kings.” But… But…

Here’s the thing. I don’t think those elements are at all what make The Hobbit and The Lord of the Rings so good. Because I’m realizing, as I did not realize when I was a kid, that Tolkien didn’t use those elements because they’re somehow inherently better than other things. He used them purely because they were what he liked and what he knew.

The Shire exists because he was an Englishman who partially grew up in, and loved, the British countryside, and Hobbits are born out of his very English, very traditionalist values. Tom Bombadil was one of his kids’ toys that he had already invented stories about and then incorporated into Middle-Earth. He wrote about elves and dwarves because he knew elves and dwarves from the old literature/mythology that he’d made his career. The Rohirrim are an expression of the ancient cultures he studied. There are a half-dozen invented languages in Middle-Earth because he was a linguist. The themes of war and loss and corruption were important to him, and were things he knew intimately, because of the point in history during which he lived; and all the morality of the stories, the grace and humility and hope-in-despair, was an expression of his Catholic faith. 

J. R. R. Tolkien created an incredible, beautiful, unparalleled world not specifically by writing about elves and dwarves and linguistics, but by embracing all of his strengths and loves and all the things he best understood, and writing about them with all of his skill and talent. The fact that those things happened to be elves and dwarves and linguistics is what makes Middle-Earth Middle-Earth; but it is not what makes Middle-Earth good.

What makes it good is that every element that went into it was an element J. R. R. Tolkien knew and loved and understood. He brought it out of his scholarship and hobbies and life experience and ideals, and he wrote the story no one else could have written… And did it so well that other people have been trying to write it ever since.

So… I think, if we really want to write like Tolkien (as I do), we shouldn’t specifically be trying to write like linguists, or historical experts, or veterans, or or or… We should try to write like people who’ve gathered all their favorite and most important things together, and are playing with the stuff those things are made of just for the joy of it. We need to write like ourselves.

[ravenkween]

I haven't drawn such a soft scene in a long time. But the last bit of my conscience tells me I can't hurt this old man!

[ravenkween]

i have never died so badly as i did watching this reel of benmank, so of course i recorded it and am now forcing you to look at it also!

[ravenkween]

“I shall never forget the occasion when I was visiting a school as a writer and the whole place suddenly fell into an uproar because the school tomboy - a most splendid Britomart of a girl - had beaten up the school bully. Everything stopped in the staffroom while the teachers debated what to do. They wanted to give the tomboy a prize, but decided reluctantly that they had better punish her and the bully too. They knew that if, as a child, you do pluck up courage to hit the bully, it is an act of true heroism - as great as that of Beowulf in his old age. I remember passing the tomboy, sitting in her special place of punishment opposite the bully. She was blazing with her deed, as if she had actually been touched by a god. And I thought that this confirmed all my theories: a child in her position is open to any heroic myth I care to use; she is inward with folktales; she would feel the force of any magical or divine intervention.”

— Diana Wynne Jones (via joeyvermeil)

[ravenkween]

Since the holiday toy drive post is circulating again, I figured this would also be helpful! Food insecurity is such a massive problem in America, in general, and if you have the means to help feed others, I think you should take that opportunity. Here are some other tips:

1. If you’re planning on donating items from your own pantry, please check the expiration dates on the packaging. Think of your donations as gifts to bestow, not castoffs to be rid of. It’s awful to think of people feeling like they got scraps someone else just didn’t want. Everyone deserves dignity with their meals.

2. If you’d rather give money to a food bank, that’s also great since they buy food in bulk and know what items are most wanted/needed!

3. Not everyone has access to appliances like stoves or microwaves or hot plates so if you can donate items that don’t need to be heated up, that would also be greatly appreciated!

🫶🏽🫶🏽🫶🏽🫶🏽🫶🏽🫶🏽🫶🏽🫶🏽🫶🏽🫶🏽🫶🏽🫶🏽🫶🏽🫶🏽🫶🏽🫶🏽

[ravenkween]

The Laidly Worm of Spindleston Heugh by Walter Crane (1881)

[ravenkween]

I think it’s so funny how we have to speak to men like preschoolers when it comes to having empathy for women. like hey buddy… I know you think girls are icky :( but remember your mommy? your mommy is a girl! and then they’re like ohhhh… mommy IS a girl.. and I do like mommy… this is starting to come together