#common pitfalls for writers

[jesncin]

Do you have any thoughts for the Martian Language? Like yes, I know it's supposed to be Earth Names but Weird (Like J'on J'onzz but its just pronounced 'John Jones' even though in my head I always try to spice it up with glottal stops and a lentition on the 'zz') but linguistically why do martians have a language or name system if they are all fully telepathic? Writing I get, but a spoken language… that feels kind of forced.

I do think it's a little silly that Martians have a first name surname situation like 'murican culture haha (J'onn J'onzz isn't pronounced John Jones btw! That's his humanized name/the name he yoinked from a dead detective. I pronounce his Martian name similarly to the DCAU and CW Supergirl show: Jhaohnzz Jhaonzz?? lol but there's also the YJa version Juh-ohn Juh-onzz which I get but I don't like the staccato-esque pronunciation subjectively. It makes pronouncing Ma'al's name like cussing lol), but for the most part I don't think it's weird for Martians to have a spoken language! It's just an additional way to communicate on top of a "mainstream" way of conversing (telepathically).

I like how this was expanded on in Orlando and Rossmo's MM solo! Spoken language is called "Voiced Words" and there's the vibe it's considered the more rude/rudimentary way of communicating, but it's also discreet because it can't be caught on the telepathic wifi thoughtstream. So spoken language has narrative and cultural significance in this story. Technically it always has been if we acknowledge Ma'al as a disabled non-telepath Martian, he would have to speak with Voiced Words at least in canon.

Think about it, us humans have multiple means of communication too right? On an able-bodied standard: we can speak words, we have body language, we can write, or communicate with Morse Code. To broaden that, we have sign language, and Braille too! It's not redundant to have multiple ways of communication, and some forms of communication offer expression in ways the others can't. You can say you love someone, but hugging them can do that too in a different way. You can sing it, even- if you're a theatre kid. And it's cultural! Even though Deaf people took up less than a quarter of Martha's Vineyard population, nearly everyone used the local sign language there for a time. That's not even covering different languages as a whole.

That's how I see Martian telepathy as- another form of communication and culture unique to Martian expression. With that, I don't see why they can't have names. They still have to refer to each other somehow! I would adore it if Martians had multiple languages though. Carl Lumbly joked that he sung in "Northern Martian" for J'onn in the Christmas episode and that is forever melted into my brain.

[mehmetyildizmelbourne-blog]

Substack Mastery Book: Chapter 8

Why Readers Pay for Substack Newsletters and What Type of Content Fails to Attract Subscribers Dear beta readers, Thank you for your valuable feedback on the previous seven chapters, which is helping me refine this book and enhance it as a valuable resource for fellow writers. I have covered seven critical aspects that have helped many readers jumpstart their Substack journey. Receiving…

[alpaca-clouds]

Worldbuild Differently: Unthink Religion

This week I want to talk a bit about one thing I see in both fantasy and scifi worldbuilding: Certain things about our world that we live in right now are assumed to be natural, and hence just adapted in the fantasy world. With just one tiny problem: They are not natural, and there were more than enough societies historically that avoided those pitfalls.

Tell me, if you have heard this one before: You have this fantasy world with so many differnet gods that are venerated. So what do you do to venerate those gods? Easy! You go into those big temple structures with the stained glass in their windows, that for some reason also use incense in their rituals. DUH!

Or: Please, writers, please just think one moment on why the fuck you always just want to write Christianity. Because literally no other religion than Christianity has buildings like that! And that has to do a lot with medieval and early post-medieval culture. I am not even asking you to look into very distant cultures. Just... Look of mosques and synagogues differ from churches. And then maybe look at Roman and Greek temples. That is all I am asking.

Let's make one thing clear: No matter what kind of world you are building, there is gonna be religion. It does not matter if you are writing medieval fantasy, stoneage fantasy, or some sort of science fiction. I know that a lot of atheists hate the idea that a scifi world has religion, but... Look, human brains are wired to believe in the paranormal. That is simply how we are. And even those atheists, that believe themselves super rational, do believe in some weird stuff that is about as scientific as any religions. (Evolutionary Psychology would be such an example.)

What the people will believe in will differ from their circumstance and the world they life in, but there is gonna be religion of some sort. Because we do need some higher power to blame, we need the rituals of it, and we need the community aspect of it.

Ironically I personally am still very much convinced that IRL even in a world like the Forgotten Realms, people would still make up new gods they would pray to, even with a whole pantheon of very, very real gods that exist. (Which is really sad, that this gets so rarely explored.)

However, how this worship looks like is very different. Yes, the Abrahamitic religions in general do at least have in common that they semi-regularily meet in some sort of big building to pray to their god together. Though how much the people are expected to go into that temple to pray is actually quite different between those religions and the subgroups of those religions.

Other religions do not have this though. Some do not have those really big buildings, and often enough only a select few are even allowed into the big buildings - or those might only be accessible during some holidays.

Instead a lot of polytheistic religions make a big deal of having smaller shrines dedicated to some of the gods. Often folks will have their own little shrine at home where they will pray daily. Alternatively there are some religions where there might be a tiny shrine outside that people will go to to pray to.

Funnily enough that is also something I have realized Americans often don't quite get: Yeah, this was a thing in Christianity, too. In Europe you will still find those tiny shrines to certain saints (because technically speaking Christianity still works as a polytheistic religion, only that we have only one god, but a lot of saints that take over the portfolios of the polytheistic gods). I am disabled, and even in the area I can reach on foot I know of two hidden shrines. One of them is to Mary, and one... I am honestly not sure, as the masonry is too withered to say who was venerated there. Usually those shrines are bieng kept in a somewhat okay condition by old people, but yeah...

Of course, while with historically inspired fantasy settings make this easy (even though people still hate their research), things get a bit harder with science fiction.

Again, the atheist idea is often: "When we develop further scientifically, we will no longer need religion!" But I am sorry, folks. This is not how the human brain works. We see weird coincidences and will go: "What paranormal power was responsible for it?" We can now talk about why the human brain has developed this way. We are evolved to find patterns, and we are evolved (because social animal and such) to try and understand the will others have - so far that we will read will in nature. It is simply how our brains work.

So, what will scifi cultures believe in? I don't know. Depends on your worldbuilding. Maybe they believe in the ghost in the machine, maybe there si some other religions there. You can actually go very wild with it. But you need to unthink the normativity of Christianity to do that. And that is... what I see too little off.

[bettsfic]

I have this thing where what I'm writing is absolutely not what I'm about in real life. I like complexity and depth in what I read. But the things I care about make only vague appearances in my writing, I don't know how to fully explain it. I have a lot of passion in life and I'm ~relatively emotionally intelligent. I'm curious about emotions, anyway, but what comes out in my writing is just cookie cutter.... Bland..... Zero complexity or emotional exploration. It's like I'm on autopilot when I write and I can't shake it.

i'm about to present to you yet another writing spectrum: director-writers and actor-writers.

a director-writer creates stories by writing discrete scenes that they see in their mind. like a film, a scene begins, something happens, a scene ends. we move on to the next scene. i would venture to say a majority of writers today are director-writers, because what's been en vogue in the 21st century is very much influenced by our visual media. we watch visual media. a great many writers like to render their prose such that it feels like a reader is watching the story play out. these director-writers are standing on the outside looking in, manipulating and moving all the pieces of their story to create the desired end result.

director-writing is so common that i meet many, many writers who trap themselves in scenic prose because they assume that's what "good writing" is. these writers are not actually directors. they don't want to be standing behind the camera; they want to be in the mind of the characters. and those people are actor-writers.

an actor-writer's prose doesn't necessarily prioritize scenes one after the next, but develops a compelling narrative voice. actor-writing is about learning to be someone who isn't you. i think the moment you abandon the forced witness of the camera and instead dive into the mind, experiencing the story instead of rendering the story, you unlock the path of that complex emotional exploration you feel is missing in your work. and you will probably never go back.

here's an activity to try:

whatever you're working on right now, open a new doc, take your main character and, in your mind's eye, trap them in an interrogation room. sit them across from you. ask them, "what is your deal?" write down their answer.

in this activity, you're looking for a few things:

what is their story? why does it matter to them? (this is probably the biggest problem i have with the pitfalls of director-writing: nothing matters. everything is just...happening. as a reader, i'm always looking for what i'm being asked to love. maybe that love is awful, toxic, contradictory, ambivalent, whatever. the point is, it matters. a huge percentage of the things i read never ask me to love anything.)

are they trying to convince or persuade you of something, making their testimonial unreliable? or are they confessing to you things they'd never admit to anyone else?

what is at stake for them? what is their deepest desire and their greatest fear? in what way is their deepest desire flawed? how is their greatest fear irrational? how have the events of their story influenced or distorted their perception?

close narration offers us the greatest possible access to the interiority of the narrator. first person is really just a monologue, an explanation, an excuse, a confession, a plea, a prayer. so so so many writers get blocked because they're trying to See the story instead of Listen to it. they force themselves into this elastic third person where the reader remains a distant witness with the occasional thought, insight, or feeling, but that comes second to what i call Bodies in Space. if i never read another "he strode across the room" again it'll be too soon. imagery is wonderful, don't get me wrong, but i would always, always rather get insight into what a character is feeling, thinking, grieving, dreaming than the knowledge that they are sitting in a chair.

i'm not saying switch to first person. you can create the effect of first person with very close third, and you can create the effect of third person with very distant first. pronouns don't really matter. what's important is voice over vision.

i say this a lot, but if i want to watch a story, i'll turn on my tv. prose is the only art form that allows us to fully explore human consciousness. let it do the thing it was invented to do.

my theory of director-writers and actor-writers is adapted from Percy Lubbock's The Craft of Fiction, in which he defines "picture" vs. "drama" writing. however i found that terminology confusing and poorly articulated, so i flipped it into a process-based approach with what i hope is more accessible phrasing. also, prose = consciousness is from 13 Ways of Looking at the Novel by Jane Smiley.

[hayatheauthor]

Blog Posts Masterlist

Here are all the blogs I've written sorted according to six categories and a lot of sub categories.

Post Writing (Publishing):

Querying/Getting Published

How To Get Published As A Minor—A Step-By-Step Guide

How To Get Out Of The Slush Pile And Make Your Agent Say Yes

How To Answer Some Common Literary Agent Questions

The Rejection Checklist: Manuscript Pitfalls to Avoid

Editing

Everything You Need To Know Before Editing Your Manuscript

How To Eliminate Passive Voice From Your Manuscript

Pre Writing:

WIP building

Ten Dos And Don'ts Of Worldbuilding

How To Name Your Characters

A Step-by-Step Guide to Crafting a Compelling Storyline

How to Pick The Perfect Weapon For Your Characters

Writing tools

How To Hook Your Readers With Your Chapter's Starting And Ending

How To Write And Create A Sub Plot

How To Immerse Your Readers With Indirect Characterisation

First or Third Person? How To Choose The Right POV for Your Story

Genre-Based Advice:

Fantasy

How To Build A Realistic Magic System

Things To Consider When Writing With Mythologies

Tips To Consider When Writing A Fantasy Religious Story

Horror/Thriller

How To Get Away With Murder...As An Author

How To Get Away With Murder Part Two: Writing Murder Mysteries

How To Build Tension And Make Your Readers Feel Scared

Romance

Crafting Asexual Romance: Navigating Emotional Intimacy in Fiction

Character-Based Advice:

How To Write An Antagonist

How To Create Realistic Book Characters

How To Write A Compelling Character Arc

How To Create A Morally Grey Character

How To Write A Plot Device Character

How To Develop A Memorable Antagonist

Writing Believable Teenage Characters: Dos and Don'ts

Crafting Character Voices And Distinct Dialogue

Crafting Authentic Child Characters: From Toddlers to Tweens

How To Create And Execute Unreliable Narrators

How To Write Immortal Characters in Fiction

Creatures/Monsters

How To Write Mythical Creatures Without Sounding Redundant

How To Write Vampires With An Original Twist

'Sensitive' character topics:

How To Write POC Characters Without Seeming Racist

How To Write A Disabled Character: Ten Dos And Don'ts

How To Write And Research Mental Illnesses

Resources And Advice For Writing Abusive Parents

Scene-Based Advice:

How To Build Tension And Make Your Readers Feel Scared

Four Tips On How To Make Your Plot Twist Work

How To Set The Scene Without Info Dumping

Writing A Creepy Setting: Tips And Examples

The Dos and Don'ts of Writing Flashbacks in Fiction

Crafting Realistic Car Accidents in Fiction: A Writer's Guide

Writing Rage: How To Make Your Characters Seem Angry

Crafting Sad Scenes: Writing Tears and Emotional Depth

Fights, poison, pain

How To Accurately Describe Pain In Writing

How To Create A Well-Written Fight Scene

The Ultimate Guide To Writing Persuasive Arguments

Forgining Epic Battles: Techniques For Writing Gripping War Scenes

The Writer's Guide to Authentic Wounds and Fatalities

Ink And Venom: A Writer’s Guide To Poisonous Prose

Everything You Need To Know About Writing Stab Wounds

Everything You Need to Know About Writing Burns

Everything You Need To Know About Writing Gunshot Wounds

Everything You Need To Know About Writing Bruises

Recommendations:

Websites And Writing Apps Every Author Needs in 2023

Seven Blogs You Need To Read As An Author

Ten Websites Every Author Should Know In 2024

Series

Writing Wounds

Writing Mythical Creatures With A Unique Twist

Writing Emotions

[wemlygust]

For Danny Phantom fic writers in particular: The reason your breath comes out in a little puff of fog when you stand in the cold is that *you are warm*. The air you exhale is toasty. It also has a lot of water vapor in it. So, when you stand in the cold, you breathe out toasty warm air into the surrounding cold air. If the surrounding air is cold enough, the warm air you exhale cools rapidly once it leaves your warm body, and the water vapor in it condenses into liquid, and voila! A little puff fog. If you were breathing out cold air, this would not happen, because water would have already condensed out of it.

A supernatural being with a very low body temp might not ever experience their breath fogging. Even if their surroundings were extremely cold, and colder than the being, as long their breath was too cold to be humid/carrying much gaseous water in it, there'd be no fog breath.

It is not that humans just produce steam somehow because we are cold. Seeing a puff of foggy breath from a person means they are warm, not cold. Seeing this is not a sign of hypothermia. It's sorta similar to how you feel cold in the cold because your body is warm. And if you stop feeling cold while in a cold area, it can mean your body is actually very cold, to the point there is no temperature differential to give you the sensation of cold, and you have a problem. That said, Danny Phantom being Danny Phantom, you can 100% absolutely throw all that right out the window whenever you wish. More power to you. I encourage it.

But if you know about this then you can avoid the common pitfall of writers doing shit like having a character be so cold they're breathing fog into a warm room - which makes NO SENSE - as if this is what just normally happens when people are cold, rather than a supernatural thing that would be very surprising to see. Forgive me, I've just seen so many odd things written re. breath fogging up when it makes no sense at this point that it has become my new pet peeve. :P Again, do whatever you want, but better to do it on purpose rather than by accident.

[slayingfiction]

Unlocking the Power of Dialogue Tags in Fictional Writing

In the realm of fictional writing, dialogue is not just about what characters say; it's also about how they say it. This is where dialogue tags come into play. Often overlooked, these small phrases can dramatically transform your storytelling, offering readers insights into your characters' emotions, intentions, and personalities. Let's delve into the art of using dialogue tags effectively in fictional writing.

What are Dialogue Tags?

Dialogue tags are brief phrases that accompany dialogue, identifying the speaker and often describing how something is said. Classic examples include 'said', 'asked', and 'replied'. However, the world of dialogue tags is vast and varied, allowing writers to add depth and color to their conversations.

The Importance of Variety

While 'said' is a workhorse in dialogue tags, being unobtrusive and easily overlooked, overusing it can render your writing monotonous. Introducing variety is key. Consider using tags like 'whispered', 'shouted', 'murmured', or 'exclaimed' to convey emotions and volume. But beware, overuse of overly descriptive tags can distract the reader. The trick is to strike a balance.

Conveying Action and Emotion

Dialogue tags can do much more than identify who is speaking. They can also convey action and emotion. For instance, 'she said, slamming the door' instantly tells the reader about the character's emotional state. Using action-oriented dialogue tags can also help in reducing the adverb usage, which often clutters writing.

The Subtlety of Beats

Sometimes, it's effective to replace dialogue tags with action beats. Action beats are small actions or descriptions that interrupt dialogue. For example:

"Are you okay?" John leaned forward, concern etching his face.

Here, 'John leaned forward' acts as a beat, breaking up the dialogue and adding a layer of description.

Avoiding Common Pitfalls

One common pitfall in using dialogue tags is redundancy. Saying 'she yelled loudly' can be tautological since yelling is inherently loud. Additionally, avoid overly creative dialogue tags that can confuse the reader. Stick to simplicity where it adds value.

Using Dialogue Tags for Pacing

Dialogue tags can also control the pacing of your narrative. A quick back-and-forth conversation with minimal tags can speed up the pace, making the scene feel urgent or intense. Conversely, adding descriptive tags and beats can slow down the dialogue, allowing for deeper emotional impact.

Conclusion

In conclusion, dialogue tags are a powerful tool in a writer's arsenal. They provide clarity, convey emotions, and enhance the rhythm of your narrative. By mastering their use, you can elevate your fictional writing, creating stories that resonate deeply with your readers. Remember, in the dance of dialogue, tags are your rhythm - use them to make your story sing.

Don’t forget our Grand Opening Giveaway starts February 1st/24 on Tumblr, Instagram and slayingfiction.com! You don’t want to miss it!

Happy Writing!

[imbecominggayer]

How To Write Romantic Relationships [MASTERPOST]

How do you balance between having emotional and meaningful without also having sappy and cliche?

How do you organically incorperate romance to the plot without having too force it in?

Don't fret my romantically inexperienced little writer! I'm here to help!

A) Make It Meaningful

Look, you can put in all the effort and still have readers not give a f$ck about the romance.

Why is there romance? Is it to create conflict? Illustrate a character's flaws? Is it a fun dynamic?

Make characters individually interesting. Your readers should understand why a character has fallen in love or you will have a riot on your hand! Remember when your favorite character fell in love with the equivalent of cardboard? Not fun. Remember: FLAWS!

The characters should be physically attracted to each other. It's pretty awkward having a romance where one character is just supressing disgust for the other.

The characters should feel emotionally connected.

Unless this is the main focus of the relationship, the characters should share core, fundamental beliefs. They can express these beliefs in different ways but it's awkward trying to ship pacifist x murderer.

Characters either need to share the same level of critical thinking ability or be willing to fall in love with an idiot. By the way, you don't love idiot x smart, you love emotional x stoic, reckless x reserved, or emotionally intelligent x logical.

B) The Meet-Cute Or Meet-Hideous

Now you might be saying, "but my dynamic is "friends/enemies to lovers"! Not strangers to lovers"!

Cool. You still have to understand how they met initially whether that was 5 minutes ago, 5 months ago, or 5 years ago. How two or more characters meet can influence first impressions, expectations for the relationship, and what these characters know about each other.

If two people met with A thinking B is an angel and B thinking A is the most boring person alive, that's a meeting that's definitely going to influence each other's expectations for their relationships and for each other.

Then, if you are writing a couple who met before the beginnings of this story, you also need to investigate their "re-meeting". This re-meeting demonstrates how the relationship is between characters.

Is there tension? Are they breaking apart? Are they meeting after a period seperated?

For strangers to lovers, where characters meet in canon and not pre-canon, a writer needs to focus on the meeting.

What are their first impressions? What is the environment around them? How is everyone feeling? What's the initial dynamic?

Common Pitfalls:

Love at First Sight. Unless you have a story where you are switching between the love interest's perspective, then the only way the audience is going to fall in love with this character is through the protag. And while the protag can fall in love at the blink of an eye, the reader can't. If your audience isn't invested in the characters, that's a problem.

Boring Meeting. Unless the entire point of the meeting is that it's mundane, try to give the meeting significiance.

Lack Of Characterization. Writers often copy the standard rom-com meeting but it does a disservice to your characters. Distrusting characters won't fall in love immediately. Reserved characters won't leave their routine for anyone. Let the meeting be guided by the characters.

C) Romantic Chemistry

In order to make a couple romantically compatible, their traits need to complement each others.

Readers tend to implicitly see the potential two characters could have if they just got together. Having two characters with opposing but balancing characteristics could satisfy this thirst.

Readers understand that a character battling depression is more likely to thrive with someone who provides benefits in relation to the depression whether it's compassion, open-mindedness, or perceptiveness.

D) Conflict

All relationships need conflict! This type of conflict tends to be man vs self, man vs man, or man vs society

Characters are either struggling with their own characters flaws, the external threat of another character, or the interference of society.

Common Pitfalls:

Lack Of Themes. Let the themes you are working with inspire what type of conflict impact the relationship. Don't throw in a plot twist or an inorganic cliche.

Lack Of Grounding. Authors can be so focused on the spectacle of a grand fight that they can loose their characters and the grounded experience of an unstable relationship.

Lack Of Characterization. Whenever authors grab a random conflict, they risk a character acting outside of their parameters which make the move feel shoehorned in.

Lack Of Justification. Don't have the conflict show up out of nowhere! Write little moments where something seems off. Then when these little things pile up, it won't feel shocking but justified.

Lack Of Punishment. Characters shouldn't come out of these moments without questioning their entire existence. Have them re-evaluate their beliefs, expectations, and actions.

Lack Of Power. Give your love interest and your protagonist the chance to air out their grievances. Don't let your characters suffer in silence. Call these characters out on their bs.

E) Actions In Love

Everyone has their own ways of expressing love, so don’t assume that there’s only one right way to write about it. Some characters show their love through physical acts of intimacy such as holding hands and kissing. Some characters compliment. Others show it through grand romantic gestures. Others are more subtle.

Try to weave these little acts of sincerity throughout all of the scenes where your two lovebirds are in love.

[thewriteadviceforwriters]

How to Write Sci-Fi Fantasy Books: Short Guide For Writers

Writing sci-fi fantasy books is an exciting journey into the world of imagination. It offers the author an opportunity to create new worlds, explore futuristic technologies, and delve into the complexities of magical systems. This blog post will guide you through the process of writing a compelling sci-fi fantasy book and help you avoid common pitfalls along the way.

Establish Your World

Your world is the stage on which your story unfolds. It needs to be richly detailed and logically consistent to make your readers believe in its existence. Start by defining the physical characteristics of your world, its history, culture, and societal norms. You can build your world from scratch or you can base it on existing real-world or fictional cultures. Remember, the world you create should serve your story and not the other way around.

Develop Your Characters

Characters are the heart of your story. They are the ones who make your readers care about what happens in your world. Your characters should be well-rounded, with their own strengths, weaknesses, hopes, and fears. You should know your characters inside out, including their backstories, even if it's not all revealed in the book. Also, remember that your characters don't have to be human. They can be aliens, magical beings, or sentient robots, to name a few.

Craft Your Plot

Your plot is the sequence of events that make up your story. It should be engaging, with conflicts and resolutions that keep your readers on the edge of their seats. Your plot should also be tightly woven with your world and characters. For instance, the challenges your characters face should be a direct result of the world you've created, and their actions and decisions should drive the plot forward. Also, don't forget to incorporate elements unique to the sci-fi and fantasy genres, such as advanced technology or magic.

Writing a sci-fi fantasy book is no easy task, but with careful planning and execution, it can be a rewarding experience. Remember to establish a solid world, develop compelling characters, and craft an engaging plot. Allow your imagination to soar, but also keep the rules of your world consistent. Lastly, enjoy the process and take pride in the unique world you've created. Happy writing!

[lemonhemlock]

I did not get into Game of thrones when it first started airing. In fact, I waited until it was long past it's heyday (around s6 or 7) to check it out because the marketing and the conversation surrounding it misled me into thinking it was nothing more than "grimdark" bullshit. As one famous YouTuber sarcastically called it "hot fantasy that fucks." So, I avoided Martin's work for literal years due to the impression that I got from online reactors and show-only casuals who did as you and a few others have described as his work being fundamentally misinterpreted.

Fortunately, I overcame my hang-ups, purchased the books (even the supplementary material) and fell down an entire rabbit hole of ASOIAF which led me to recognizing that this world he spent decades creating is far more complex than what had been portrayed onscreen. Regardless of the possibility of the books remaining unfinished (which I am fine with, personally), what George has created is a genuine work of art that I imagine took a tremendous amount of time and energy. So, for so many people online to behave like children and throw tantrums because they feel entitled to him (ew) instead of ushering forth more reasonable conversations and legitimate debates about the nature of his situation frankly makes me look at this fandom with a heavy dose of skepticism.

It is truly baffling to hear even professional critics and see articles describing George as being "ungrateful" or "unprofessional" when it has been well-documented just how often authors get locked out of the adaptation process and left to the wayside as consultants. Look at what happened to Rick Riordan and Christopher Paolini! George R.R. Martin is not the only author to have qualms with how a multimillion dollar studio has mishandled his creative work, and to act like he should remain silent just because he's amassed a certain degree of wealth is quite frankly, ridiculous. He shouldn't have to settle down, be grateful, and stay quiet because the greedy corporate executives and their media drones will get offended by actual criticism that could alter the perception of the adaption being revealed as mediocre for having departed from the source material.

TLDR: authors should be allowed to speak up about their art being sacrificed for commercialization.

Thank you so much for this message, anon! This needs to be talked about more, because I don't think a lot of commentators truly understand the vulgar, late-capitalistic sheen that seems to set in and slowly poison any ASOIAF adaptation. It honestly baffles me how quick some members of this fandom are to rush to the defense of, what is essentially (let's not be kidding ourselves here), a cashgrab by a giant corporation to the detriment of the actual artist and the actual creative foundation behind it.

Why else would "MAX" (if that is even their name) make another (or several other) ASOIAF adaptations? Not to stay true to any philosophical aesthetic vision, as it has become more than apparent with Season 2, but to increase shareholder profits by appealing to the lowest common denominator. Even the basic premise has been shifted in order to address popular trends and satisfy the mindless consumer that doesn't want to engage with anything deeper than their favourite tropes, prettily packaged:

from a story about a doomed ouroborous family superimposed on the pitfalls of feudalism, with villainy and heroism to be found on both sides, it has been simplified and reduced to a narrative that exalts white feminism and disqualifies anyone who opposes its girlboss protagonist. This is Sheryl Sandberg's version of Fire and Blood.

Truly, I think Sara Hess did (unintentionally) outline it the best: "civilians don't matter in Game of Thrones". They don't matter in Game of Thrones, but they matter in A Song of Ice and Fire. The entire heart of the series is contained in Septon Maribald's speech. The writers "kind of", must have forgotten, though.

[gobbogoo]

Twin Moon Knight Rellana has the best rendition of "boob-armour" I've seen in fiction:

Edit: Why'd Tumblr mark this as mature??

Why The Trope Is Usually Dumb and Bad:

In general, an effective suit of armour needs padding underneath to absorb blows, meaning it shouldn't fit so tightly around the chest as to require a built-in bra, and the common boob-armour divot used to define cleavage only serves to direct attacks directly into the chest. It's impractical to both make and wear. That COULD be used by a smart writer to say something about the character wearing it, but almost always it's just fan-service at the cost of the story's cohesion, with no deeper meaning.

Now let's look at Rellana's armour:

Why Rellana's Armour is Cool and Good:

Rellana's armour was carefully designed to avoid all the common pitfalls. First and foremost, there's no cleavage! Instead, they've taken a cinched-waist breastplate that normally utilizes an hourglass shape (example below), and added subtle definitions that get the point across without sacrificing protective capabilities. Sure, it's still more form-fitting than real armour, but that's standard for From Software's stylized armour designs.

Next, the armour directly aligns with the character and setting it's found in/on. Rellana isn't some standard soldier; she's ex-royalty, which opens up a rarely-accessed avenue of historical precedent. The ceremonial armour of nobility was RIFE with impractical designs made only to show off. Enormous codpieces, crazy skirts, breastplates with sculpted pecs and abs, etc. (also see below)

Now, it's still impractical to FIGHT in ceremonial armour, but Carian Nobility (and ER as a whole) already has a well-established tendency of doing so. Plus, it aligns directly with what we know of Rellana's character: she's a wizard-princess turned warrior that really wants to catch the attention/affection of Messmer. Thus she wears armour that declares her as Knight, Noble, and Woman.

[nanowrimo]

Beyond the Word Count: A Book Editor's Guide to Writing a First Draft

Every year, we’re lucky to have great sponsors for our nonprofit events. First Draft Pro, a 2023 NaNoWriMo sponsor, is a beautifully designed writing app for fiction writers. Today, they've partnered with Kelly Norwood-Young, former book editor for Pan Macmillan and Penguin Random House, to bring you some pro tips on writing your first draft:

In my career as a book editor, I’ve reviewed hundreds of manuscripts. I've seen the joy of authors creating compelling tales, but also how disheartening it can be to rewrite a disjointed story. I’m here to give you some strategies to address common pitfalls so that you not only reach your NaNoWriMo goal, but also lay the groundwork for a manuscript that truly deserves to be called a gripping novel.

1. Have a plan.

Even if you’re more of a ‘pantser’ than a ‘planner’, it's really helpful to have an outline. I have two favourite approaches for this: the structure-first approach, and what I call the ‘Phoebe Waller-Bridge approach’.  

The structure-first approach

There are a lot of narrative frameworks for story structure, but the most foundational in Western fiction is the three-act structure. Here’s a handy guide that breaks each of the classical three acts into a day-by-day guide to NaNoWriMo: 

8-day guide to Act 1

14-day guide to Act 2

8-day guide to Act 3

The Phoebe Waller-Bridge approach

I love this quote from Phoebe Waller-Bridge: ‘I’ve never thought structure first. I’ve always thought material first, jokes first, character first ... But knowing the end really helps. Then you just go as far away from the end emotionally as you possibly can.’  

Sketch out your major story arcs, your character’s desires and conflicts, and the world they inhabit. The more you know your story's world and inhabitants, the less you'll stray into scenes that lack purpose or create plot and character inconsistencies. 

2. Keep the story moving.

Each word needs to propel your story forward. Superfluous details or tangents that don’t serve the narrative stall the momentum you’re trying to generate for your reader. 

There’s a trick you can use to move your story forward, called the question of reversibility. Ask yourself: How difficult would it be for my character to reverse their decision? The harder it would be for them to turn back, the more you’ve moved the plot forward. 

3. Plant clues carefully.

Plant important elements early and make sure every element, however subtle, serves a purpose (i.e. Chekhov’s Gun). 

Be sure to set up necessary components for your climax so that you can steer clear of Deus ex Machina (having that strong outline will help you here), and avoid red herrings unless they serve a clear, meaningful purpose (e.g. you’re writing a mystery and your readers expect some false leads). Misleading your readers without a payoff can erode their trust.

4. Write for the reader, not yourself.

‘There is only one thing you write for yourself, and that is a shopping list,’ insists Umberto Eco in On Literature. Even if writing, for you, is a therapeutic outlet, a form of self-expression, or a way to leave a legacy, you’re still writing to say something to someone else. Your story simply won’t be as strong if you forget your reader’s perspective. 

5. Keep daily editorial notes for your future self.

While editing should wait until at least December, end each day with a brief reflection, noting any off-course deviations, potential inconsistencies, areas to research further, or moments of inspiration to revisit when you start editing. 

These daily notes will be invaluable during the editing process, helping you to remember insights that are no longer fresh when you come back to the manuscript later.

6. Embrace the first-draft mentality.

There’s a lot you can do to ensure that your first draft is the best it can be before the end of November—but just as important is to understand that all first drafts have flaws.

As a book editor, I've witnessed manuscripts transform, sometimes unrecognizably, from their first drafts. Embrace the uncertainty and creative detours—because it's from this beautiful chaos that your story will find its true voice. 

Kelly Norwood-Young is a seasoned book editor and proofreader with comprehensive experience across various facets of manuscript editing. Her background includes roles at Pan Macmillan and Penguin Books, extending into a successful freelance career working with award-winning authors. Kelly's work, known for its precision and sensitivity to the author's voice, has been integral to the success of both new and established writers globally.

Try out First Draft Pro: All NaNoWriMo participants can use the discount code NANOWRIMO2023 for 20% off a premium subscription to First Draft Pro! Offer expires January 31, 2024.

[spirit-meets-the-b0ne]

House of the Dragon was built to fail

Which the greatest shame of that is, I truly believe they got an incredible cast of talented actors, it's distressing to see them largely wasted. I've been an HBO fan (in a Stockholm kind of way) for the better part of two decades and even some of their usual pitfalls were accelerated here. While it's easy to just blame Ryan (5 spits for an enemy Condall) it still feels like there's more than just writing or directing so this post won't focus as much on the characterization follies but more on the story's infrastructure. While budgetary concerns with a show like this are obvious considering the dragons cost a great deal of time and money it is odd to me that this is a series rather than a mini-series. By that I mean, HBO for most of their big productions had seasons ranging from 10-15 episodes (Sopranos S1 13 episodes, True Blood S1 12 episodes, The Wire S1 13 episodes, etc) so this is exceptionally short of a season for House of the Dragon. Game of Thrones original run was largely a 10 episode format until the later seasons which were also notably shit.

This structure was never designed to give the characters or an audience time to breathe. While this is something that is continually brought up across the cinema/film community these days it seems especially important here. It also seems very easy for an audience to decide against investing time and energy into a series that only holds you for 8 weeks and then takes another 2-3 years of production. As most of the audience knows, it isn't like there is a shortage of materials for the show to incorporate. It's an active choice to not dive more into the lives and circumstances of these character and their relationships. Now, I'm not expecting Lost 2.0 where every character will get an episodic focal point and backstory. Still, you have plenty of non-dragon riding characters whom you could spend time with that don't require maxing out your VFX budget for. Because as of right now from the posts I've been seeing it's clear that most of the general audience at this point is more invested in the dragons than any human character in the show save for some Stans. I can't say I blame them. Most every character at this point is barely tolerable or straight up deeply unlikeable. That's a failure of the writers and directors explicitly. I think the actors are genuinely doing the best they could with the material they're given.

It's frustrating because while I was expecting this show to disappoint (both because of GoT's outcome and HBO's late game losing streak shout out to True Blood for getting so bad I never watched the final episodes) this production is hitting that wall way sooner than expected. If there was another 2-4 episodes to actually develop the characters and their relationships (even with piss poor writing) it might have helped tremendously but this structure is going to leave an audience wanting more and not in a good way. If there is a season 3 I can't imagine in 2 years that a lot of the current viewership would return. So even the "fix it" episode rewrites fans make don't seem like enough, to me you genuinely need more material, more for an audience to invest in or feel a part of. If this season was even 10 episodes there would have been so much room for improvement. The Last of Us was able to deliver a satisfying plot and character arcs with 9 episodes and there's a huge difference with the way that was received by audiences vs. HotD. The obvious difference is the amount of time they needed to tell that story vs. the amount of time you rightly needed to tell this one, which is case in point why HotD needed more time. So, while a short season can deliver satisfaction in some cases, I don’t believe as a rule it should all be common place to condense stories and characters. Especially considering HotD's compression is coming largely at the expense of the women in the show (Rhaena, Jeyne Arryn, Helaena, Nettles, Rhaenrya and Alicent's respective character assassination, etc). That's to say even if these character plots deviate from the canon they have the room to grow and develop a character completely to an audience. If you're going to change a character from the source material at least make them a well-developed different person.

[alpaca-clouds]

Worldbuild Differently: Unthink Patriarchy

This week I want to talk a bit about one thing I see in both fantasy and scifi worldbuilding: Certain things about our world that we live in right now are assumed to be natural, and hence just adapted in the fantasy world. With just one tiny problem: They are not natural, and there were more than enough societies historically that avoided those pitfalls.

You know what i hate in fantasy and science fiction media?

When it is patriarchal, even though it says it isn't. Because the people writing it have not really looked into the many ways that patriarchy has influenced out world.

Let me explain this once again.

Patriarchy per se in not about the subjugation of women, though this is a logical outcome of it. But in general patriarchy is just about one thing: Ownership is a thing, and whatever you own (both in terms of physical stuff, and stuff like power and influence) gets inherited down the patrial line. So from father to son or from father to sons. Women cannot inherit stuff or can only inherit when there is not a male heir to begin with.

But this brings a problem of course: Until fairly recently in human history we did not have DNA tests. As such the only way to make sure that the patrichal line of inheritence could be ensured was to make sure that every woman only ever had sex with one man. Now, a man did not necessarily only have one woman to ensure this, but the other way around it needed to be ensured. So, women and their sexuality needed to be heavily controlled.

And because it turned out that if you allowed men to have multiple women, and women only to ever sleep with one men, it created a situation where some men never got a wife... Well, enforced monogamy was born. And of course also heteronormativity, because sexuality suddenly was always just about procreation.

Why do we know that? Well for once, because logic, but also because we thankfully got to observe other cultures (before we fucking destroyed most of them), in which we did not have patriarchy, and in which hence all those other things were way, way lessened. Close to none heteronormativity, no mononormativity. And yes, also: In societies that are matriarchal, men are not as controlled as women are in patriachal societiies. Which makes sense, of course, because the matriarchal society has inheritance from mother to daughter, and a mother will always know who her daughter is. It does not matter whether the father has only slept with the mother or with ten other women.

And as I said: No, patriarchy is not the natural way of being. The reason why it is more common in human cultures in the real world is again simple from a logical perspective: Men in a matriarchal society are fairly free, and do have some incentive to try and establish a patriarchy. Some do. While women under patriarchy are less free and hence have less abilities to try and establish matriarchy.

However, we also have to see that patriarchy is very much a result of certain real world effects. And a fantasy world with magic and dragons and what not, will not necessarily develop the same kind of stuff.

Hells, even if we had a patriarchal fantasy world... If there was a spell available to quickly check whether a man and a kid were blood-related, that patriachy might not develop the kind of control over women that developed in the real world.

But yeah... I am personally sick of writers (often white cis women), who wanna write a world without patriarchy and then still will write a world with mononormativity and heteronormativity. Two things that are a direct result of the patriarchy.

Also: Folks really should keep in mind, that "but in the real middle ages" and stuff like that are actually not that good of arguments. One, because of the holes we have in the primary materials, and two, because of the fact that if you write high fantasy, you are writing in a world that are explicitly not the real middle ages, but a world with magic, and dragons and what not. Don't assume that everything is gonna be the same. Part of worldbuilding is to actually think about how the culture your world is set in has developed.

And yes, this is something I am often annoyed with. There is some amazing worldbuilding in the works of Tolkien. But fuck Tolkien in this regard: There is absolutely no valid reason within the worldbuilding on why the world is patriarchal in every way. It does not make any sense for some of the cultures we see.

[read-marx-and-lenin]

Would you consider making those strong philosophical arguments? As an atheist, I vehemently oppose religion as a worldview and as an institution, and while I do recognize a lot of pitfalls (impossible to tell which religion is correct, fallacious arguments about the afterlife, how it's a tool of class domination), I'm not sure what you mean by strong arguments.

There is a long history of atheist and anti-religious philosophy, both on the left and within other social and political currents. I am not an expert on religious philosophy myself and I would much rather you defer to others more knowledgable than I on the subject. The Marxists Internet Archive has plenty of works by various authors on the subject of religion, and beyond the left there are plenty of works by atheist writers arguing either in favor of disbelief or against arguments put forth by religious writers. I'm not asking for anything new, I'm just disappointed by how common it is for (primarily Western) leftists to shy away from directly critiquing religion as a concept and instead falling back on the same old "religion is fine, it's just Institutionalized Religion™ that's the problem" type of messaging. Atheism gets a bad rap in our circles, probably because so many folks still associate it with "New Atheism" or so-called "Reddit atheism" and folks like Sam Harris, Christopher Hitchens, or Thunderf00t. Atheism is not bigotry and it is not the sole purview of cishet white men.

By "strong arguments" I mean arguments that directly address the irrational and immaterial foundations of a faith-based supernatural worldview. A belief in divine powers that supersede natural law is fundamentally incompatible with a naturalistic and scientific worldview. Science is based on one major fundamental axiom that is necessary for the scientific process to produce useful knowledge, and that axiom is that all phenomena in the universe are governed by fundamental and unchanging natural laws. If supernatural forces exist that are untethered from any such laws, then science is rendered unable to produce useful knowledge as any observation cannot be trusted to be the result of natural processes alone.

If one believes their religion to be scientific, then any claims made by the religion must be falsifiable and understood as governed by natural law. There cannot be any God of the gaps, there cannot be any claims of omnipotence or omniscience, there can only be natural phenomena and theories explaining the nature of said phenomena. If your gods are entirely natural in origin and you believe you can prove their existence, then great. You're not relying on faith or any other sort of irrational or immaterial argument. If worship were involved, I would still question the point of that, but I wouldn't classify your belief as religious in the traditional sense.

However, if you do truly have faith in a divine, supernatural force that supersedes natural law, then that belief is logically incompatible with a scientific worldview. The concept of non-overlapping magisteria is just a bit of nonsense to avoid having to deal with the fact that claims are either falsifiable and thus subject to scientific inquiry, or unfalsifiable and thus indistinguishable from their own antithesis. If God hides from prying eyes, then how is that any different from there being no God? If God doesn't hide, then where is he? If God interferes with the natural world, then how can we distinguish between natural and supernatural phenomenon? If God doesn't interfere, then why should we care about God?

Prophecy and divine revelation are also irrational. If there are facts about ourselves and the universe that cannot be found through observation of the natural world but can only be revealed to certain special individuals, then how can we distinguish these facts from fiction? If the claims of the prophets are falsifiable and can be tested, then what makes them supernatural? Plenty of scientists have claimed ideas came to them in dreams, but they didn't then write a paper that said "I dreamed this, therefore it is true." They did the work to demonstrate to others that these ideas are rigorous, logical, and backed by observation. Did God give them these ideas, or was it simply their own minds that came up with them? If there is a way to distinguish between the two, then let us distinguish them. If there is not, then there is no point bringing God into the matter.

If the existence and non-existence of a phenomenon or substance are indistinguishable from each other, then non-existence should be assumed until such a time at which we can distinguish between the two and determine whether or not the thing exists. If someone wants to claim that humans have souls, that there is an afterlife, that prayer or magic or sacrifices do anything meaningful, then they would need to define their terms carefully and propose a means of testing their claims, because unfalsifiable claims are indistinguishable from their own antithesis.

[jasminewalkerauthor]

Trope chats: Amnesia

Amnesia, the mysterious and often poignant loss of memory, has long been a compelling literary device used to shape narratives, intrigue readers, and explore the complexities of identity and self-discovery. This essay delves into the multifaceted use of amnesia in literature, tracing its roots, examining its evolution, and identifying potential pitfalls associated with its application.

Amnesia serves as a versatile literary device, capable of weaving intricate and emotionally charged narratives. By presenting characters with fragmented or erased memories, authors create a canvas for exploration into identity, morality, and the human condition. The narrative potential lies in the inherent tension between the character's past and present, as well as the suspense surrounding the uncovering of forgotten secrets.

The use of amnesia in literature has evolved over time, adapting to shifting cultural and literary trends. Early instances, such as in "The Odyssey," employed amnesia as a divine curse, setting the stage for subsequent explorations of memory loss. In the 20th century, psychological thrillers like Alfred Hitchcock's "Spellbound" and literary works like "The Bourne Identity" popularized the theme, introducing amnesia as a result of trauma, espionage, or scientific experimentation. In contemporary literature, amnesia is often utilized to explore the malleability of memory and the unreliable nature of personal narratives.

While amnesia can add layers of intrigue and suspense to a narrative, its overuse or mishandling can lead to pitfalls. One common challenge is the risk of cliché, where amnesia becomes a predictable plot device lacking depth. The sudden recovery of memories, especially conveniently timed revelations, can strain credibility if not handled with nuance. Additionally, authors must navigate the fine line between revealing enough to engage readers and withholding information long enough to maintain suspense without frustrating the audience.

Furthermore, the portrayal of amnesia can perpetuate misconceptions about memory loss. Real-life amnesia is complex and varied, encompassing different types and degrees of memory impairment. Fictional depictions may oversimplify the condition, contributing to misunderstandings about its causes and consequences.

The use of amnesia in literature raises ethical considerations, particularly in how it represents individuals with memory-related disorders. Sensitivity is crucial when portraying characters grappling with memory loss, as their experiences should be grounded in empathy and respect for the challenges faced by those who live with such conditions.

Amnesia remains a captivating and evocative literary device that continues to captivate readers and challenge writers. Its evolution across genres and time periods demonstrates its enduring appeal. However, authors must navigate potential pitfalls with care, avoiding clichés and ensuring that their depictions of amnesia are nuanced, respectful, and grounded in an understanding of the complexities of memory and identity. When wielded thoughtfully, amnesia serves as a powerful tool for exploring the profound mysteries of the human mind and the enduring quest for self-discovery within the rich tapestry of literature.