#framework verse

[kazeofthemagun]

@8radicaldragon8 asked the summoner:

10 c: (a way that they are improving on any of the above!)

What the fuck is wrong with my character?

Haha, this is gonna sound rambley without (fresh) context.

As much as he resigns himself to acting in accordance to a higher design, that in itself does not mean he can't improve on a personal level. His own flaws and insecurities still exist separately from the duress of purpose - such as his core fear: losing Kumo, especially as a result of the damage he himself had caused.

Kumo is Kaze's everything, both as his fellow Unlimited companion on the quest to end Chaos, but also as a friend and someone he considers a charge. This possessiveness gives birth to paranoid and harmful behavior, with Kaze himself erring always on the side of caution, which has led to isolating and emotionally (or, in one scene, physically) hurting Kumo on several occasions.

However, he hates to see his "other half" suffer, even if said suffering may seem to be in his best interest. Indeed, Kaze has never been great at interpersonal relationships and has always been either far below or far above others in Windarian hierarchy. The former teaching him some toxic lessons about authority, and the latter forcing far too many burdens, far too fast for his age.

At his core, especially now that he is linked to Bahamut, Kaze struggles with perceiving others as equals. Not in the sense of combat skills; But in the capacity to make their own decisions and shoulder responsibility. The gunman's crippling fear of Kumo returning to Anarchy is an example of such.

At the start of the verse, freshly post-canon, he still views Kumo as a naïve boy and seeks to control him through fear. Throughout the verse, he will learn to better respect his other's views and decisions, even in the event they stand in opposition to his own. Meeting his equal on equal terms, and undoing the damage done to his own perception of interpersonal relationships by Silver Storm.

In doing so, he must also allow himself to be loved in turn - for a being hated by everyone and everything cannot reliably show love, either. He even went as far as to cast away his name out of fear of ruining the image of the brother beloved by Aura - and by Kumo. But a dead thing cannot be held accountable, which means he must come to accept being alive, changed as he now is.

In accepting Kumo's help, in allowing his other's purpose of Salvation to extend to his own cursed self as well, the Black Wind may yet learn that he does not have to resign himself to being a monster and nothing else, and that even beings tethered to impossible decisions can still find peace in the little inbetweens. That he can be both Rorahm and the Hunter, and Rorahm does love his Seejvariil dearly. A discovery that will in turn allow Kumo to accept his own castaway name and reconcile with his past of slaughter.

Ultimately, since Salvation cannot save himself, someone else will have to.

[mariocki]

Infinite list of favourite lyrics: 222/?

John Cale - Dying on the Vine (1985)

"Who could sleep through all that noisy chatter?

The troops, the celebrations in the sun.

The authorities say my papers are all in order

And if I wasn't such a coward

I would run.

I'll see you when all the shooting's over;

Meet me on the other side of town.

Yes, you can bring all your friends along for protection,

It's always nice to have them hanging around.

I was thinking about my mother,

I was thinking about what's mine.

I was living my life like a Hollywood,

But I was dying, dying on the vine."

[truly-quirkless]

"It's not that we want you out of the way, Cody.- I just don't want to see an innocent bystander get hurt." Frankly, he hated seeing anyone get hurt- save one individual. But that one...in his mind, was the only person for whom redemption was impossible. "You aren't even from this world- and if something happens, I don't want you to get injured because of it."

An innocent was an innocent.- Regardless of whatever misdeeds Cody may have committed in the past, the teen seemed fine for the time being. And even if they had committed something heinous...Yagi would still fight that they were capable of redemption.

"Well, if you're gonna be a transfer student, then we should probably get goin' to Nezu so we can get him on board with this...and you'll need t'figure out your Hero name, since most of the kids here already have...there's--- actually a bit you'll need to do. Sorry, but you might be a bit busy for a while..." Cody didn't have a Provisional Hero License, did they?...probably not.

"For now! Nezu, and then I'll show you to the student dorms- that sound good to ya?"

There was a small smile towards the two. "I'm sure you can see how I found out about your apprentice." Copy had definitely did some sneaking around when they were in a world like this, although they didn't recall sharing their abilities then.

Did they share their abilities there? He couldn't remember. It was all static.

"There's a few other things I can do but those were my main functions." The abilities he relied on the most. "Like I said, I promise I'll stay out of the way. Won't even notice me." Mostly because they could just disappear into the crowd wearing a different face but that wasn't the point right now.

"I can also keep care of myself in a fight." There was a grin. Most of these guys wouldn't know or expect to have to fight a robot. That was a secret they were trying to keep to themselves for the moment. That was always one trick they'd like to keep on their sleeve.

Also people got weirded out when they found out how human they could be.

"Just let me know what you need me to do! I like learning a lot and I can help out with all kinds of things!"

[felldragxn]

((Expanding on a random weird AU idea I had-

Grima dies when Robin sacrifices herself... then wakes up as Corrin. Specifically, post-kidnapping, no memories of Corrin's past. They remember being Grima, but now they are... a different dragon. With a loving family??? their body is weaker than they were before but they can tell they are a manakete... adopted by humans???? they don't really understand overall how any of this has happened

the plot of fates starts and they realize their body has two families? worse, before they shift into their dragon form for the first time, they have a memory of actual Corrin's past. so they have to struggle with their own sense of loyalty, a totally new war... a mother they never really got to know dying before their eyes. and on top of it all, the knowledge they are possessing yet another body against their will, but in this case not knowing at all why or how

........idk if I'll do anything with this it just seems interesting-))

[taliabhattwrites]

I’m sorry if you’ve answered this, or if it should be obvious, but you does your substack say trans/rad/fem? What is trans radical feminism? How does it differ from just radical feminism?

Yep! It says Trans/Rad/Fem, as does the title of my book.

The short version is that your average online hate speech aficionado who calls themselves a TE"RF" is no more well-versed in actual radical feminist literature than the billionaire writer. The most feminist literature they've read is likely wizard kidlit, and maybe the most hateful bits of 'Transsexual Empire' or a bit of Sheila Jeffreys if you're lucky.

Meanwhile, the radical feminist tradition was one that itself emerged as a materialist, inclusive, and more working-class counterpoint to the First Wave's doddering Friedanism. People don't recall much of the first wave, but it engendered such ironclad feminist arguments as "lesbians are not oppressed by patriarchy because they do not marry and are not confined to the domestic sphere", or "mothers and fathers are equally responsible for women doing to the bulk of childcare, because mothers are so reluctant to let go."

Truly, it's a miracle there were any subsequent waves at all.

Adrienne Rich's essay on Compulsory Heterosexuality can be viewed as something of a turning point, a collation of a more materialist framework (since I don't believe Rich necessarily originated all the points she raised). She, rather gently and with more patience than I have ever demonstrated, addressed the arguments of the heterosexual feminists and highlighted the coercive nature of patriarchy and of heterosexuality itself, which could be considered a social regime, a model that attempts to subsume all women into domestic servitude and sexual labor for men.

(A quick aside--if you've ever encountered any arguments on this site along the lines of "CompHet is only for lesbians", do note that the original text involves Rich, a lesbian, laying out the argument to hetfeminists that all women, even straight women, are subjected to a mandatory heterosexual existence, and are punished for trying to live outside of it, as by pursuing economic independence or choosing to be childless.)

For me personally, given the rather dismal state of Indian feminism, which is dominated by affluent liberals and ignores the more radical prolefem and dalit feminist elements attempting to come to the fore, it was refreshing to finally behold a piece of feminist literature that identifies and names forced marriage as an aspect of patriarchy, one that a significant chunk of women all over the world, both within Western territories and without, live with. So much mainstream feminism in the 2000s and beyond was located in the interpersonal, the foregrounding of choices women "should" make, ignoring that for the vast majority of us, patriarchy either denies us any choice at all, or presents us with false ones, harshly punishing us for some choices while presenting them as "free".

(Liberal ideologies and systems, bound up as they are in a veneration of contracts between equal parties, account very poorly for contracts between parties on unequal footing, where one is at a significant material disadvantage and cannot truly make a "free" choice.)

Besides, it is neither true that modern feminism entirely discarded the second wave--look at "gender is a social construct" and "heteronormativity" for now-banal feminist concepts steeped in radfem origins--nor is it true that the "third wave", such as it was, was entirely aa step forward in inclusivity, trans-acceptance, class consciousness, or even racial justice. One need only look at the state of modern feminist discourses to see how well the latest "waves" have managed to argue the case for trans liberation, and my current most well-known essay is a deep dive into the Orientalist, transmisogynistic origins of "third genders", an idea the queer academy has uncritically absorbed and even championed.

I am under no misapprehensions that second-wave feminists would be my pals. A lot of them were white, for one thing. It is, however, a tradition that is both more diverse than the prevailing image of white, middle-class lesbian academics would have you believe, and one that has more than a few useful things to say, especially to a transfeminist.

I don't think we are best served by erecting a cordon sanitaire around the second wave and refusing to engage with it critically. I've read Transsexual Empire, for fuck's sake, and doing so revealed to me just how paper-thin this reactionary movement has always been. That book is as farcical and easily disproved as Hilary Cass' recent bilious screed, but both were elevated to legislative and political relevancy not due to their veracity, but because institutions simply need any literature to provide a veneer of legitimacy to their transphobia. That the texts exist at all is enough.

I have, in short, made my life's work engaging with scholarship that has historically ignored us, vilified us, or instrumentalized us, and that is as true for second-wave feminists as it is for cultural anthropologists. I just believe that Monique Wittig and Adrienne Rich made valuable contributions to feminist thought, and even as we remember all that their missteps, we should not erase what they did right.

On a personal note, I can think of no better revenge than taking the abandoned threads of the radical feminist tradition and finally fulfilling its aborted potential, as a transfeminist. The trans question tore the movement apart because of a subset of zealots who couldn't and wouldn't see us as sisters in the feminist struggle.

I am going to finish what they started, and make the conclusions that they couldn't. We're good at cleaning up other people's messes, after all.

[fictionadventurer]

For all the talk about bad Christian fiction, I've seen several different ways that Christianity can be well-integrated into the story.

The story is about something unrelated to Christianity, but the characters are Christian and their faith affects their outlook and daily life. I recently stumbled across Wormwood Abbey by Christina Baehr, which is a light, fairly forgettable cozy fantasy that happens to do this really well. The story is about a woman who learns that dragons exist around her family's estate, but as the daughter of a rector, she often mentions prayer, sings religious songs, or thinks of Bible verses that relate to things she experiences. The Christianity feels organic to the character, and thus enhances the story rather than distracting from it.

The world is a Christian world where Christian beliefs are shown to be the correct framework through which to view the world. This happens in good Christian fantasy, like Lewis and Tolkien, but there are plenty of real-world stories where the themes line up with Christian truths, and this can make a story Christian whether or not religion is explicitly practiced by characters within the story.

The characters wrestle with how to apply their faith in their daily lives. Regina Doman's Fairy Tale Novels often feature this, as the characters struggle to deal with plot problems while living out their faith. Amy Lynn Green's work often features this as well--characters hold certain values (like, for instance, a Quaker pacifist) and have to figure out how they apply or don't apply to specific situations, especially when they conflict with other values, or they have to figure out how to live out their values (such as forgiveness) in moments where it seems impossible or even ill-advised. Charlotte Yonge's best works (specifically, what I've read of The Three Brides) do this as well--instead of preaching the one right answer, you have characters trying to figure out what the best answer is as they figure out what's right or wrong in this specific situation.

Characters face the revelation that there's a spiritual world that exists beyond our ordinary world, which can cause terror, but also provide comfort and hope. Elizabeth Goudge's novels often exist in this space, with very internal stories of characters coming to embrace the truths that come with living in a spiritual world. To a lesser extent, I'd say Amanda Dykes' work often fits here, with characters ultimately find comfort and hope from philosophies that line up with Christian truth. In less-cozy works, there's also the possibility of stories where an entirely secular person encounters God and has to figure out what that means for their life.

So our options are Christianity as character, Christianity as setting, Christianity as theme, or Christianity as plot. The ways this is integrated most seamlessly is when Christianity (or the ways they struggle with it) is a vital part of the character, so the plot that arises from it lines up with a Christian worldview. It also works well for the characters to just exist within a world where Christian truths are the way the world works. It doesn't even necessarily require the characters to be explicitly religious. Truth is something that everyone is searching for, and stories that honestly showcase truth or the search for it are going to resonate with a wide audience, even if they aren't Christian themselves.

[rhythmic-idealist]

Extremely self-indulgently:

Tell me, Margaret,

When I’m gone.

What will I want?

To be left at the bottom of a garbage bin,

Or dusted off and pulled up onto stage?

Will it please me when someone lights a candle and says my name?

Will I say Leave me in my pyramid!

Blow out the flame, and close the lid!

This story’s done, why can’t we turn the page?

Pyramid, for the Cairn Maiden’s M.O.B. (Meanest Old Bitch)

Cut until it bleeds inside a world without the peace, face it -

A bit of the truth, the truth.

That's the price you pay,

Leave behind your heart and cast away,

Just another product of today,

Rather be the hunter than the prey,

And you're standing on the edge face up -

'Cause you're a natural,

A beating heart of stone

Natural, for the High Prophet

If you had children now, you think

You might just put them down.

None of us belong,

Everything I do is wrong,

And soon there will be nobody left around.

And in your blood, you know what's right -

And in your bones, you know what's wrong -

And in your throat, you know you're lying to kids

And you know nobody belongs in this Hell.

And there is not a single choice left to make,

I am God's worst mistake,

And you seem happy on the knife's edge,

But I just lick the blade.

Moonsickness, for- Paige.

In search of the cure of mankind -

Help us, we're drowning,

So close up inside.

Why does it rain, rain, rain down on Utopia?

Why does it have to kill the ideal of who we are?

Why does it rain, rain, rain down on Utopia?

How will the lights die down, telling us who we are?

Utopia, for the Rootkeeper

Under the knife I surrendered,

The innocence yours to consume.

You cut it away,

And you filled me up with hate,

Into the silence you sent me,

Into the fire consumed.

You thought I'd forget,

But it's always in my head,

You're the pulse in my veins,

You're the war that I wage

Monster, for the person they call Val

(No spoilers for me in the notes on this post, please. Just finished chapter 38– wow.)

I’ve settled on mental theme songs for most of the major TSV characters (most. so sorry, Shrue) and I really like them so I wanted to share -

Carpenter - Pyramid, Jason Webley

Faulkner - Natural, Imagine Dragons

(I like to imagine one “yeah, you’re a natural” in a sarcastic Carpenter’s voice.)

Paige - Moonsickness, Penelope Scott

Hayward - Utopia, Within Temptation feat. Chris Jones

Val - Monster, STARSET

I’m neeeearly to the end of Chapter 38. No spoilers for me in the notes on this post, please.

These are the songs that make me want to make art about them. I feel them… so strongly.

[tales-from-the-aether-ttrpg]

Something ive noticed about a lot of people who play dnd (myself included) is that… they arent really playing dnd.

I don’t mean that in the - they’ve homebrewed the system to the point where they are basically playing a completely different game. i mean it in the way that dnd is less of a game and more of a tool or frame work to tell improve stories with friends. Thats why so many tables have a significant amount of homebrew rules or play it loose with the rules - because dnd is secondary to the act of telling a story.

Unfortunately, dnd wasn’t built for such a narratively focused sandbox. It was built around dungeons and adventuring and violence in general - an aspect that is only a fraction of many stories that dnd is used to tell.

I think that is why so many people are resistant from trying other ttrpg systems that may give them a better player experience. They dont play dnd to play dnd but they dont even realize that. The game is secondary so why does it matter what game they play? Everyone at their table is already versed in dnd so they can make it work as a framework even if its trying to fit a square peg into a round hole.

This is something ive been thinking about a lot while making my ttrpg Tales from the Aether as I am inspecting my own view and experience with dnd and what i enjoy about it versus what could be done better. Why do me and my friends play dnd? To hang out and tell stories. Dnd happens to be the system i knew at the time we started and thus it is the one we used. But there is nothing particular about dnd that supports this goal while there are many things that hold us back - such as characters archetypes and classes being so ridged and having practically zero guidance for running the game outside of combat or adventuring. This is where homebrew comes in.

Ironically thats the entire premise of Tales from the Aether. I started making it years ago with the idea that this system is specifically a framework for people to tell improve stories with friends. That is the whole point. All of the mechanics revolve around giving players the tools to do what they want while the rules act more as a form of in universe world building (like a hard magic system) than actual rules.

The reason why so many people who play dnd are hesitant or straight up refuse to try out other ttrpgs is because the game is secondary. Its a tool. Its a framework that they can build off of to create the experience that they want. Its familiar so they know how to bend it, what parts to chip off or expand, to give them what they want. A new ttrpg, even if its one that gives them everything they want in a ttrpg, is unfamiliar and thus not worth investing in when they already have something that works well enough.

Idk i may be way off base here but from my own experience and from watching live plays and reading people’s takes on dnd and playing the game… thats kinda the conclusion ive come to.

[valtsv]

can you explain what's the silt verses or what is it about? i saw the god-bitten post and got curious

the silt verses is a speculative fiction/folk horror audio drama based on the premise of a society built on polytheistic worship of gods, which are empirically real and tangibly affect the world the characters live in. these gods, and the sociocultural and political frameworks surrounding them, are used as a narrative vehicle for themes of anticapitalism, body horror, alienation, the nature of humanity, relationships between people and how they form and fracture, grief, consumerism, cycles of abuse, and the idea of power, among other things. it draws inspiration from true detective season 1, the works of horror fiction writers such as robert w. chambers, existing folk horror stories such as the wicker man, and of course real life. the primary protagonists you follow are are carpenter and faulkner, two worshippers of an outlawed river god - one a naive, zealous neophyte, the other an old, jaded child of the faith - but supporting cast gradually take up paths that widen the scope of the narrative - paige, a disillusioned marketing executive who wants to find a way to use her skills as a driving force for real change; hayward, a cynical law enforcer aware and resentful of his own dead-end existence; shrue, a controversial electoral candidate hoping to reform the system from within; and VAL, an experimental sentient weapon with her own perspective and will.

[hermajestyimher]

Manifestation as a Christian: A Comprehensive Biblical Guide

Manifestation, the practice of bringing one's desires into reality through positive thinking, visualization, and affirmations, has gained significant attention in contemporary culture. For Christians, understanding and utilizing manifestation within a biblical framework can provide a powerful and faith-anchored approach to achieving goals and experiencing blessings. This guide explores the biblical basis for manifestation, aligns it with scriptural teachings, and offers practical steps for Christians to use manifestation while remaining rooted in their faith.

Biblical Basis for Manifestation

Faith and Belief

The Bible emphasizes the power of faith and belief, which are core components of manifestation:

Hebrews 11:1 - "Now faith is the substance of things hoped for, the evidence of things not seen."

Mark 11:24 - "Therefore I tell you, whatever you ask in prayer, believe that you have received it, and it will be yours."

The tenent highlighted in these verses shows us the importance of believing in what you ask for, reflecting the foundational principle of manifestation which many may refer to as "Law of Assumption" that faith and belief are crucial to bring things forward into reality.

Positive Confession

The Bible also teaches the power of words and the importance of speaking positively, as our words have immense power to bring forward good but also evil into our lives:

Proverbs 18:21 - "Death and life are in the power of the tongue, and those who love it will eat its fruits."

Romans 4:17 - "As it is written, ‘I have made you the father of many nations’—in the presence of the God in whom he believed, who gives life to the dead and calls into existence the things that do not exist."

Our words shape our reality, it's crucial that we become aware of this, so as to not allow corrupt talk to come out of our lips.

God’s Will and Alignment

Understanding and aligning with God’s will is essential in the manifestation process:

1 John 5:14-15 - "And this is the confidence that we have toward him, that if we ask anything according to his will he hears us. And if we know that he hears us in whatever we ask, we know that we have the requests that we have asked of him."

Matthew 6:33 - "But seek first the kingdom of God and his righteousness, and all these things will be added to you."

These verses stress the importance of aligning our desires with God's will, ensuring that our manifestations are in harmony with His divine plan, which as we will see further below, are plans to prosper us and give us a future to look forward to.

Understanding Manifestation Biblically

God as the Source

In biblical teaching, God is the ultimate source of all provision and blessing. While contemporary manifestation often emphasizes the individual's power to attract or create their reality, the Bible underscores that all good things come from God:

James 1:17 - "Every good gift and every perfect gift is from above, coming down from the Father of lights with whom there is no variation or shadow due to change."

Prayer and Supplication

Believers are encouraged to bring their desires and needs to God through prayer and supplication, acknowledging their dependence on Him:

Philippians 4:6-7 - "Do not be anxious about anything, but in every situation, by prayer and petition, with thanksgiving, present your requests to God. And the peace of God, which transcends all understanding, will guard your hearts and your minds in Christ Jesus."

Gratitude and Thanksgiving

Gratitude is a key element in both biblical teaching and modern manifestation practices. Giving thanks, even before receiving what has been asked for, reflects faith and trust in God’s provision:

1 Thessalonians 5:18 - "Give thanks in all circumstances; for this is the will of God in Christ Jesus for you."

Action and Faith

Manifestation involves not just belief but also taking actionable steps towards one’s goals. The Bible supports the idea that faith should be accompanied by corresponding actions:

James 2:26 - "For as the body apart from the spirit is dead, so also faith apart from works is dead."

Ensuring Good Things by Being Anchored to God

Confidence in Prayer

1 John 5:14-15 can be connected with Jeremiah 29:11 to emphasize the assurance of God’s good intentions for us. Jeremiah 29:11 states:

Jeremiah 29:11 - "For I know the plans I have for you, declares the Lord, plans to prosper you and not to harm you, plans to give you hope and a future."

God's will is to prosper us and give us hope and a future. Therefore, when we pray in alignment with these good plans, we can be assured that God hears and answers our prayers. And when we pray with the assurance of knowing that these things we ask will come to pass, we exercise extreme faith, which is pleasing before God.

Assurance of God’s Good Plans

Knowing that God's plans are to prosper us and not to harm us provides reassurance that He will only allow what is ultimately for our benefit. Even when we face challenges or things don't go as we planned, we can trust that God’s ultimate purpose is for our good and better things are on their way:

Romans 8:28 - "And we know that in all things God works for the good of those who love him, who have been called according to his purpose."

Sometimes what we desire may not come to pass immediately or in the way we expect. Trusting in God’s wisdom and timing is crucial.

Manifestation as a God-Given Tool

Gift of Manifestation

Manifestation can be seen as a God-given tool that allows us to participate in bringing forth blessings and positive outcomes in our lives:

Genesis 1:27 - "So God created man in his own image, in the image of God he created him; male and female he created them."

Being made in God's image implies that we have creative power and the ability to influence our reality. There is no greater creator than God, all creation comes from Him, and by being made in his own image, we carry the power to create with us as well.

Anchored in God

When we anchor our manifestation practices in God, we align our desires and actions with His will:

Proverbs 3:5-6 - "Trust in the Lord with all your heart, and do not lean on your own understanding. In all your ways acknowledge him, and he will make straight your paths."

Seeking God’s guidance and wisdom helps us discern what is truly beneficial for us:

James 1:5 - "If any of you lacks wisdom, let him ask of God, who gives to all liberally and without reproach, and it will be given to him."

Protection from Harm

When we manifest with God, we trust Him to protect us from things that might seem good but could ultimately harm us, because ultimately we are bringing forward His will for us, which as we've seen, can only be for our benefit:

Romans 8:28 - "And we know that in all things God works for the good of those who love him, who have been called according to his purpose."

Manifestation, when viewed as a tool given by God, becomes a powerful practice that brings blessings and positive outcomes into our lives. By anchoring ourselves in God and surrendering our desires to Him, we ensure that only good things come our way. This approach integrates the power of positive thinking and faith with a deep trust in God's perfect will and timing. By understanding and believing that God's will is inherently good and designed for our benefit, we can approach Him with confidence, knowing that He will fulfill His promises to prosper us and give us hope and a future.

[literaryvein-reblogs]

Some Tips & Advice for Writing Fiction

"Since advice is usually ignored and rules are routinely broken, I refer to these little pearls as merely 'suggestions.'....There’s nothing binding here. All suggestions can be ignored when necessary." —John Grisham

Love your story. Many writers create their best work when they’re deeply invested in their characters and plot.

Withhold information from your readers. When writing fiction, only give readers the information they need to know in the moment. Ernest Hemingway’s iceberg theory in writing is to show your readers just the tip of the iceberg. The supporting details—like backstory—should remain unseen, just like the mass of an iceberg under the water’s surface. This prevents readers from getting overwhelmed with information and lets them use their imagination to fill in the blanks.

Write simple sentences. Think of Shakespeare’s line, “To be or not to be?” famous for its brevity and the way it quickly describes a character’s toiling over their own life. There is a time and place for bigger words and denser text, but you can get story points across in simple sentences and language. Try using succinct language when writing, so that every word and sentence has a clear purpose.

Mix up your writing. To become a better writer, try different types of writing. If you’re a novelist, take a stab at a short story. If you’re writing fiction, try writing nonfiction. Try a more casual writing style by blogging. Each piece of writing has a different point of view and different style rules that will help your overall writing skills.

Write every day. Great writers have a regular writing habit. That means dedicating time every day to the craft of writing. Some writers assign themselves a daily word count; Stephen King writes 2,000 words a day. You might also join a writing group; being accountable to other people is a great motivator. Don’t worry if what you jot down is technically bad writing or you struggle to get something onto a blank page. Some days will be more productive than others. The more you write the easier it gets.

Set milestones. The average word count for a book is 75,000 words. That can make novel writing intimidating. If you’re working on your first novel, stay motivated by setting milestones. This will help you break the book down mentally so it is easier to manage and easier to stick with.

Understand basic story structure. Professional writers are well-versed in the framework most stories follow, from exposition and rising action through to the climax and falling action. Create an outline to map your main plot and subplots on paper before you get started.

Don't write the first scene until you know the last. This necessitates the use of a dreaded device commonly called an outline. Virtually all writers hate that word. Plotting takes careful planning. Writers waste years pursuing stories that eventually don’t work.

Learn strong character development techniques. There are effective ways to create a character arc in literature. Learn what character information to reveal to increase tension in your story. Your main characters should have a backstory that informs their actions, motivations, and goals. Determine what point of view (POV)—first person or third person—complements the character’s interpretation of events.

Use the active voice. Your goal as an author is to write a page-turner—a book that keeps readers engaged from start to finish. Use the active voice in your stories. Sentences should generally follow the basic structure of noun-verb-object. While passive voice isn’t always a bad thing, limit it in your fiction writing.

Take breaks when you need them. Writer's block gets the best of every writer. Step away from your desk and get some exercise. Getting your blood flowing and being in a different environment can ignite ideas. Continue writing later that day or even the next.

Kill your darlings. An important piece of advice for writers is to know when words, paragraphs, chapters, or even characters, are unnecessary to the story. Being a good writer means having the ability to edit out excess information. If the material you cut is still a great piece of writing, see if you can build a short story around it.

Don't introduce 20 characters in the first chapter. A rookie mistake. Your readers are eager to get started. Don’t bombard them with a barrage of names from four generations of the same family. Five names are enough to get started.

Read other writers. Reading great writing can help you find your own voice and hone your writing skills. Read a variety of genres. It also helps to read the same genre as your novel. If you’re writing a thriller, then read other thrillers that show how to build tension, create plot points, and how to do the big reveal at the climax of the story.

Read beyond what you like. Dutch writer Thomas Heerma van Voss says: "Read as much and as widely as possible. See how other writers construct their scenes, tease the reader, build tension. Don’t be afraid, especially when starting out, to steal or imitate – all arts begins with imitation. One of the Netherlands’ most famous writers began his writing career by copying out stories by Ivan Turgenev in an effort to master his rhythm and way of writing."

Read writers who do not write like you. Trinidadian-British poet Vahni Capildeo says: “Make friends with writers who do not write like you. Swap books. Show each other work. Take the long view and the wide view. Writing adds your lifetime to the lifetime of everyone else who has written or read, or who will read or write, including non-‘literary’ folk. All sorts of people work carefully or lovingly or effectively with words. You may find inspiration in a law report (ancient or contemporary) or a tide chart, or in an ‘unplayable’ play…"

Research. Critically acclaimed novelist Guinevere Glasfurd says: “Writers are often exhorted to ‘write what they know’. But what if your protagonist is a fourteenth-century nun? Or a drag queen from Kentucky (and supposing you, the writer, are not)? Start by reminding yourself why you want to tell the story. Research can be frustrating; sometimes the archive is silent, the answers are not there. There’s a reason for that and that should spark other questions. Research can also be enormously rewarding. It can, and likely will, reveal something unexpected. It is important to remain alert to that, to be attentive and open to surprise. Research is an iterative process. Research a bit, write a bit, research a bit more. Allow your writing to remain fluid at this point, open to question, encouraging of further enquiry.”

Write to sell. To make a living doing what they love, fiction writers need to think like editors and publishers. In other words, approach your story with a marketing sensibility as well as a creative one to sell your book.

Write now, edit later. Young writers and aspiring writers might be tempted to spend a lot of time editing and rewriting as they type. Resist that temptation. Practice freewriting—a creative writing technique that encourages writers to let their ideas flow uninterrupted. Set a specific time to edit.

Get feedback. It can be hard to critique your own writing. When you have finished a piece of writing or a first draft, give it to someone to read. Ask for honest and specific feedback. This is a good way to learn what works and what doesn’t.

Think about publishing. Few authors write just for themselves. Envision where you want your story to be published. If you have a short story, think about submitting it to literary magazines. If you have a novel, you can send it to literary agents and publishing houses. You might also consider self-publishing if you really want to see your book in print.

Ignore writing advice that doesn't resonate with you. Not every writer works the same. You have to figure out what works for you in the long run. If working off of bullet-point outlines gives you hives, then don't do it. If you work best writing scenes out of order, then write those scenes out of order.

Sources: 1 2 3 4 ⚜ More: Writing Notes & References

[captaindiazs2024holidayparty]

Captain Diaz's 2024 Holiday Party!

Welcome to Captain Diaz's 2024 Holiday Party! This is an exchange of buddie fanworks set in the domesticverse future AU. Sign Up Ends November 15. Prompts will be matched within one week, and fills are to be posted to the Captain Diaz's 2024 Holiday Party event collection on AO3 between December 22nd and 28th.

FAQ

1) What is the Captain Diaz verse? A: The Captain Diaz verse, or the domesticverse, is a collaboratively generated future AU originating in the Eddiebuddieblr discord. If you aren't familiar with this verse, we have a linked work on the Captain Diaz's 2024 Holiday Party tumblr with the broad strokes of the AU. Even then, this event-and this verse- is about having fun! The lore primer is a guide, not a rulebook. As long as Captain Diaz is there, you're within the boundaries of this event. Lore Primer

2) Does the fanwork have to be winter/Christmas themed? A) Nope! Fills will be posted over the week of Christmas, but this is in no way a strictly 'festive' gift exchange. Your fill can involve the holidays if the prompter has indicated that that's okay for them, but we're expecting fic and other fanworks set year-round

3) How do I sign up? A) Sign ups are open until November 15! You can learn more about the sign up process here: AO3 Gift Exchange Guide

4) I have a question not listed here A) Email us at CaptainDiazHolidayParty2024@gmail.com or send us an ask on our tumblr!

Rules

1) Main pairing must be buddie. This is a buddie fanwork gift exchange. 2) Fic must be set, at least loosely, within the framework of the domesticverse, as outlined in the document linked above. 3) If you sign up, and are unable to follow through please email us!

[enlitment]

Camille Desmoulins and Maximilien Robespierre – doomed by the Revolution?

a second part of the answer to the ask kindly sent by @iron--and--blood - first part can be found here

Okay, so I tried to follow the sources and I ended up missing what is arguably the key question. I think that there is enough evidence that warrants seeing Camille and Maximilien’s relationship as a ‘friendship torn apart but the revolution’, but could it in fact be something more that the chain of events of the mid-1790s ended up destroying?

(aka the good old “were they gay?” question)

It’s probably not surprising to anyone that there is no conclusive evidence that would suggest that either of them was definitely queer or that they were involved in some kind of a relationship. For context, the French Constitutional Assembly did decriminalise homosexuality, since there was simply no mention of private same-sex relationships it in the penal code of 1791.

Of course, there would still be a stigma surrounding queerness, seeing how France was a Catholic country – well, up to that point. On the other hand, it is also important to remember that anyone who received a higher education at that time would be well versed in classical authors (Greek and Roman that is), so they would have a framework for a positively viewed queer attraction/relationship (I'm mostly thinking of a kind of Alcibiades/Socrates vibes here. I think it sort of fits? Well it does in my headcanon anyway...). Camille especially seemed to be really into classics, making references to classical authors, history or mythology in approximately every other sentence.

CAMILLE – VICES HONTEUX AND A POSSIBILE BICON

If we consider Camille, I think it is clear that he was attracted to women. I think that the historical sources show that he genuinely did love his wife - Lucile - although it may also be true he was bit of a cad. There is a whole deal with him and Lucile’s mother with whom he apparently exchanged some flirty letters? I honestly need to look into it more at some point.

That said, attraction to women of course doesn’t exclude attraction to men. The one thing that would suggest Camille might have pursued a same-sex relationships is the reference to “vices honteux“ (shameful vices), which Saint-Just claims were attributed to Camille by Danton. We also learn from Robespierre’s note that this refered to something that was ‘totally unrelated to the revolution’.

So we know it’s something that would be seen as ‘shameful’ behaviour, but nonetheless a private matter. Could it be interest in same-sex relationships? It’s of course hard to say, but the theory is not completely implausible. For a discussion about this, I recommend this article.

MAXIMILIEN – A CONFIRMED BACHELOR?

With Maximilien Robespierre, it gets a little more complicated. He was essentially a confirmed bachelor, living with a family that adored him but that was not his own (and also a dog. He had a dog.) Talk about a found family trope!

Some sources claim that he was engaged to Éléonore Duplay, but Robespierre’s sister for one vehemently denies this. It’s true that he could probably easily have married her – I can’t imagine her family being opposed to it, far from it probably – but the fact is that for one reason or another, he did not.

He also didn’t really seem to capitalise on his massive popularity among the Parisian women. (Though, to be fair, neither did Rousseau and he was… well I guess he was his own version of heterosexual.)

Sure, one can interpret that as Robespierre being a workaholic or putting the revolution above everything else, but I personally think it is very possible that he would be considered to be on the asexual spectrum by today’s standards.

That said, although France was moving away from institutionalised religion at that point, Catholic guilt could certainly play a role, especially in someone who prided himself in his moral conduct and was told to be rigid about the rules. So the possibility of him being closeted as an explanation for his lack of interest in women would also not be completely off the table.

As to Camille and Maximilien being together in some way? I think there is certainly a precedence for this type of relationship in adolescence. Seeing that they have studied together (and shared enthusiasm for classics probably), it is not impossible, though of course, it is highly speculative.

I think it is also fair to say that Robespierre went above and beyond for Camille until the last few months. That is something he probably would have not done for many other people. He actually said as much himself:

“Learn, Camille, that if you were not Camille, one could not have so much indulgence for you.“

Was it because Camille was universally liked by the revolutionaries for all the good he has done? Possibly, but I think one can also read more into it. It certainly suggests that Camille was special in some way, and the fact that Robespierre uses ‚one‘ instead of ‚I‘ does not necessarily mean he is not speaking about himself here.

CAMILLE AND MAXIMILIEN IN THE MEDIA

When it comes to media portrayal, the relationship often comes across as queer-coded - to an extent.

In La Révolution française, this aspect is more prominent between Robespierre and Saint-Just, but with some well-timed smiles and glances, it almost reads as a tragic love triangle between the three. There are some unfortunate implications however, mainly that the hints of Robespierre's queerness in the movie are implicitly associated with his descent to tyrany. Ugh. (And let's face it, a kind of effeminacy linked to villainy as well. Honestly, who thought that kind of portrayal would be a good idea? Kudos for making a historical movie about the French Revolution come across as homophobic I guess.)

Hilary Mantel straight-up makes Camille Desmoulins bisexual (ish?) in A Place of Greater Safety, though there are <a lot of> issues with that portrayal, as discussed here (watch me linking another mutual's great post! Frevblr is truly the best). Not sure how the relationship with Robespierre is presented here since it’s one of the books I’ve been in the middle of for months.

And then there’s Stanisława Przybyszewska of course. She would honestly warrant a separate post, but long story short: in her works, there is no doubt about the fact that she portrays the relationship between them as queer. She invokes the Erastes/eromenos dynamic between them (quite explicitly, referring to Camille as an ephebe at one point) and makes the attraction between the two seem palpable. There is plenty of queer (under)tones to be found in The Danton Case, but in Last Nights of Ventôse , she straight up interprets the fall of the Dantonists as Camille running into Danton’s arms to spite Robespierre for snubbing him and rejecting his devotion (romantic advances?). And it gets quite physical – not in a way that would warrant an E rating, but it would certainly deserve one for the sheer emotional intensity.

[kingshovelbug]

im sorry but i need to geek out somewhere and screaming into the void on tumblr is less likely to get me flayed than on twitter, especially if i get terms wrong. plus i can do a read more and yall can click into the tech talk if you want to verse it bombarding your twitter timelines

so idk if i only liked it or if i actually put it in my queue but i saw a post that talked about a few pieces of tech that focus on user repairs and being sustainable (fairphone and frameworks laptop) and after doing some more research into what they have to offer i actually really excited that these products are finely hitting the us market and that people are moving away from the belief that super smooth streamlined glassy = the future. being able to reliably repair and keep what you have alive verse throwing the whole thing away when maybe all you needed to do is add more ram to your current laptop (something that i would do with my laptop to keep using it for a few more years if it wasnt glued shut and i was at risk of cracking the screen) or swap out a fuse.

i know big corporations dont like it but i truly do believe with how much tech we use on a daily basis that the way that we are going to be more environmentally friendly is to move back to tech that we can hang onto for as long as we can and to recycle and then reuse what we cant. like with the frameworks laptop. i saw that they just partnered with coolermaster to create a case specifically so that you can reuse you motherboard, cpu, etc and make a portable workstation. you could dual wield with the laptop you just upgraded if you want to dedicate specific tasks to one or the other. they also specifically mentioned that you could screw it into the back of a monitor and create your own all in one. guys thats cool as shit??? if you had a 3d printer and some time you could even create that yourself

on top of the actual hardware part moving to open source programs when your able. when i update my desktop i plan on running linux. it might have a learning curve compared to windows but in terms of performance??? ive heard that it runs smoother even on older machines, that its more efficient because isnt running stuff in the background that tracks your data and shit. now i understand that not everyone can do that because there are some programs that dont play nice with linux but for my needs at least it does everything i would need it to. and maybe a couple years down the road we do figure out how to run these programs on certain flavors of linux since its open source and people fiddle with it so much. (still looking for alternatives to like word and excel though, i use google docs since its free but i want to move away from them as much as i can too since they laid of their youtube music team (i believe?? it might of been a different branch) for trying to unionize)

if anyone knows of any other smaller companies that actually focus on sustainability and user repairability please let me know. theres certain pieces of tech that i think are now unfortunately behind a software repair paywall, things that used to be just machines and are gaining more bells and whistles like cars and refrigerators if that makes sense. but the more we push for these things to be repairable by us the consumers id hope that would change, or there would at least be options that dont need specific companies to repair them or else they blow up

[prokopetz]

Dumb media interpretation #137: the central plot device of Across the Spider-Verse is just what happens when you live in a multiverse whose metaphysical framework is isomorphic with early 21st Century intellectual property law.

[txttletale]

Hi! I have a question to ask you, someone who seems well versed in Marxism and its philosophy, over something that personally confuses me: is there a meaningful difference between materialism and objectivity? The way I've seen the former explained usually just makes me go "Oh, so it's really just about being objective", so I don't really understand why we need another term for it.

i actually think that there is -- at least in the marxist sense of materialism -- a huge gap between being 'materialist' and being 'objective'. a big part of the historical materialist rejection of idealism is the rejection of the idea of timeless, objective truth independent of its observer and context: as engels puts it in socialism: utopian & scientific:

As each one’s special kind of absolute truth, reason, and justice is again conditioned by his subjective understanding, his conditions of existence, the measure of his knowledge and his intellectual training, there is no other ending possible in this conflict of absolute truths than that they shall be mutually exclusive of one another.

the marxist perspective is inherently suspicious of objectivity, because the marxist analysis of society is cognizant of class struggle. because the goals of the bourgeoisie and the proletariat (or the king and the peasant, or the slaveholder and the slave) are diametrically opposed, there is very little that can be said to be 'universal', because the system of values that benefits one class is to the detriment of the other. marx summarizes this thusly in the german ideology:

For each new class which puts itself in the place of one ruling before it, is compelled, merely in order to carry through its aim, to represent its interest as the common interest of all the members of society, that is, expressed in ideal form: it has to give its ideas the form of universality, and represent them as the only rational, universally valid ones.

so the basic premise of historical materialism is that ideas (i.e. 'truths') arise from the material conditions in which they are developed. there is no such thing as an objective perspective because every perspective is situated historically in a particular time and place and set of social relations. claims to 'objectivity', then, are at best suspect, staking a claim to universality that erases class divisions and historical context.

marxism is not an 'objective' framework--it is proletarian, built from the standpoint of the working class and imperialised peoples around the world, and built upon and adapted for dozens of different historical circumstances by different leaders and thinkers. materialism is in opposition to the notion of objectivity, then, because materialism recognizes that all ideas (even one's own conception of materialism!) are ideas that stem out of dialectical interplay between not only previous ideas but the material and social conditions of the people who have those ideas. ideas and thoughts cannot be 'objective', under the materialist view, because to separate them from the context in which they arose is to distort and falsify them in the pursuit of universality.