#it's awful writing

[katatonicimpression]

Like, I get that I talk about this every few months with a harsher take on it every time I come back to it

But that thing with the katana in Marauders was so fucking racist

[annabelle--cane]

I am aware I have died on this hill before but people who really strenuously argue that fanfic isn't "real writing" drive me insane. what do you meeeaaaaannn. besides the fact that any attempt to define "real art" vs "fake art" is inherently reactionary, it just doesn't make any sense. it's Writing. people Write it. what the fuck are you talking about.

[heywriters]

If you want to write a dumb little story with a dumb little plot and ridiculously silly characters. No one's stopping you. Genuinely, no one should be allowed to stop you. Write that dumb story with your whole heart and don't hold back.

[fear-is-truth]

rafe cameron was in love.

not the casual, summer fling kind of love that flared hot and burned out. no, this was the deep, ridiculous, i’ll-put-up-with-anything kind of love.

and it was all because of you.

you were perched on his counter, legs swinging, a small bowl of strawberries balanced precariously in your lap. the sweet juice clung to your fingers and glossed your lips as you popped another into your mouth. rafe stood in the doorway, arms crossed, watching.

“you’re gonna drop that bowl,” he deadpanned. you shrugged, not breaking eye contact as you picked up a particularly plump strawberry and lobbed it at him. it struck him square in the chest, just above where his heart was. it left a faint red streak on the white polo shirt like a misplaced mark of affection.

“seriously?” rafe said with an air of incredulity, looking down at the stain and then back at you.

“oops,”

“oh, you’re done for,” he muttered, striding toward you. you squealed, trying to scramble off the counter, but he was too fast. his hands caught your waist, pulling you back before you could make your escape. you clutched the bowl protectively to your chest, laughing so hard you could barely breathe. “you’re cleaning this shirt,” his face was so close you could see the tiny flecks of gold in his blue eyes.

“sure, sure,” you managed between giggles. “right after you apologise for looking like the perfect target.” he rolled his eyes, but his grip on you softened, his thumb brushing absentmindedly over your hip. “you’re so fucking weird.”

“but i’m cute,”

he tilted his head, pretending to consider. “debatable.”

you gasped, leaning in close like you were about to kiss him, and he did the same, his lips puckering just slightly. but before your lips made contact, you blew a sharp puff of air into his mouth. rafe jerked back, blinking in confusion. “what the f—what is wrong with you?” he spluttered, though the corners of his mouth twitched.

“nothing. you just make it too easy.”

shaking his head, rafe grabbed the bowl of strawberries from you and set it on the counter. before you could protest, he cupped your face in his hands, smearing a bit of sticky juice from your cheek onto his thumb.

“you weirdo,” he said softly, his voice low and warm.

“your weirdo,”

[weirdsociology]

hey writers we have to talk.

if you've read any romance or fanfic in the past twenty years (i know you have), you know that there are a certain number of scents associated with hot dudes. you can probably recite the list of Things Men in Fic smell like in your sleep: leather, black pepper, pine, sandalwood, "something uniquely him", clean sweat, and if the character has ever fucking been within 50 yards of a firearm, something called "cordite".

here's the thing.

NO ONE SMELLS LIKE CORDITE.

cordite was a highly specific type of smokeless gunpowder developed in the 1890s by england specifically and used mostly in wwi.

if your good-smelling guy is not (a) english (b) using a very specific type of british rifle (c) dying in a trench in flanders, he does not smell like cordite. technically even if he does meet all those conditions he still doesn't smell like cordite because he smells like trenchfoot.

the point is, cordite is so far from universal that no one but the most hardcore gun nerds give a single shit about it. making your Sexy Hero smell like cordite is like naming a cassette-only bootleg live recording from the 1970s as your favorite grateful dead album. everyone at the party hates you immediately and knows you're doing it for clout. also, it's just factually... wrong. please stop. i know everyone else is doing it, but you can do the right thing here, i believe in you.

so what do people who are using guns smell like?

well if your story is set before the late 1880s, the smell of a fired gun is black powder, which, unfortunately, smells like seventeen flatulent cows have been shoved in a tire factory. trust me, you do not want your Hot Dude to smell like black powder. it's b a d.

if your story is set after the late 1880s, guns are using some variety of modern 'smokeless' powder - which speaking broadly doesn't really have a ton of scent when used. it does have some, but it's sort of non-descript: the best way i can describe it is the sweet, ozone, hot-plate smell of popping your car hood with a warm engine.

people who use guns a lot don't smell like fired guns all the time anyway, so while those scents might work in a fight scene, they're not realistic all the time. but there are some things that your Sexy Shootist will smell like basically 24/7 and that's metal and gun oil. metal you can go and sniff (i recommend non-stainless steel), but if you want a reference, most gun oils have a sharp, organic smell that's not dissimilar to canola oil but muskier and with a tang overtop. it's not unlikely leather is in the mix as well due to routine handling of leather equipment and gear. modern gear also tends to have a certain smell although it varies by production country and storage conditions - lots of opportunities there.

in conclusion: gunslingers and hired killers and military folks can be sexy and smell great on page, but i am begging you not to say "cordite" when you mean "gunpowder" ever again. we can do this. we are writers and therefore pedants. i believe in us!

[blooming-skeleton]

so… I don’t know how to start this thing or whatever.

5 notes: I’ll drink some water

15 notes: I’ll remember to eat breakfast tomorrow

25 notes: I’ll work on sleeping better

50 notes: I’ll clean my room

100 notes: I’ll do some animating

250 notes: I’ll tell my mom about my health concerns

500: I’ll ask my mom to let me have glasses

1000 notes: I’ll come out to my mom as bigender

the reason my dad isn’t mentioned is because he’s an asshole

2000 notes: I will draw something for the first five people to put suggestions in my ask box

3000 notes: I’ll finish my OC design

4000 notes: I’ll make an Undertale AU

5000 notes: I’ll start writing irl instead of on Quotev

6000 notes: I’ll stop making myself bleed just to drink it (I’m serious)

7000 notes: I’ll make a dnd campaign

10000 notes: I’ll start taking art requests

[kitkatpancakestack]

Not gonna lie the way some of y'all put words on a page is....whoagh. there really is magic in this world.

[lazylittledragon]

nomad boyfriend comes back for a visit

obviously there are some extras for the patr0ns <3

[disgracefulthings]

There is a popular headcanon that Shang Qinghua knew that he was gay long before he died and that is why his papapa scenes were so shitty

I agree, and now every time I imagine him writing PIDW I think of straight Holt

[liketolaugh-writes]

Thinking about a full ghost Danny AU where he just straight-up dies in the portal. I think there should be more of those. <3

Character death, obviously.

------------

The drive back to Fentonworks was a blur in Maddie's memory, keeping Tucker on the line while he sobbed and stammered, trying and failing to keep himself together and explain what happened.

"-doesn't h-have a heartbeat and he's f-freaking out-"

"It just turned on, we don't know w-what happened, he, he said it didn't work-"

"-trying to keep Danny c-calm-"

"Please come home."

Jack's driving was even worse than usual, veering through the streets in an undisguised panic. Maddie hadn't been able to discern much from Tucker's ramble; the portal had finally turned on, but the kids had been messing around with it and Danny had gotten hurt. How hurt? Tucker didn't seem to be sure, but all three of them were in a state.

Jack pulled into their driveway and flung himself out, half the GAV still sprawled across the sidewalk. Maddie was right behind him, hanging up on Tucker with a quick assurance that they'd be right there.

"DANNY!" Jack yelled.

"In here!" Sam called back, from the open lab door. Of course.

Maddie slipped past Jack and got there first, almost falling down the stairs in her haste. What she saw there made her heart stop.

Danny wasn't there. There were three teens crumpled on the ground in front of the activated portal (a part of her sang, it worked, it worked) but Danny wasn't one of them. There was Tucker, staring blankly at the floor, and Sam, with her arm around a strange, glowing white-haired boy that was in tears - a ghost. A ghost? A ghost!

"GHOST!" Jack yelled in delight. The teen sobbed harder.

"Where's Danny?" Maddie demanded. Sam looked up sharply, her eyes wide like Maddie had never seen, her face dead pale under her makeup.

"I'm sorry!" Sam blurted out, looking nearly in tears herself. "I just, I, I thought it would be cool, it was just a picture, I, I didn't think-"

Maddie's heart skipped a beat. "Sam. Where is Danny?"

Sam looked at the crying boy next to her, huddled under her arm as if for comfort. The boy looked up, radioactive eyes swimming with tears and the water on his skin sparkling prismatically, and met Maddie's eyes.

"Mom," he croaked, his voice tripled and echoing with itself like a movie memory. "What happened to me?"

Maddie's knees gave out, and she crumpled to the floor, unable to take her eyes from the ghost in front of her. In a moment, she understood.

That was Danny. His colors had partially inverted, his hair turning white, the colors of his haz-mat suit - God, that was his haz-mat suit, the one they'd made for him and that he never used - reversing to white-on-black. He'd huddled into Sam, shaking and gasping, but now was pulling away, looking at Maddie like- like he thought she could fix this.

"I think something's wrong," Danny said, his voice trembling somewhere underneath all the alien reverberation. "Should we go to the hospital or, or something?"

"I don't think the hospital can fix this, man," Tucker said weakly, lifting his head just to stare at Danny.

The portal powered down with a whine. Maddie jerked her head up with a gasp, and found Jack at the control box, backing up silently. Jack stared into the portal. Maddie followed his gaze.

She couldn't stop the scream that tore itself from her throat. Jack yelled too, running inside, tripping over the bundled cables, and collapsing unceremoniously short of the body inside. Careless of that, Jack crawled forward the last few feet, scooped up the body, and then started to sob, cradling Danny's burnt and blistered corpse against him.

"...Do we call 911?" Danny asked, voice cracking. Maddie's head snapped back to him from the corpse, watching him stare in bleak, lost confusion at his father and the body he was hugging.

Danny didn't even believe in ghosts. Neither of their kids hid it, treating their profession with a lighthearted exasperation at home and plain embarrassment outside. Somehow, the fact made all of this worse.

"What's happening?" Danny asked helplessly. Shock, the stable part of Maddie's brain told her. He sees what's going on but his mind won't comprehend it. (He wasn't expecting to die today.)

"Y-yes," Maddie said at last, and then forced her voice to stabilize. "I'll... I'll call 911."

But first, she held out her arms, and Danny all but scrambled across the room to throw himself into her arms, still shaking. He was cold as ice, freezing through her haz-mat suit, and that was before he slipped forward with a yelp and tumbled through her. He scrambled back with a cry and tried again, and this time fell solidly against her, hiccupping. She wrapped an arm around him, shushing him softly, and groped for her phone with the other hand. She couldn't take her eyes off Jack, now carrying Danny out of the portal and staring from his corpse to his ghost, looking shattered.

"911, what is your emergency?"

"My son is dead," Maddie heard herself say. Danny hiccupped and clutched at her tighter. There was a brief pause.

"I'm very sorry, ma'am. Where are you? Have you checked his pulse?"

"We're at the Fentonworks building, 18701 northwest..." She rattled off the address mindlessly, and reached down to fumble for Danny's wrist. He let her have it without complaint, too terrified to put up any resistance. She shuddered as she felt nothing, not even the tendons or bone that should be there. Then she looked up at the corpse in Jack's arms and swallowed. "Jack, h-his... his pulse."

Jack nodded mutely and fumbled for Danny's wrist, gingerly running his fingers down the burnt skin until he found the right spot.

"What do you mean, his pulse, his ghost is literally in your lap!" Sam half-shrieked, her mascara running and her fists clenched against her cheeks, her breath coming in short gasps.

"No pulse," Jack croaked hollowly, staring at Danny's ghost.

"Maybe they could..." No, it was a foolish thought, and she wouldn't put false hopes into Danny's head just to put off her own grief. She cradled him closer again, feeling him shudder. She spoke to the operator. "N-no pulse, ma'am."

"Ambulance and police are on their way," the operator said, calm and reassuring. "Can you stay on the line with me?"

"Yes." Maddie felt numb, her own hands trembling as she held Danny close.

"Thank you. Can you tell me your name? Is there anyone else with you?"

"Maddie Fenton," she said. "My husband is with me, and my son's two friends, and... and my son's ghost."

There was another brief pause.

"Alright, Maddie." Maybe it was her imagination, but she thought the operator sounded gentler there. They thought she was crazy, of course. Maddie shut her eyes. "Can you tell me what happened?"

"I, I don't know. My son Danny was home with his friends, and they called and..." Deep breath. She started over. "There was an accident in our lab. Danny was electrocuted by one of our in-progress projects."

"Is the device still on?"

"No, ma'am. We had to turn it off to remove the, the body."

Maddie continued answering questions on autopilot, most of her attention on her son, her husband, and the body. Danny had stopped crying, but remained glued to her side, shivering and sniffling. Jack continued to cradle Danny's body, but his eyes were now fixed on Danny, grief spread across his face. Sam and Tucker had both quieted, watching them with fearful, guilt-stricken looks.

It seemed to take forever for the police and ambulance to arrive. Sam got up to show them inside without being asked, staggering up to steps on obviously shaky legs. Maddie was too grateful to insist on her or Jack doing it; with Danny's ghost cradled against her and his corpse in Jack's arms, well...

The paramedics arrived first, sharp-eyed and professional, but the first almost immediately faltered as he laid eyes on the scene. But Jack held up Danny's body beseechingly, his eyes wet and miserable, and they jolted into action.

"Thank you, ma'am," Maddie said to the woman on the line. "They're here now. May I hang up?"

"Yes. The paramedics will take it from here. Take care, Maddie."

Maddie hung up, and looked at the two paramedics as they filed down. They looked at each other, one inclined his head toward Danny, and they split up, one heading for Jack and the body, the other toward Maddie and the ghost. Both of them knelt beside their chosen patient, and Maddie fixed her attention on the one with her.

"Are you Danny?" the paramedic asked, unexpectedly gentle. Danny peeked up and nodded uncertainly, and the paramedic glanced at the body before seeming to make a decision. "Okay, Danny. My coworker June is going to check your body for signs of life to see if you can still be revived. Are you okay with that?" Danny hiccupped and nodded, though a new wave of tears welled up and trickled down his cheeks. "Can you tell me what happened?"

Danny hiccupped again, reaching up to wipe his eyes. "M-my friends wanted to see the p-portal," he managed, voice wavering. Maddie squeezed him, her own eyes welling up while the paramedic listened patiently. "A-and it didn't work so I t-thought it would be f-fine. I went inside a-and I d-didn't check if it was plugged in or anything, a-and then I tripped and fell and I think I hit a button and it turned on!" His voice rose until he was almost wailing. Maddie's throat tightened, and she hugged him closer. Her poor baby.

"You were electrocuted?" the paramedic checked softly.

"I guess," Danny sniffled. "I dunno. It just hurt. And then I felt really cold, and then I..." He looked down at himself and sniffled again, tears slipping nonstop down his cheeks. "Am I dead?"

The paramedic looked at his coworker, who met his eyes and shook her head. Maddie had to swallow a hiccup of her own, trying to be brave for her terrified son. The paramedic did a much better job at it, looking back at Danny and speaking gently.

"I'm sorry," he said quietly. "There's nothing we can do. June is going to call a coroner and explain the situation-" He caught the other paramedic's eye, and she gave him a nod. "-and we'll have your body taken somewhere it can be prepared for burial or cremation, whichever you prefer." Danny started crying again, and the paramedic exhaled and looked up to meet Maddie's eyes. "Obviously, there's no protocols for this situation. But, as his mother, I think it would still be appropriate for you to make a decision if he doesn't feel able to."

[choccy-milky]

seb and clora working on baby #1 👶 🔞🔞!! NSFW !!🔞🔞

[poipiku]

[twitter]

[bunnieswithknives]

Thanks.

Prev

[jonnywaistcoat]

Hello Mr. Waistcoat! I was wondering if you had any tips on how to make writing more enjoyable? I’m dyslexic, so I struggle to get my thoughts out onto paper, which makes writing extremely challenging and unenjoyable and often leaves my writing not flowing smoothly and scattered. If this weren’t the case, I probably would write a lot more (and not procrastinate essays as much). How do you go about getting your thoughts on paper? Do you have a specific strategy for remembering what you were going to write or for making ideas flow better?

I'm sorry, but I have no tips for this. The process of writing things down is boring and bad to me, but I'm good at it and I hate it significantly less than every other job I've ever had, so I just do it. You don't have to enjoy it if you want to be a writer - you just have to do it.

[zoe-oneesama]

If its okay to ask what exactly is the issue with Chloe's writing in the show for you? The creators have stated multiple times "there will be no redemption, she's rotten to the core and she's gonna stay that way" and it seems like thats what you want from her. So where exactly do they fumble the bag for you?

Mostly the part where they wasted everyone's time.

They tried to play both sides - kept her as nasty and self centered as always and did nothing to change her, but also make multiple episodes where we're meant to feel sorry for her and the heroine is portrayed as In The Wrong for being too harsh on her. It was annoying.

Like, it was just...tonally confusing at the time. It's totally in character for her to "steal" a Miraculous and not give it back when the rightful owner demands it back, being a thief was never outside of Chloe's wheelhouse. So tell me why they had the heroes give her soft woobie eyes and make excuses for her on the grounds of "you just wanted Mommy to look at you" and frame it like that's correct??????

And then, AND THEN, after wasting everyone's goddamn time trying to pretend they were doing something deep with Chloe, they didn't just double down on her being a two-bit one dimensional mean girl and tried to pretend like they didn't devote multiple episodes to convincing the audience she was more than that, but they wrote her to be even more comically evil as if to drive the knife even deeper! You can't help but read into their motivations, it feels like they're doing it to target certain fans specifically. "Oh you liked Chloe and wanted her to be redeemed? What if we ANTI-REDEEMED HER?! And now she's somehow more evil than our abusive magical terrorist! BWAHAHAHA!" Like?????? The Fuck?????

There's a moment in Season 5's "Collusion" where Bustier brings up the gift Chloe got her at the end of "Zombizou", doing this speech about how she recognized that Chloe was just a fragile teenager looking for love and attention (the EXACT THING that Season 2 spent a multi-episode arc trying to convince their audience of) only for Chloe to snap back that Bustier is using her student's feelings to "blackmail" her in that moment and uses this as grounds to get the woman fired.

And I feel like that really encapsulates the frustration I have at specifically the staff behind Miraculous Ladybug when it comes to Chloe.

Here is Chloe mocking Bustier for reading into what happened in "Zombizou" and instead it feels like the viewer is being mocked. Everyone who thought they were going somewhere with Chloe, everyone who bought what they were selling, everyone who's time was fucking wasted, is being laughed at in this moment.

Look, I never bought into Chloe being redeemed, so my personal annoyance was this dilly-dallying through this random side quest that amounted to nothing, which is a constant in this damn show. But, and I know this might be hard for some to believe, I had deep deep sympathy and empathy for fans who really thought and really wanted for the Battle of the Queens Arc to amount to something. I am so, so angry for them, because every season finds a way to not only stab you all in the back but twist the knife.

So yeah, that's my "issue".

[scealaiscoite]

⋆˚࿔ prompt sets of three 𝜗𝜚˚⋆

write a piece featuring - in any capacity you can think of - all three things depicted in the given prompt!

¹⁾ a polka-dot bikini, a throw blanket and a pint glass

²⁾ a sliotar, a flat tire and a thunderstorm

³⁾ a teakettle, a fresh bruise and rosewater

⁴⁾ a chipped enamel bathtub, a blue sweater and basil leaves

⁵⁾ howling gale winds, an inflatable paddling pool and an oil lamp

⁶⁾ a fresh buzzcut, pink bubblegum and rolling tobacco

⁷⁾ gas station bandaids, a cellophane-wrapped bouquet and muddy footprints

⁸⁾ a lipstick print, skinned knees and stained-glass windows

⁹⁾ a busted streetlight, green olives and a teak countertop

¹⁰⁾ gun oil, red lace and an old armchair

¹¹⁾ a fresh tattoo, a sacristy, and guilt

¹²⁾ a corner booth, sweet patchouli and a wallet

¹³⁾ donuts, orange juice and a jail cell

¹⁴⁾ a cold red bull, shaking hands and broken traffic lights

¹⁵⁾ new graves, a busted headlight and silver rings

¹⁶⁾ handcuffs, brightly coloured building blocks and fir trees

¹⁷⁾ a shortwave radio, takeout containers and a bare lightbulb

¹⁸⁾ broken windows, waist-high grasses and lit matches

¹⁹⁾ orange segments, divorce papers and a front porch

²⁰⁾ horror movies, steaming showers and cold bedsheets

²¹⁾ brazilian lemonade, a split lip and daisy chains

²²⁾ a red convertible, a priest’s collar and dogtags

²³⁾ a corner office, parking tickets and greyhound races

²⁴⁾ bitten lips, army fatigues, and coca-cola

²⁵⁾ old wives’ tales, creaky stairs and cherry lipgloss

²⁶⁾ smooth whiskey, greying hair and warm hands

²⁷⁾ hospital food, full moons and a reconciliation

²⁸⁾ exes, candy wrappers and a twin bed

²⁹⁾ a rural motel, a pocket knife and iodine

³⁰⁾ a dirty martini, a dressing gown and blood under fingernails

³¹⁾ slept-in braids, a lamplit office and an explosion

³²⁾ blueberry pancakes, a restraining order and the taste of rum off someone’s lips

³³⁾ farmers’ market peaches, burnt coffee and houseplants

³⁴⁾ a late text, faded jeans and lightning strikes

³⁶⁾ desert air, zinnias and chocolates

³⁷⁾ an old truck, freshly turned earth and a tv dinner

³⁸⁾ wedding rings, wildfire and wrought iron gates

³⁹⁾ a hostage situation, evergreen trees and a pierced tongue

⁴⁰⁾ unripe strawberries, bitter wine and a kitchen table

⁴¹⁾ a head laid down in a lap, green tea and a break news announcement

⁴²⁾ a fire alarm, a flower-patterened apron and an ajar kitchen window

⁴³⁾ a jar of jam, two shots of vodka and a stack of car manuals

⁴⁴⁾ techno music at 4am, knitted jumpers and a broken watch

⁴⁵⁾ a green silk scarf, a pan of burnt food and the trunk of a car

⁴⁶⁾ bound hands, a crescent moon and laughter

⁴⁷⁾ a winter coat, a heatwave and fresh mangos

⁴⁸⁾ a thrift store sofa, a highrise apartment building and creaking floorboards

⁴⁹⁾ missing teeth, a house half covered in ivy and cheap beer

⁵⁰⁾ undeveloped camera film, stomach kisses and cigarette smoke

[mostlysignssomeportents]

Proud to be a blockhead

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/12/21/blockheads-r-us/#vocational-awe

This is my last Pluralistic post of the year, and rather than round up my most successful posts of the year, I figured I'd write a little about why it's impossible for me to do that, and why that is by design, and what that says about the arts, monopolies, and creative labor markets.

I started Pluralistic nearly five years ago, and from the outset, I was adamant that I wouldn't measure my success through quantitative measures. The canonical version of Pluralistic – the one that lives at pluralistic.net – has no metrics, no analytics, no logs, and no tracking. I don't know who visits the site. I don't know how many people visit the site. I don't know which posts are most popular, and which ones are the least popular. I can't know any of that.

The other versions of Pluralistic are less ascetic, but only because there's no way for me to turn off some metrics on those channels. The Mailman service that delivers the (tracker-free) email version of Pluralistic necessarily has a system for telling me how many subscribers I have, but I have never looked at that number, and have no intention of doing so. I have turned off notifications when someone signs up for the list, or resigns from it.

The commercial, surveillance-heavy channels for Pluralistic – Tumblr, Twitter – have a lot of metrics, but again, I don't consult them. Medium and Mastodon have some metrics, and again, I just pretend they don't exist.

What do I pay attention to? The qualitative impacts of my writing. Comments. Replies. Emails. Other bloggers who discuss it, or discussions on Metafilter, Slashdot, Reddit and Hacker News. That stuff matters to me a lot because I write for two reasons, which are, in order: to work out my own thinking, and; to influence other peoples' thinking.

Writing is a cognitive prosthesis for me. Working things out on the page helps me work things out in my life. And, of course, working things out on the page helps me work more things out on the page. Writing begets writing:

https://pluralistic.net/2021/05/09/the-memex-method/

Honestly, that is sufficient. Not in the sense that writing, without being read, would make me happy or fulfilled. Being read and being part of a community and a conversation matters a lot to me. But the very act of writing is so important to me that even if no one read me, I would still write.

This is a thing that writers aren't supposed to admit. As I wrote on this blog's fourth anniversary, the most laughably false statement about writing ever uttered is Samuel Johnson's notorious "No man but a blockhead ever wrote but for money":

https://pluralistic.net/2024/02/20/fore/#synthesis

Making art is not an "economically rational" activity. Neither is attempting to persuade other people to your point of view. These activities are not merely intrinsically satisfying, they are also necessary, at least for many of us. The long, stupid fight about copyright that started in the Napster era has rarely acknowledged this, nor has it grappled with the implications of it. On the one hand, you have copyright maximalists who say totally absurd things like, "If you don't pay for art, no one will make art, and art will disappear." This is one of those radioactively false statements whose falsity is so glaring that it can be seen from orbit.

But on the other hand, you know who knows this fact very well? The corporations that pay creative workers. Movie studios, record labels, publishers, games studios: they all know that they are in possession of a workforce that has to make art, and will continue to do so, paycheck or not, until someone pokes their eyes out or breaks their fingers. People make art because it matters to them, and this trait makes workers terribly exploitable. As Fobazi Ettarh writes in her seminal paper on "vocational awe," workers who care about their jobs are at a huge disadvantage in labor markets. Teachers, librarians, nurses, and yes, artists, are all motivated by a sense of mission that often trumps their own self-interest and well-being and their bosses know it:

https://www.inthelibrarywiththeleadpipe.org/2018/vocational-awe/

One of the most important ideas in David Graeber's magisterial book Bullshit Jobs is that the ground state of labor is to do a job that you are proud of and that matters to you, but late-stage capitalist alienation has gotten so grotesque that some people will actually sneer at the idea that, say, teachers should be well compensated: "Why should you get a living wage – isn't the satisfaction of helping children payment enough?"

https://memex.craphound.com/2018/06/20/david-graebers-bullshit-jobs-why-does-the-economy-sustain-jobs-that-no-one-values/

These are the most salient facts of the copyright fight: creativity is a non-economic activity, and this makes creative workers extremely vulnerable to exploitation. People make art because they have to. As Marx was finishing Kapital, he was often stuck working from home, having pawned his trousers so he could keep writing. The fact that artists don't respond rationally to economic incentives doesn't mean they should starve to death. Art – like nursing, teaching and librarianship – is necessary for human thriving.

No, the implication of the economic irrationality of vocational awe is this: the only tool that can secure economic justice for workers who truly can't help but do their jobs is solidarity. Creative workers need to be in solidarity with one another, and with our audiences – and, often, with the other workers at the corporations who bring our work to market. We are all class allies locked in struggle with the owners of both the entertainment companies and the technology companies that sit between us and our audiences (this is the thesis of Rebecca Giblin's and my 2022 book Chokepoint Capitalism):

https://chokepointcapitalism.com/

The idea of artistic solidarity is an old and important one. Victor Hugo, creator of the first copyright treaty – the Berne Convention – wrote movingly about how the point of securing rights for creators wasn't to allow their biological children to exploit their work after their death, but rather, to ensure that the creative successors of artists could build on their forebears' accomplishments. Hugo – like any other artist who has a shred of honesty and has thought about the subject for more than ten seconds – knew that he was part of a creative community and tradition, one composed of readers and writers and critics and publishing workers, and that this was a community and a tradition worth fighting for and protecting.

One of the most important and memorable interviews Rebecca and I did for our book was with Liz Pelly, one of the sharpest critics of Spotify (our chapter about how Spotify steals from musicians is the only part of the audiobook available on Spotify itself – a "Spotify Exclusive"!):

https://open.spotify.com/show/7oLW9ANweI01CVbZUyH4Xg

Pelly has just published a major, important new book about Spotify's ripoffs, called Mood Machine:

https://www.simonandschuster.com/books/Mood-Machine/Liz-Pelly/9781668083505

A long article in Harper's unpacks one of the core mechanics at the heart of Spotify's systematic theft from creative workers: the use of "ghost artists," whose generic music is cheaper than real music, which is why Spotify crams it into their playlists:

https://harpers.org/archive/2025/01/the-ghosts-in-the-machine-liz-pelly-spotify-musicians/

The subject of Ghost Artists has long been shrouded in mystery and ardent – but highly selective – denials from Spotify itself. In her article – which features leaked internal chats from Spotify – Pelly gets to the heart of the matter. Ghost artists are musicians who are recruited by shadowy companies that offer flat fees for composing and performing inoffensive muzak that can fade into the background. This is wholesaled to Spotify, which crams it into wildly popular playlists of music that people put on while they're doing something else ("Deep Focus," "100% Lounge," "Bossa Nova Dinner," "Cocktail Jazz," "Deep Sleep," "Morning Stretch") and might therefore settle for an inferior product.

Spotify calls this "Perfect Fit Music" and it's the pink slime of music, an extruded, musiclike content that plugs a music-shaped hole in your life, without performing the communicative and aesthetic job that real music exists for.

After many dead-end leads with people involved in the musical pink slime industry, Pelly finally locates a musician who's willing to speak anonymously about his work (he asks for anonymity because he relies on the pittances he receives for making pink slime to survive). This jazz musician knows very little about where the music he's commissioned to produce ends up, which is by design. The musical pink slime industry, like all sleaze industries, is shrouded in the secrecy sought by bosses who know that they're running a racket they should be ashamed of.

The anonymous musician composes a stack of compositions on his couch, then goes into a studio for a series of one-take recordings. There's usually a rep from the PFC pink slime industry there, and the rep's feedback is always "play simpler." As the anonymous musician explains:

That’s definitely the thing: nothing that could be even remotely challenging or offensive, really. The goal, for sure, is to be as milquetoast as possible.

This source calls the arrangement "shameful." Another musician Pelly spoke to said "it felt unethical, like some kind of money-laundering scheme." The PFC companies say that these composers and performers are just making music, the way anyone might, and releasing it under pseudonyms in a way that "has been popular across mediums for decades." But Pelly's interview subjects told her that they don't consider their work to be art:

It feels like someone is giving you a prompt or a question, and you’re just answering it, whether it’s actually your conviction or not. Nobody I know would ever go into the studio and record music this way.

Artists who are recruited to make new pink slime are given reference links to existing pink slime and ordered to replicate it as closely as possible. The tracks produced this way that do the best are then fed to the next group of musicians to replicate, and so on. It's the musical equivalent of feeding slaughterhouse sweepings to the next generation of livestock, a version of the gag from Catch 22 where a patient in a body-cast has a catheter bag and an IV drip, and once a day a nurse comes and swaps them around.

Pelly reminds us that Spotify was supposed to be an answer to the painful question of the Napster era: how do we pay musicians for their labor? Spotify was sold as a way to bypass the "gatekeepers": the big three labels who own 70% of all recorded music, whose financial maltreatment of artists was seen as moral justification for file sharing ("Why buy the CD if the musician won't see any of the money from it?").

But the way that Spotify secured rights to all the popular music in the world was by handing over big equity stakes in its business to the Big Three labels, and giving them wildly preferential terms that made it impossible for independent musicians and labels to earn more than homeopathic fractions of a penny for each stream, even as Spotify became the one essential conduit for reaching an audience:

https://pluralistic.net/2021/03/16/wage-theft/#excessive-buyer-power

It turns out that getting fans to pay for music has no necessary connection to getting musicians paid. Vocational awe means that the fact that someone has induced a musician to make music doesn't mean that the musician is getting a fair share of what you pay for music. The same goes for every kind of art, and every field where vocational awe plays a role, from nursing to librarianship.

Chokepoint Capitalism tries very hard to grapple with this conundrum; the second half of the book is a series of detailed, shovel-ready policy prescriptions for labor, contract, and copyright reforms that will immediately and profoundly shift the share of income generated by creative labor from bosses to workers.

Which brings me back to this little publishing enterprise of mine, and the fact that I do it for free, and not only that, give it away under a Creative Commons Attribution license that allows you to share and republish it, for money, if you choose:

https://creativecommons.org/licenses/by/4.0/

I am lucky enough that I make a good living from my writing, but I'm also honest enough with myself to know just how much luck was involved with that fact, and insecure enough to live in a state of constant near-terror about what happens when my luck runs out. I came up in science fiction, and I vividly remember the writers I admired whose careers popped like soap-bubbles when Reagan deregulated the retail sector, precipitating a collapse in the grocery stores and pharmacies where "midlist" mass-market paperbacks were sold by the millions across the country:

https://pluralistic.net/2021/07/04/self-publishing/

These writers – the ones who are still alive – are living proof of the fact that you have to break our fingers to get us to stop writing. Some of them haven't had a mainstream publisher in decades, but they're still writing, and self-publishing, or publishing with small presses, and often they're doing the best work of their careers, and almost no one is seeing it, and they're still doing it.

Because we aren't engaged in economically rational activity. We're doing something essential – essential to us, first and foremost, and essential to the audiences and peers our work reaches and changes and challenges.

Pluralistic is, in part, a way for me too face the fear I wake up with every day, that some day, my luck will run out, as it has for nearly all the writers I've ever admired, and to reassure myself that the writing will go on doing what I need it to do for my psyche and my heart even if – when – my career regresses to the mean.

It's a way for me to reaffirm the solidaristic nature of artistic activity, the connection with other writers and other readers (because I am, of course, an avid, constant reader). Commercial fortunes change. Monopolies lay waste to whole sectors and swallow up the livelihoods of people who believe in what they do like a whale straining tons of plankton through its baleen. But solidarity endures. Solidarietatis longa, vita brevis.

Happy New Year folks. See you in 2025.