#most of the original stuff i do is short fiction which i do really enjoy

[fourteenfifteen]

i want. to write a novel. one day

[copperbadge]

I was making breakfast and listening to an episode of Just King Things this morning, which is a podcast I do recommend -- two very smart English teachers are reading the books of Stephen King in publication order and discussing them. This could go extremely awry except they're both highly conscious of his failings as well as his skill, so they do really well handling a lot of his less salutatory content.

They've hit the point in King's ouvre (this episode was about Hearts In Atlantis) that follows his recovery from the car accident that very nearly killed him, where he was struck by a van while out walking. One of them pointed out that it seems as though he came back from nearly dying determined to write the wildest shit imaginable and only write what he wanted, which struck a chord in me this time despite having listened to this episode before. Perhaps because I was thinking about my own writing and where it's going in the short term (there are a couple of short stories I want to do that I don't quite have a way into yet). I generally don't think about the drift of my creativity in the long term because when I do I usually draw the wrong conclusions.

I don't really classify my life, the way some people who've had high-impact injuries do, as before-TBI and after-TBI (Traumatic Brain Injury -- the fairly severe concussion I had in January of 2020). For one thing, given I had to cancel a trip to NYC because of it, it may have saved my life; I almost certainly would have caught COVID as someone with known lung issues in New York at the time. For another, the TBI was way scarier to almost everyone else; for me it was just one more dumb injury I gave myself and I didn't even remember most of it so it hardly registered. I used to open the story of it with a joke about waking up not remembering going to bed the night before, but nobody ever found it funny.

It's true that there are changes it wrought in my life, though. Even practical stuff like making sure my living space doesn't have tripping hazards and continuing to wear a fitbit even though I don't really need to (the fitbit told us, the morning after, exactly when the concussion happened, because it registered a heart-rate spike when I fell). For weeks after, I had to move slowly and put off making important decisions because I couldn't trust my physical or intellectual judgement; I didn't even jaywalk in my own neighborhood because I couldn't be sure I was judging the cars' speeds properly. For about a year after I had periodic post-concussion syndrome which basically just slammed me back into concussion space, which wasn't painful or upsetting but was definitely inconvenient.

And it's also undeniable that my writing shifted after the injury. It's not necessarily because of the injury, since my initial recovery from the TBI and the declaration of quarantine happened at roughly the same time, and anyone who tells you that a years-long global pandemic didn't impact their artistic expression is selling you a line. But the last thing I wrote before the TBI was the first draft of Six Harvests, and aside from the Six Harvests publication draft, which had fairly minimal changes, almost all that I've written has been blue-sky, light-hearted, PG-rated romance. It's been on my mind that I've been writing different subject matter from what I used to, but the timing of it didn't strike me until just recently.

I don't mind, really. I love fandom and I support fanfic in whatever expression it comes, but I'm also happy writing my own stories. While I'm aware it's been years since I've meaningfully written fanfic, it doesn't bother me per se, as long as I'm writing. It bothered me much more when I could write fanfic but not original fic, especially in those last few awful months at my last job. I'm proud of the literary and non-genre fiction I've written in the past, but it's also much more trying and frustrating to write at times, so I'm enjoying having a different sort of challenge that feels more fulfilling in the process. I'm sure at some point I'll go back to literary fiction -- there are ways in which it's hard to avoid turning the later Shivadh novels into literary fiction, being honest -- but for now I like what I'm writing, and I'm writing primarily to please myself and without regard to what's necessarily rational or linear.

Just struck me, is all, that it's by far the most noticeable major shift in my work. I do sort of wonder what will be next.

[lesterwillington]

We Need a Lovecraft Musical (or play, I would not mind a play)

I love eldritch horror and weird fiction and I love musicals so I might sound biased, but I need this to happen. Technically, there are a few that exist, but I can find very little detail about them. So, what I'm asking the universe for is some sort of Lovecraft stage musical adaptation (preferably something from the Cthulhu Mythos) that recieves a major professional production somewhere in the world (like off-west end or off-broadway or chicago or something, I would love regular west end and regular broadway but I am trying to manage expectations here, kinda). Also, we just need more mainstream horror theater stuff in general. There isn't much of it, and what does exist mostly have been financial and critical failures. Now, you may be asking, "aren't Lovecraft's works famously unadaptable? why not just leave them as short stories and novels? also he was a pretty bad dude should we even be adapting his work at all?", and to that I say: 1. HA, if you really think that, you are a COWARD, a FOOL, and a SCOUNDREL! People thought Dune was unadaptable and now it is a critically acclaimed franchise with at least 2 movies as well as an upcoming tv show and a third movie in development. So, people that say things like that are dumb. Plus, that's mostly in reference to film adaptations anyway, which I can understand for Lovecraft's works. He mostly relies on the audience's imagination for the horror, he tries to get them to fear something they can barely begin to understand. It's hard to translate that into film because film is inherently a visual medium (mostly). However, theater almost always relies on the audience visualizing more than what is really on stage, so I think it fits Lovecraft's works perfectly, especially because of how short most of them are. You can really take your time to flesh out the world and characters if you wanted to. Or just do like, a one-act thing. That woks too. 2. I understand leaving them as their original works, but I think the theatrical experience can elevate the experience of the written works or at least get the audience to see them in a new light. I think an ideal theatrical adaptation would leave the audience extremely unsettled, but wanting more. And they can get more by reading Lovecraft. So, I don't think it's too much of a problem. 3. I'm terribly sorry but like 95% of old, white guy authors were bad people and I think it's reasonable to be able enjoy and appreciate what they made while also condemning who they were. Plus, it's not like Lovecraft or his estate is making any money off this because his works are public domain babyyyy. But yes I need this to happen desperately and I'm afraid it won't. I'm heavily considering trying to make something myself (because the works are public domain and I am a writer), but I have a lot on my plate right now (including an In Trousers screenplay that I have mentioned in a post or two) so I have no idea when I'd be able to really work on it and try to fully realize it. Plus, I have zero connections in the theater world so getting a major production for it would be extremely hard. I still think it's cool, though. Let me know what you guys think. Is it possible? Or are his works better left as they are?

[holdy-caulfield]

My small review on Star Trek book:

Doctor’s Orders by Diana Duane. With spoilers!

Genre: hard sci fi

Pages: 291

Key words: worldbuilding, alien culture, time, strategies, linguistics, first time in command, stressful situations

Highlights: McCoy is in character, Kirk mostly, battle, crew work, humor, worldbuilding

Downsides: reason why McCoy is in command (unrealistic, OOC for Kirk), Spock & McCoy interactions (too friendly for them), lack of tension.

Vibe/tone: nerdy, light-hearted

I really enjoy sci-fi as a whole genre, and the worldbuilding aspect is what has drawn me into Star Trek in the first place (second place was a video of Kirk and Spock). When it comes to fiction based on the franchise & fanfiction for me the most important aspect are canonical characters and their relationship.

I’ve heard a lot of good stuff about Diana Duane, so I was exited to get my hands on her books. Since McCoy is my favourite character, I decided to start with the book where he’s in a primal focus.

Also, the premise seemed great, as I was very curious how McCoy would behave as a commander of the ship, and I was particularly interested how he would handle Spock, as there were a few instances in the show where Spock and McCoy have been left without Kirk. The book cover showed Spock standing firmly next to our favourite doctor in the captain’s chair. Also, I thought that the idea itself is intriguing enough — what will be the difference in the decision making between a trained soldier and a doctor? The book even starts with a Hippocratic Oath.

This book does feel like an episode. It’s relatively short, the whole action takes place in a span of a few days, it has an idealistic nature, and a perfectly good ending. All characters are in fact in character, which is why Diane is often praised.

The dialogue and humor are good, you can even hear original voices and intonations, there’s a lot of strategic decisions during battle and I love watching/reading the whole crew working together as the whole.

The fact that McCoy is new to commanding, helps the reader to understand what’s going on better and his decisions, and it is easier to imagine how you’d feel in his shoes. The whole McCoy commanding aspect in my opinion was very in character.

The book however has a lot of focus on the planetary species and human characters getting to know them better, studying them and discussing them from a scientific perspective (so, the book puts science into science fiction). It was a curious read, but I think it is not exactly for those who came for action adventure. A bunch of scientists discussing species and linguistics is the bigger part of the book. I love this stuff as I said earlier, I personally could read all these discussions about interesting species and their culture forever, but I can imagine it can be boring for some (although IMO if you’re a ST fun you should expect this).

I quickly understood what’s going with them personally but there were some aspects which I didn’t quite understand or were not explained enough (so, why Ornae were building stuff? Maybe I’m forgetting something, but I don’t remember if they gave a clear answer). I also didn’t get why ;At would say yes in the end. It felt for me rather logical that they would say no. I didn’t feel that either Federation either the species would benefit in anything else then knowledge. Well, they could protect the planet, but… I thought ;At are a bit too powerful to really need this.

There are also Klingons. I thought it was a very nice touch that doctor managed to find a common ground using psychology. It was funny, but also believable.

Klingons however do not feel as a threat, well, not dangerous enough. Klingons’ motivation to be on the planet however for me personally seemed not really satisfactory for a reader. It made them even less threatening (while they of course shouldn’t be exactly threatening, I just wished for more… spice). I really did like the unexpected friendliness simply because McCoy is a professional medic and knows psychology, it’s very in character and canonical. I enjoyed the bits when he uses his profession to command and even as a moral compass.

My biggest issue was there was not enough tension. And it is primarily because of Spock.

It might be my own vision, but what I can judge from the show is that Spock and McCoy have a complicated relationship in the span of the series. Their philosophies opposite each other, while both characters are not so different as either McCoy or Spock would think (they both are very emphatic for example) so it creates this unique dynamic of a lot things being unsaid and truths ignored.

Most of the time when McCoy and Spock are left alone with each other, they start an argument and can say actually hurtful things to each other, also, it’s quite obvious to me that Spock likes McCoy, while McCoy’s reaction to him is not exactly unambiguous. There should be tension. It what makes it interesting.

In the book, McCoy and Spock are as friendly as could be. Of course there are a few funny moments, but for me there should be a lot more bickering, a lot more emotions involved around Kirk’s disappearance, and there could be just done more (for example, there could be a danger which would force them to leave the orbit, but McCoy wants to stay to find Jim, and Spock is there to try to make him understand the logics and the fact that he feels that Jim is alright… ).

Kirk is there to balance Spock and McCoy out. The idea of McCoy being forced to rely on Spock with whom he disagrees mostly, or Spock relying on emotional McCoy is such an interesting concept, so it’s a pity for me I didn’t get this explored in the book.

And Kirk isn’t in a real danger, which also makes it lack tension. But it’s probably my own issue, I like “damsel in distress” trope when it comes to strong characters like the Enterprise crew and the trio in particular.

Overall, it was an enjoyable read. Despite the lack of tension, there is good dialogue, realistic approach to the idea of a medical doctor being in command, the battle is great, worldbuilding is creative, and overall it is very TOS-y.

[hyenafu]

Have you ever thought of crossovers between Slightly Damned and Junk Hyenas Diner? Both casts meeting, even as what-ifs or jokes. Lucky and Kieri have similar struggles with their mothers and the expectations put on them by their families, so they'd likely have a lot to talk about. And then there's the two fuzzy chill guys who love food, and the short beings of nebulous origins that came back to life.

It's funny you worded your question that way! One of the reasons I stopped working on The Junk Hyenas Diner is because I felt my long-term plans for it were too similar to Slightly Damned. I made The Junk Hyenas Diner as my thesis project when I got my graduate degree from the Center for Cartoon Studies. I wanted to completely change up the way I did comics and do something new. I was afraid of having Slightly Damned being my only major project, and I didn't want to be stuck in a rut forever. And it worked out great! I loved working on JHD. With a different setting, I got to make different jokes. Working in black and white helped change the way I approach my art, as well. I think I learned a lot from the experience. I made a bunch of short stories and gained new confidence in my ability to adapt and make new things. I fully intended to continue The Junk Hyenas Diner as my second webcomic in tandem with Slightly Damned after I graduated. But... I ended up putting it off more and more. I got busy with going to conventions more way more often, and expanding the breadth of my merchandise. I also got more involved with my Patreon. I needed to do these things in order to secure my income so I could keep living off of my art. I also felt like my heart wasn't really into making a science fiction (well, more like science fantasy) story. I felt intimidated by other artists who could ground their work in a lot more concrete facts about space travel, technology, and biology. I just wanted to make dumb jokes about food. Now I know that just wanting to make dumb jokes about food is valid, but that was honestly part of why I lost my motivation. I've decided to completely drop JHD for the time being. I'll always keep the website archive up because I still think it's a fun read, and I loved the experience of making it. I also don't consider that door closed forever. If I feel compelled to return for whatever reason, I will! I have thought that JHD would be suitable project for a self-contained graphic novel. I could also just lean into telling jokes whenever they come to me. But I don't really have the time or motivation for it right now, so it's not a priority. I think artists should be allowed to drop projects if they're not really feeling them anymore. It happens. Since the last time I made any new Junk Hyenas comics, I went through some rough emotional events that led me to seeing a therapist. That helped me a lot! After that, I ended up leaning more into making mushy stuff (cutesy and romantic) and spicy stuff (kink art for adults) for Slightly Damned in my free time. That's just what's the most fun for me right now. Because it's fun and rewarding, I keep making more and more. Even if there are folks who don't get it (which is fine), being motivated to draw makes me practice drawing, and practice makes all my art better, so everyone who likes my art still wins in the end!

Motivation is a fickle beast. Life changes. I always have way more ideas than the time and energy to actually make them, and I hope that's a problem I keep for my entire life. I can't possibly do everything all at once. Having Slightly Damned be my life's work is still scary thought. Other artists are able to finish their webcomics and graphic novels and move on, so I end up thinking that the grass may be greener on the other side. I don't know when or even if I'll be able to finish Slightly Damned in order to free up more time to work on other projects. But at the same time, right now, I don't really feel like I need to. I am enjoying what I make, and I'm always pushing myself to make each weekly update better. I love my characters so much that I enjoy following my whims and making spinoff projects with them. I think as long as I continue to find this fulfilling (and there are still people willing to support me), there's no need to force myself to do projects that I'm not feeling especially motivated to do. I know this big wall of text isn't what you asked for, but I wanted to explain why I don't draw Junk Hyenas stuff anymore. Anyway, here's a Thanksgiving picture I did of the Slightly Damned and Junk Hyenas casts in 2016:

[adolin]

Any fiction recommendations? I’ve repeatedly read Locked Tomb, natch. I’d love something similarly brainwork inducing but maybe a touch lighter. Also not fantasy or sci fi…I need something to listen to while I do a ton of chores, and those can be hard (for me) because the unfamiliar proper nouns get confusing. :/

anon!! I'm terrible at reccing anything based on “if you liked TLT” because TLT is like five different genres in a trench coat, but I TRIED (⭐) Here are some brainworm-y recs that aren't sff — where by brainworm-y I mean that they stayed with me for a while after I finished them, but aren't overly confusing. (most of them are books, but available on audio)

Podcasts: a tumblr pal recced me the deviser based on me liking the eldritch elements of tlt; it's short and horror-y, and I really enjoyed it.

I haven't checked out the new TMA yet but I see many TLT peeps who are enjoying it (or S1 of the original The Magnus Archives could be a good entry point if you haven't ever listened to it)

TV: Unfortunately I hardly ever watch live action stuff BUT if you haven't seen either IWTV (the series not the film) or Yellowjackets, I do rec those! There's a lot of overlap between these fans and TLT fandom on my dash. His Dark Materials also goes hard and you might enjoy it (dysfunctional characters! worldbuilding! religious weirdness!) but it has more sff elements than other stuff I've recced. Oddball out of nowhere but The Great is a fun show if you enjoy the meme moments of TLT + people being gleefully horrible + having feelings despite your best intentions

Animanga: Utena (!!!!!) also Fullmetal Alchemist Brotherhood, which occupies a very similar space to TLT in my brain

Books!

✧ I went through my “women unhinged” goodreads shelf and found some books that are avaliable in audio format, and might appeal. These are wildly varied in scope and ngl the criterion was just “at least one person (besides myself) who enjoyed tlt also this book” and the similarities stop there. It's all vibes baby! Still, I tried

my heart is a chainsaw by stephen graham jones (horror, slasher), bunny by mona awad (horror, wildly unhinged), the witching hour by anne rice (horror, gothic)

matrix by lauren groff (historical, lesbian nuns), anything by sarah waters (historical fiction + lesbians), rebecca by daphne du maurier (historical, gothic)

the plot by jean hanff korelitz (litfic, thriller), sadie by courtney summers (thriller, coming of age). anything by gillian flynn (thrillers with terrible women).

✧ I really enjoy Tana French thrillers for the strong sense of place, great prose, and the complete emotional turmoil of her character-centric narratives. If anything sounds up your alley, I enjoyed the witch's elm + dublin murder squad series. They're murder mystery procedural but the messy characters really elevate the novels. Available in audiobook also

✧ American Elsewhere, technically scifi but set in New Mexico. Somehow, cosmic horrors who have taken over a quaint little town and worse! They are enforcing HETERONORMATIVITY upon it! They also have tentacles. The main character rocks

✧ Sundial by Catriona Ward: insane, gripping psychological horror. A mother and her unsettling daughter take a trip to the isolate desert ranch where the main chracter grew up. Surrounded by unsettling science experiments

✧ A Touch of Jen by Beth Morgan: when the parasocial relationship is so strong, it accidentally summons a hellmonster from another dimension

✧ SFF adjacent, sorry, but set in the real world (historical, tho) — Cuckoo Song by Frances Hardinge, a middle grade novel with fairytale elements that gave me more brainworms than any kids book ought to, mostly because I LOVED the main character. She occupies a very similar place in my brain as Gideon does. This is actually the only book on the list that I'm not sure is available in audio format, but if you get a chance and it's up your alley, I'd check it out

I hope there's at least ONE thing you'll like in here! lmk (also. lmk if you don't have access to a way to borrow audiobooks but would like to)

[cheeseanonioncrisps]

I know I've made this argument myself many times, but I'm starting to think that we're moving in the wrong direction when we respond to critics of fanfic and pulp romance by saying stuff like "Dante's Inferno was fanfic!" or "Jane Austen was dismissed as silly romance!"

Like yeah, transformative works can be just as creative and deep as original fiction, and romance-centric stories can be literature in their own right, but also…. it's fucking okay to read stuff that isn't like that?

Controversial opinion, but if your idea of a good read is a series of <200 word short stories about characters from your favourite TV show trying to book a hotel room only to discover that (shocker) THERE WAS ONLY ONE BED!!! then that's honestly just as valid a recreational activity as reading Remains of the Day or The Brothers Karamazov.

Do the works have equal complexity or literary significance? No, probably not, but that doesn't actually matter if the question is "what to read in the evenings so I can destress before bed?" or "what to entertain myself with while on holiday?"

It's not like we treat other forms of media this way. No one feels the need to justify having a generic flower painting on the wall by comparing it to Van Gogh's Sunflowers. Nobody excuses playing pop songs in the car by pointing out that "Mozart was the Taylor Swift of his day!"

Don't get me wrong, I'm not saying people don't get snobbish about this stuff. People get snobbish about anything. But reading is really the only hobby where it seems common practice to validate this snobbery by insisting that actually your preferred form of fiction is literature after all.

We all get that there are people who are consumed by a deep passion for art, or music, or food, or whatever, and that many of these people enjoy spending a lot of time (sometimes in professional settings) analysing various works to determine which ones are the most complex and culturally significant.

That's fine, we wish them well and they're probably doing good work.

But we also get that there are other people who just want to watch popcorn films or listen to whatever's on the radio atm while eating oven pizza, and that's also completely fine. Those things aren't invalid just because you couldn't write an academic essay on them, they're fulfilling a completely different but equally important function in our lives!

As someone with a literal degree in this stuff, it's fine to just let reading be one of those background things that you do purely to relax and don't put any thought into. Literally nobody has the time or energy to become a connoisseur in every field, and the average person will run themselves into the ground if they try.

Bread and roses are important, yeah, but so are bubblegum and fairy lights. Not everything has to be either work or educational.

[nerdallwritey]

✨ writing interview tag game!!! ✨

Gonna go ahead and thank @busy-baker and @khywren for tagging me :) I'm very late to filling this out, but I wanted to really dedicate some attention to it!

I'm a yapper, I apologize in advance.

When did you start writing?

I started writing when I was in elementary school, I think. I know my fourth grade yearbook said I wanted to be an author when I grew up, and that's only KIND OF changed, I still want to write for a living, but for TV instead of novels (though I'm not opposed to that, should I ever have the right idea for one). I remember going to my friend's house after school all that time and using her mom's laptop to open a blank Word doc and just start writing. We wrote tons of stuff that we never finished, but I'd give ANYTHING to read some of it again, if only for a laugh. The only story I remember was about four teens being stranded on an island - we called it "Castaway." No clue what became of that, but our main characters were always based on ourselves 😂 I didn't start writing fanfiction until 2022 and only started posting this past June!

Are there different themes or genres that you enjoy reading than what you write?

Hmm, that's a good question. I typically stick with what I like - romance, fantasy, silly - but it's fun to throw nonfiction in there every once in a while. Not sure how well I'd do at writing non-fiction without embellishing or getting narrative (even though I like reading those kinds of books as well). But yeah, usually I like to stick with what I know and enjoy most! It's also the best way to learn and improve; by reading a ton within the genre you love to write.

Is there a writer you want to emulate or get compared to often?

I don't......think so? I've always been told by English teachers and professors that I have a very strong voice in my writing, which I always interpreted as being unique. As corny as it sounds, I'm not trying to sound like anyone but myself. At the end of the day, I'm writing for my own enjoyment and am happy you guys found me along the way!

Can you tell me a bit about your writing space?

I don't have a dedicated writing space, but I often find myself writing either on my couch or in bed. Weirdly (or not that weirdly, considering most of us have day jobs) I write the best at night and I have to be alone so that I'm not distracted. Usually I'll find a song and play that on repeat while I'm writing (For Cheeks All Flushed, it was Resolve (Dark) from Fire Emblem Fates, and for Awfully Fond of You it was Climactic Return from Danganronpa 2). The music typically has nothing to do with the vibe of what I'm writing, I just need some sort of constant noise that won't distract me, hence why it's usually video game music with no words.

What's your most effective way to muster up a muse?

That's tough. The first idea I published on tumblr was the result of me making myself laugh when I was trying to fall asleep (If EYE were being propositioned by Astarion, my ass would probably be like "wait, what? Me? ME?! Why?"), but the others I've posted have come from just seeing where my brain takes me as I'm writing, known as the "flying by the seat of your pants" method. I have a pretty good sense of these characters by now so I think I know what they'd be up to at this point. Outside of fanfiction, it's really tough - I'll start with a small idea and then keep sitting on it until it's something I think I can write down. I'm definitely more of a planner when it comes to stuff outside of fics 😅 I guess my short answer is: No idea. It just happens. Someone please help me.

are there any recurring themes in your writing? do they surprise you?

OHHH this is gonna say a lot about me, but something I've noticed in my original scripts and even my first fic is that most of the time, my main character is deeply lonely (I'M FINE GUYS, I'm surrounded by friends and loved ones but I have Some Trauma there). It doesn't really surprise me, considering I know WHY I've felt those things, but it's still like.......yikes. Lol. Also humor. Gotta laugh it off, right? RIGHT?

what is your reason for writing?

To be honest, it's a good outlet for me. I went to school for screenwriting and my goal has always been to make people laugh and bring them joy - It's always been that way. I think if I weren't able to get my thoughts and feelings out on paper every once in a while, I might explode. It's also just fun and I like doing it! Piggybacking off of what Khy said in their post, BG3 has been a HUGE outlet for me creatively. The game is full and beautiful and complex, but there are still gaps that I want to fill in and roads I want to explore. What would happen if the player were given THIS option? How would this character react to THIS situation? It's been a blast and I've never felt this way in a fandom before. It's awesome!

Is there any specific comment or type of comment you find particularly motivating?

ANY comment makes my day. The fact that you took the time to read and put thoughts together to let me know how you felt about it is HUGE! It's such a good confidence boost (I second guess myself A LOT) and it always lifts my mood no matter where I am. I always love when people agree with my interpretation of Astarion's idiot tendencies 😂

how do you want to be thought about by your readers?

Hopefully as someone approachable. I'm a big dumb dummy and I love to chat/fan girl. If I can be someone to brighten their day with something silly that I wrote, that's all I need :)

what do you feel is your greatest strength as a writer?

Definitely my banter. I've always been a fan of quick snappy quips and have experience in sketch writing/performing improv, so it comes very easily for me when I need it to. I make myself laugh with it, so it's always really nice to hear that others like it too.

how do you feel about your own writing?

I really started writing as a way of entertaining myself, so the fact that it's able to entertain others is GREAT, but I am very self conscious about it at the same time. I know my interpretation of Astarion is goofier than most, I know I rely heavily on dialogue rather than scene descriptions and inner monologues, and I get very in my head about those things. My stuff has found its proper audience and I'm very grateful for that, but there's always the nagging thought of "this could be better," or "they wouldn't say this," etc etc. That's something I'll likely always struggle with. BUT! I always have fun when I'm writing and hopefully that comes through. I've become less of a perfectionist after posting my first fic, that's for sure.

when you write, are you influenced by what others might enjoy reading, or do you write purely for yourself, or a mix of both?

Aside from requests, where I'm trying very hard to make sure I get whatever it is right for the person who requested it, I'm usually writing for myself. I'm definitely writing what I think will be enjoyable, but it's usually what I personally would like to read. That's what I've been taught! Write what you know and write what you want to read! I'm so unbelievably grateful that you guys find it entertaining as well. My fave thing to do is slip inside jokes in for myself/my beta (calling Astarion "ass," turning to someone and saying "did you know those people?" after talking to a group of people you know very well, etc etc).

No pressure tagging: @maladaptive-menace, and @arzen9 (I know you're not a fic writer, but still!) - I think everyone else I know has been tagged 😅

[tincansamurai]

pifo oc monday :)

original post here!

1. Is there someone [x] tries to protect?

mat: he generally feels really really weird trying to fill that niche, like he would be imposing himself on the other person. he would like stand up for amy or thom if something crazy happened but he's not the type to be generally protective. the longer he's with kaz the more actively protective he gets over him though, to point where he's gotta sort that out from the negative other half of the coin of feeling possessive/jealous.

kaz: kaz is kind of generally protective, like in the sense if someone does anything fucked up to a stranger or whatever, he'll totally say something. dude won't leave a woman alone on the train? he's telling him to fuck off, kinda thing. that goes double for people he likes and triple for people that are actually his friends. but he tries not to presume what people need/want, except in cases where he can conclude that the best thing for them would be for him to fuck off and die

2. What virtues does [x] value?

mat: honesty, sincerity. he hates guessing. he's always asking clarifying questions. just tell him

kaz: kindness. this extends pretty deep into his politics too.

3. Is [x] a good liar?

mat: y'know, he's not bad. he's great at lies of omission and half-truths. he is not good at straight up making up a lie whole cloth though. he will get red about it

kaz: depends who you ask. kimmy would tell you he's fucking awful at it, but most strangers and acquaintances would have no clue. he doesn't usually lie though, he doesn't like it. which is part of why he's always gotten in trouble for cheating and fucking around - he'd lie for a bit, then be like "fuck it, this is annoying" and let it get out for real. the only thing he wants to lie about is how fucked in the head he is, but it's the thing he is worst at lying about bc everything else about how he acts and lives his life gives it away

4. How does [x] get their hair cut or styled? A professional? A friend? Do it themselves?

mat: he definitely just goes to like a supercuts style quick chain

kaz: himself for maintaining the short parts, kimmy for the longer shit, himself for "i'm going insane i need to change something significant NOW" haircuts

5. Where did [x] go to school as a child? Or if fixed schools are not the norm in their culture, how did they receive their childhood education?

mat: public school in an nj suburb. he never moved or anything. his parents picked the best school district before getting pregnant on purpose, why would they move

kaz: public schools in pa suburbs. he moved once after elementary school when his mom found work in the city and they needed to be closer. she didn't want him going to school in the city though so they stayed outside it

6. Does [x] enjoy reading? Do they read quickly?

mat: mat loves old sci-fi. he's a fast reader. you can try and get him to read new stuff, or other genres, and he'll do it for a friend, but he doesn't care that much. very much a book re-reader

kaz: yeah, he misses having time for it, and outside pressure to force him into it. he reads at a pretty normal pace, but slower if it's nonfiction bc he likes to mark those books and take notes. he likes reading political and academic shit. he wants to be a philosophy guy but he can't concentrate on that well enough. he likes literature too. not big on genre fiction

7. Does [x] have a lot of friends, or just a select few?

mat: mat has two (2) friends. he kinda has some online friends but he doesn't keep up with them consistently or plan to ever meet them irl. probably a coworker or two consider him a friend, but he is dense about that kinda thing

kaz: kaz has a ton of friends the way that people who you met a few times who you're facebook/insta mutuals with are friends. not literally though bc he hates social media and basically never uses it. he's generally chill and friendly so he gets along with a lot of people. he doesn't have as many close friends. unfortunately his negative self perception is often reinforced by the fact that if he gets too deep too fast with new people they often go "oh wow ok uhh that's a lot" and fuck off, so he just doesn't get deep

[omgkalyppso]

things I would like to know about fellow writers

I was tagged by @dustdeepsea, thank you!! (:

Putting a cut in this because I'm very specific in some sexual language (not about my sexual history).

For this reason I'm too shy to tag anyone else, but if you see this and want to answer the questions, please consider yourself tagged by me.

Last book I read: The last book I finished must've been American Gods.

Greatest literary inspiration: I don't know. I like reading for reading and for learning, but no one that I really want to write like, and I feel bad for naming big names, still. JRR Tolkien, Douglas Adams, Diane Duane, Isaac Asimov (the short story Liar! has really stuck with me). And even then, that might influence how I used to write original fiction, but not at all how I write fanfiction, which I do almost exclusively now. I write far more original poetry than original fiction, and then ... I'm inspired by my mother, people in my community, all the music I listen to.

My fanfiction is a little inspired by my friends. I was going to link their a/o3 accounts but realized they may not want that. fghdfghdfg

Things in my current fandom I want to read but I don't want to write: Let's think of 3 for bg3 and 3 for fire emblem.

Vlaakith's defeat. - Idk enough about githyanki politics / how many "elite" forces (if any) are at her disposal.

Minsc's homecoming. - I feel like I'd have to play the first two games to be up to this.

He Who Was in control of his faculties but subbing very sweetly for Tav/Durge of any gender with bondage, hair pulling, overstimulation, spanking and the presence of a knife (I'd say knifeplay, but I don't mean bloodplay / cutting for him). - Reminder that this isn't a w/endy's, it's my blog.

Slowburn, longfic of Marianne moving to Faerghus with her eventual marriage to Dimitri. - Time.

Shura holding Kana for the first time. - I could write this. I won't.

Kink scene, free-use Hilda where her inner monologue is as complex as she is while still being wildly indulgent. - I started this wip; Hubert was also up for grabs in it. But it isn't happening.

Wait, also, Sylvain x Mercedes x Dedue starting a relationship with miscommunication and pining. - Planning this feels hard. fghdfg

Things in my current fandoms I want to write but I think nobody would be interested in them but me: 

With the note that I know I have at least 5 enablers who will (probably?? fdghfgdhfdg) always express interest in my completion of a project even if the won't read it, and so "nobody" being interested applies to strangers:

Komira and Locke, either domesticity or sexual intimacy.

A fic where Wyll and Ulder talk and it results in reconciliation, and then a bigger rift, and then understanding (people really don't like Ulder).

My Blaiddyd Bastard oc Almanzor learning to let go of the hang-ups on sex his parents gave him and fucking my oc Peregrine.

My oc Fae as a Student AU longfic.

You can recognise my writing by: The temptation to insult my own writing is so, so strong, but I don't mean to insult anyone who reads my stuff and enjoys it so I have to be nice. Hm. I don't know. "The way I write dialogue / inner reflection" is vague, but it's all I've got.

My most controversial take (current fandom): You guys (gender neutral and vague) can't call that shit self-insert if it's a non-human Tav (or Durge). It's first or second person writing (often, and not even always lately???), and x Reader fic, but self-insert To Me means that either any reader or at least the author has to be able to picture themself Being Inserted into the story. I haven't seen 1 isekai situation using this tag, which isn't a requirement, but you're giving the self-insert tiefling-tails and backstories, which is fun, but that's not a self-insert to me.

Top three favourite tropes: Slowburn (or emotional slowburn, sexually complicated), Hurt/Comfort (emotional or physical, whatever), Battle Relationship.

What’s your current writing mood (10 – super motivated and churning out words like crazy, 0 – in a complete rut): How current is current? Because potentially 0/10. I'll say 4/10 though.

Share a random frustration: I hate psyching myself out of a project because I worry something won't make sense (and I should post it anyway) or that it won't be up to my personal standards for myself.

[mylifeinfiction]

You Like It Darker by Stephen King

I sit at this desk thinking of galaxies beyond galaxies.

Here we are, again... another Stephen King Short Story Collection. I feel like I probably bash short story collections more than I actually should. The fact is, some of King's very best writing resides within these collections. The same is true with his latest, You Like It Darker , which includes several stories that I'd rank among King's best since C*vid. But the same issues are also present, especially the fact that too many of these—even some I thoroughly enjoyed/loved—feel too much like promising ideas rather than finished pieces. Also, most don't get nearly as dark as I was hoping for. In the end, though, this is a rock-solid short story collection and extraneous proof that King is the king... not just of horror fiction, but of American fiction, full stop.

Anyway, let's not fix what's not broken... here are my thoughts on each story:

*As Always With This Type of Review... POSSIBLE SPOILERS!!*

Robert Frost said home is the place that, when you go there, they have to take you in. It’s also the place you start from, and if you’re one of the lucky ones, it’s where you finish up.

Two Talented Bastids: A creative slant on the roots of talent; those inexplicable gifts bestowed upon unassuming people. It’s a likable if unevenly paced study of fate, and the actual origin of these men's talents is straight up my alley. - 7.5/10

The Fifth Step: I liked this one significantly more this time around. It’s very short and has a fantastic ending that isn’t only brutal, but plays into the story’s themes of addiction brilliantly. The idea of the addict fully giving themself to the recovery of one addiction by embracing another, more destructive addiction is so effectively executed, and shines a bright light on King's understanding of the addict’s mindset and the horrors and desperation that dwell within. - 8.5/10

Willie the Weirdo: Ooh, this was fun. I thought it was going to be a pretty straightforward serial killer origin story, but that ending made it so much more. Super dark and weird and I really dug it. - 8/10

"Belief is hard."

Danny Coughlin’s Bad Dream: Fantastic! A thematically compelling read boasting a gripping plot that delivers a creative, wholly satisfying and utterly nightmarish approach to familiar tropes and has a cast full of interesting characters. - 9.5/10

Finn: The first one that feels like filler. Not to say it’s bad, necessarily, it’s just kinda meh. There are some interesting ideas about luck, but aside from that it’s just a nightmare that doesn’t really go anywhere. - 5/10

On Slide Inn Road: I still dig the atmosphere and the grandfather—and what his relationship with his son and the contrast of their character has to say about the rift between generations. But, overall, it felt a whole lot less substantial than I remembered. - 6/10

Red Screen: I love alien stuff so this works for me. It's short and sweet, and while there's nothing amazing, it is a solid idea executed in a fun, mean way. - 8/10

The Turbulence Expert: An interesting, anxiety inducing premise, and very little more. It feels like the first chapter of a novel. It is well executed, though, and filled with characters that feel real. How King can do that so thoroughly in so few pages is always impressive. - 6.5/10

He watched the sunset. Laurie found a dead fish and peed on it. They both went home satisfied.

Laurie: This is a quietly beautiful story about that sneaky manner in which dogs tend to save folks. The first time I read this story, I unfairly disregarded it as being 'too light', and I was positive this would be one of the filler stories in this collection. I have no clue what happened in the last ~7 months, but I liked this a lot more this second time around. - 8/10

You get crazy ideas sometimes, ones that would seem ridiculous in broad daylight but seem quite plausible in the small hours of the morning.

Rattlesnakes: Nothing close to the story I was expecting—or hoping for. But it’s still a damn good, effectively creepy ghost story about the manner in which grief tends to overstay its welcome. I really was hoping for at least one more terrifying encounter with actual rattlesnakes aside from the flashback (which is awful in the best possible way), but I still really enjoyed this for what it was. - 8/10

"Barriers are usually there for a reason."

The Dreamers: I LOVED this story. This is a great premise with pitch-perfect execution. And while it's another one that doesn't quite feel like a finished piece, that works in its favor. I love cosmic horror, and this teases some seriously terrifying cosmic sh*t. In addition to that, it’s an interesting and deeply poignant exploration of PTSD in a time when nobody gave a sh*t about the soldiers coming home from hell. Still, I would've loved to see this expanded into a full novel. - 9.5/10

The Answer Man: Wow... King went and ended You Like It Darker on a major f*cking high note, didn’t he?? What a beautiful and tragic and emotionally exhausting story. I am a mess. Stories like this hit me hard in general, but this one is just so perfectly crafted. I am utterly wrecked. Go read this story... now! - 10/10

"Do we go on? After we die, do we go on?"

8/10

-Timothy Patrick Boyer.

[ewanmitchellcrumbs]

Any advice on how I can spot plagiarism as a reader? It’s sad but lately I’m feeling suspicious (not towards you of course!)

The short answer is that you can't.

A longer answer beneath the cut.

First of all, I feel it's important to have a proper understanding of what plagiarism actually is. @em-writes-stuff-sometimes has a very helpful post regarding this, which you can read here.

There is no way to know for certain that a story isn't plagiarised, but for the sake of your enjoyment of fandom, I would not adopt a bad faith take. It's better to assume that most people don't, and just enjoy the stories.

However, if you are reading a fic and think to yourself "this feels familiar", take a few lines and drop them into Google. If it's a story already posted to Tumblr then it will come up within the first few search results. This approach does not work with AO3, unfortunately, so you really have to know the original story to be certain.

I thank you for your lack of suspicion towards me. I have plagiarised before - I was fifteen and my English class was given a substitute for two weeks while our usual teacher was on her honeymoon. I was balls deep in literary analysis of Of Mice and Men and loving it, then became resentful of the fact that a stranger had taken over my favourite subject and was forcing me to write an essay regarding a poem I had absolutely no interest in. So, I took an essay from the internet, switched a few paragraphs around and ran a few words through a thesaurus.

The substitute immediately clocked me and I was given a lunchtime detention to rewrite my essay in my own words. I ended up getting an A for the rewrite, something I could have earned if I'd just sucked it up and written the fucking essay in the first place, instead of being a petulant asshole that ended up losing their lunch break and the respect of the substitute teacher.

I have not plagiarised since. My fan fiction is all my own, though not without riffing heavily from George R.R Martin's source material (sorry, man, but I wouldn't need to do this if ASOIAF didn't have such a woeful lack of pegging)

Sorry for the long as fuck response and tangent. And I am sorry that the state of fandom has made you feel this way. Unfortunately, plagiarists will have us all duped, until their handiwork crosses the path of someone who has read the exact same story before. Keep reading and enjoying. I promise you those that steal are a very, very small minority.

[girlfriendsofthegalaxy]

tuesday again 3/14/2023

one of the good things about the tuesdaypost series is that it reassures me i did actually do things in a particular week, even if the week felt very much like an unmemorable gray blob

listening

Aretha Franklin's Chain of Fools this came on last night as i was making dinner. two (three? let's not think about it) years ago i found the las vegas jazz station bc i wanted something on in the background while i wrote cowboyfic. and now (when i remember internet radio exists) it's in the rotation of things keeping me company while i tend to my databases

-

reading

it's been just over two weeks since philip marlowe has burrowed his way into my brain. i have read through most of The Simple Art of Murder, which contains the titular essay and eight novellas/short stories. if you enjoy reading and thinking about criticism as its own genre/art form, this seven page essay is well worth reading. chandler had extremely strong opinions about his colleagues that he kept to himself with varying degrees of success. aside from a brief catty snit at what we now call "cozy" mysteries, it's a very level look at the challenges and limitations of detective fiction as a genre.

The realistic style is easy to abuse: from haste, from lack of awareness, from inability to bridge the chasm that lies between what a writer would like to be able to say and what he actually knows how to say. It is easy to fake; brutality is not strength, flipness is not wit, edge-of-the-chair writing can be as boring as flat writing; dalliance with promiscuous blondes can be very dull stuff when described by goaty young men with no other purpose in mind than to describe dalliance with promiscuous blondes. There has been so much of this sort of thing that if a character in a detective story says, "Yeah," the author is automatically a Hammett imitator. And there are still quite a few people around who say that Hammett did not write detective stories at all, merely hardboiled chronicles of mean streets with a perfunctory mystery element dropped in like the olive in a martini.

i had a tremendous amount of fun reading through the novellas and picking out elements he reused and expanded upon in later full novels.

im yoinking this example from wikipedia but this sequence in The Big Sleep:

The room was too big, the ceiling was too high, the doors were too tall, and the white carpet that went from wall to wall looked like a fresh fall of snow at Lake Arrowhead. There were full-length mirrors and crystal doodads all over the place. The ivory furniture had chromium on it, and the enormous ivory drapes lay tumbled on the white carpet a yard from the windows. The white made the ivory look dirty and the ivory made the white look bled out. The windows stared towards the darkening foothills. It was going to rain soon. There was pressure in the air already.

first appeared in the short story The Curtain:

This room had a white carpet from wall to wall. Ivory drapes of immense height lay tumbled casually on the white carpet inside the many windows, which stared towards the dark foot-hills. The air beyond the glass was dark too. It had not started to rain, yet there was a feeling of pressure in the atmosphere.

when you are an exacting self-editor who will spend five months on one short story i imagine it's quite easy to go back and expand on a previous framework? it is fun to see how the sausage gets made

-

watching

the westerner (1940, dir. Wyler). really had me thinking about the Types of westerns i like. this is a perfectly adequate, well-acted little open range vs. homesteaders film with an impressive prairie fire sequence. walter brennan (a guy i love to see) more than deserves his oscar. gary cooper is great as a quick-thinking drifter who scams his way out of a noose. our heroine looks very much like olivia de haviland around the eyes. the original nyt review points out that cooper is very much overshadowed, and cooper only did the movie under duress bc he was worried about this very thing (p. 138-140).

between the fact that the movie thinks cooper should be the lead but brennan steals every scene he's in, this movie does not grab me by the lapels and shake me like some others i could name. part of it is that i do not like brennan's character. he is a self-appointed judge with a 100% hanging rate. i also think this is a totally different movie if you are not a woman, bc his character is INCREDIBLY weird about women. the ending tried very hard and failed to make me go "aw he was all right deep down anyway huh".

the other part of why this movie does not work for me: it starts off as my favorite genre "Some Guy has an incredibly fucked up day" but most of it is about good bible-thumping homesteaders enacting the american dream. what if we all got along??? america's big enough for everyone isn't it?? this movie really pulls its fuckin punches re: any sort of a theme, and i do not like cooper as an actor or brennan's character enough to say i had a good time. this movie does not delve into an aspect of the cowboy western mythos i am particularly interested in, but it is on kanopy, and it is part of my goal to watch every western on kanopy in order to convince the boston public library to add more westerns.

-

playing

man i wish fallou/t 4 was good. ive really got to fucking suck it up and start rdr2 even though i know it will consume my life in a time where i do not have a ton of time to spare

-

making

chicken fajitas. no pics all gone.

also: 6/10 baby blanket repeats. im trying to get this out by midapril so if i decide to fly down and look at apartments in person i can deliver it in person. so far i am happy with this rate of progress. i am going to frown about the edging for a while when im done knitting the body but that's a problem for future kay

[devitalise]

omg imo I could've sworn there was at least one full week left of november for some reason but dec 1 is on friday BYE locking myself up to finish my books 🏃‍♀️ HOW WAS YOUR NOVEMBER READING!! are you already in the holiday spirit are you planning on reading/watching some holiday related things to get you there? this one's rando, but do you have any favorite holiday foods/desserts/drinks you're excited to indulge in during this last month o 2023 ☃️

november being 30 days always goes by SO quickly she knows we're ready for the main event. november was a very good reading month for me let's get into the

november book wrap up

Small Island by Andrea Levy

i finished this pretty early on in novembr, my thoughts are along the same lines as my goodreads review: Great piece of historical fiction. I found parts of this so funny and I'm not sure if that was the original intention but I did have a giggle! The humour was found moreso in Gilbert and Hortense who are just so, so different to each other and Hortense's wilful misunderstanding and naivete as she tries to be a Model Minority was just so funny it was a much needed brevity compared to the heaviness of the rest of the story. Such foul racist thoughts that can be burdensome after a while, though. Yeah! I don't need to read the POV of a white British man stationed in India in the second world war ever again, actually! I enjoyed reading though.

A Game of Thrones by George R.R Martin

reread this because I hadn't picked up a high fantasy book I'd actually enjoyed in a little while. Great! I love ASOIAF as a series love returning to a known entity. I can't find my copies of A Storm of Swords or A Clash of Kings so continuing my reread is on pause until those unearth themselves.

Drive Your Plow over the Bones of the Dead by Olga Tokarczuk

Brilliant! So, so atmospheric. Incredible translation to me, obviously I won't know for sure until there ever comes a day where I can read Polish, but I got so much of the story out of this. It was just so cool and not what I expected at all going into it. I've never read anything like it before so getting to grips with all of the quirks of the style, subject and character was its on experience.

Butcher's Crossing by John Williams

Stoner was one of my top 2022 reads, so I saved this knowing that I'd like it. Rachel Cusk coded. It didn't blow me away like Stoner did, but I appreciate these are two very different books with completely different approaches. Where Stoner is so insular, things are kind of bursting in Butcher's Crossing. William isn't a complete active character, but he's participating in his life. Really cool setting, one of the most tense books I've read which I find can fall short in books with more action but the way tension builds and builds and builds in these fraught interactions between the four men on the mountain is fucking incredible. Immediately watched the film after this, and I love Nicolas Cage as much as the next person, but it fell short for me as an adaptation and as a film, sadly! Will be reading Augustus very soon as the last novel Williams' acknowledges as his own work.

The Power of the Dog by Thomas Savage

Another Western! Apparently I couldn't get enough! Not long finished this, so bear with for complete thoughts. Realised that I haven't read a book with such a sinister character in a while. Phil is sinister and strange and he's complicated, and I just really liked this book! Took me a while to get through because it is so dense at parts, but I think playing the long game definitely paid off. I love books that can make life so dramatic, all of the small stuff builds up to this big moment kind of thing. Netflix removed this film??? Will be making time to watch it this weekend for sure!

Outlawed by Anna North

3/3 with Western's which is so out of left field for me I feel. Finished it today, but on my top 2023 shelf, for sure. I think reading these back-to-back has made me appreciate the difference in style and storytelling so much more. I was a bit nervous because I've found previous Reese Witherspoon book club picks really juvenile, and whilst this is way more accessible than BC or TPotD, there's still a lot of complexity that I was able to enjoy. I love communities and found families, and it just really got me reading this book about these "women" ostracized from society making something of their own at risk of imprisonment and hanging. Thought it was really neat :)

December Reads

I'm on the Kindle through to the end of the year (10 days to New York!) so I'll be getting a couple new titles to diversify my options more. I don't have anything set in stone but I did download pdf's of The Hunger Games series which I've never read before so I might do those.

My Christmas mood started on November 1st! Multiple plays of Ariana Grande's Christmas & Chill, and I've already watched a few Christmas films. I watched The Holiday for the first time recently and found it boring :( I'm not a Jude Law enjoyer sorry.

Oh I love a hot cider! Ferrero Rocher's, stuffing, anything Christmassy really! I'm also so excited for a Christmas in New York! I have an itinerary going and many pictures to take!

[katherynefromphilly]

2, 8, & 20 for the writer meme

Thank you @shana-rosee ! Here you go.

2. Do you plan each chapter ahead or write as you go?

Ooo this is a long answer. Basically? I do it differently with each story. I’m still figuring it out.

I wrote And Like the Cycle of the Year, We Begin Again the absolute most difficult way possible: I started writing the first chapter and kept writing. However… the first draft, at 6 chapters, felt super contrived, and wildly out of character. So I rewrote the entire thing, but this time planned out major plot beats, crisis points, and conflict. But it STILL wasn’t quite right, so I took some time to read articles about plotting and writing effective scenes. During my third draft edit/re-write, I also wrote a summary of each scene, with all the stuff you’d see on a Scene Card. That helped a lot. I still needed several rounds of editing after that, so I wouldn’t recommend this path for a 200,000 word story, unless you want to write 8 drafts over 11 months.

With our Our Destinies Our Own, I extensively outlined the plot, but stayed too much a slave to that outline. The story is way, way, too long as a result. With Ever Onward, I tried something different, starting with a loose collection of scenes and plot points in my head, and then writing a super short outline. It was an experiment in writing more briefly, and tightening up my style, and I think it worked. That story is short, though, so maybe it only worked for that reason.

In my current story, which is longer and more plotty, I’m using Miro, a virtual infinite whiteboard product like Mural or Freeform. I want to try visualizing the escalating path of the plot. It’s been helpful in understanding where I feel the story is dragging. Also, in my Pages doc, right before I write each scene, I summarize the Setting, POV, and What Happens/What Changes. It seems to be working so far. But stay tuned.

I still do discovery writing/pantsing for my original short stories or my flash fiction. It’s less important when the max word count is 3 to 5 k, and you’re illustrating a theme or character, instead of taking them on a whole-ass journey.

8. Do you prefer the beginning, middle, or end of a story?

There is something really satisfying about a good story ending. I really like closing the open loops, drawing parallels, and letting my characters have that moment of rest after a long journey. My endings are more like endings + epilogues. I go crazy when I read a story that drives to a climax and then kicks you right out of bed afterward. Let me enjoy the characters and their success for a while, you know?

20. Have you noticed any patterns in your fics? Words/expressions that appear a lot, themes, common settings, etc?

I love writing about found family, and about unique people finding one another. I also love writing about older characters, and all the strength and sass and love they can have to offer. Eleanor represents the a type of woman I’ve frequently been blessed to know in my life. I really admire older women who have had a tough life but still have retained a loving, positive, caring heart.

Thanks again for the ask!

[allseeinganalyst]

Frozen II Novels - Review

It's been a while since I reviewed or analyzed anything here. This blog was made for that exact purpose, but I've posted one half-hearted review-ish thing about Mob Psycho and the Nanoha look-back is taking a while.

Part of that is due to being that I find myself in weird mental spaces more often than I'd like. The internet is a hell-hole, but it's also one that's borderline impossible (and certainly very impractical) to actually just sever ties to. I've ditched Twitter and I don't use TikTok (except to look at videos my partner sends me), but I still get, somehow, hit with a lot of LOUD, SHOUTY voices that seem to make it impossible to enjoy anything.

After about three-to-four midlife crises about things (i'm 30 this November), and a chat to my partner, I've managed to get the mental TARDIS that is my mind up and running again, ready to tour the fictional universe and enjoy what is has to offer, getting back into the things I love, without getting bogged down in the screeching of fandoms and social media.

Gods, that was a very long way of trying to say "I read a cool Frozen book."

Frozen 2 - Forest of Shadows and Frozen: Polar Nights - Cast into Darkness are two original novels set in the world of Frozen (Duh.) Forest of Shadows was released in 2019 and I actually read it back then, while Polar Nights was released in 2022, and I picked it up from Target and read it in march of 2023.

To get this out of the way, while it does sometimes throw people off, I am actually a big fan of Frozen. I've loved it since the first movie. It's not my favourite Disney film (that would be Tangled, and whoo-BOY, will we get to Tangled related media at some point on this blog!), it's probably a close second. I love the animation, I love the songs, I love the characters and I love the world. I was even sad when the hype for Frozen died down, and no, I don't think Enchanto is better - That's another LOUD SCREECHY OPINION that I'm not sad to hear less of.

These are obviously not the only Frozen novels out there. I do own "A Frozen Heart", which I've really got to get around to, because apparently it contains some Hans backstory, and Hans is a character I'm really interested in learning more about, and obviously there is a slew of additional Frozen media. Frozen-Mania gripped the world in a chokehold not seen since the god-damn Shrek movies, and it had an effect on our media and culture so great that no doubt, someday there will be an essay on youtube by Super Eyepatch Wolf explaining and analyzing the overwhelming impact of a Disney movie from 2013 and the INSANE fandom that sprung out of it - which I was a part of from very early on, and quite honestly you can use it as a self-contained example of how fandom has changed since then... BUT I'M DIGRESSING.

The point I was trying to make here is that, most of the media released post the original Frozen movie is fairly generic. Baring one or two things, and of course, the animated shorts, a lot of it is standard kids stuff - Storybooks, Quick Reads, Junior novels, picture books, etc. Some of it is really fun, and the art was almost always either a wonderful, bright cartoonish 2D style, or a painterly, soft style that's really pretty to look out - But not a lot of is espeically unique. It's got a "Frozen Flavour" to it, but it's all very standard. If you changed one or two things, you could swap out Elsa and Anna for Rapunzel, or Ariel, or any other number of Disney Princess characters and the stories would be more-or-less the same. Stuff that mum and dad can give to their kids to let them have their Frozen fix without having to endure "Let it Go" one more time. (Side note: If you do happen to be one of those people who're bitching about how over saturated that song is - Fuck you, I'm going to play it again on purpose.)

The point I'm getting around to is that these books, cheep target paperbacks they may be, are not that. There's a distinct world and continuity here, and it's even possible to place a timeline.

These books (I believe there may be a third between them for a reason I'll get too shortly) have recurring characters, direct continuity and callbacks. All of them expand on the world of Frozen, moving away from the generic Disney-Princess storytelling of kingdom mishaps and "oh-no! character X is lost/upset/lost a precious item/wants to do something special/has a special occasion/etc" and into a deliberately constructed world, with a soft but distinct influence from Nordic and Sandenavian folklore.

They are not perfect, but they are worth talking about. Spoilers abound below, for those of you who are interested!

I'm not going to summarize the plots. I want to talk what I find interesting, annoying, curious, fun or frustrating about these books. These reviews are intended as a form of looking after my own mental health anyway. If you're interested, I've given names and pictures of the covers. Go look them up. Or better yet, read the books yourselves and tell me what you think!

The coolest (pun 400% intended) part about these books is they are clearly on a timeline. They're designed to slot very nicely into Frozen canon, and do so very tightly I might add. The timeline that we can establish is:

Frozen > 3 YEARS > Forest of Shadows > Frozen 2 > Polar Nights.

Forest of Shadows leads directly into the events of Frozen 2, even referencing the scene where Elsa wakes up the spirits at the end, while Polar Nights is explicitly stated to be a matter of 2-3 months since Anna took the throne.

During that 3 YEARS period there, you can obviously slot in Frozen Fever, Olaf's christmas special and probably one or two of the storybook stuff released post Frozen. If the (hilarious) "Olaf Reenacts Disney Movies" shorts are in ANY way canon (and... They MIGHT be to some degree, I'll get to this later...) they almost definitely slot in between Frozen 2 and Polar Nights. Again, I'll get to why later.

I believe I am missing a novel or story somewhere that fits into the same timeline as Polar Nights references an event that's a bit too specific to not have been depicted in some form of media, but I can only work with what I find locally. Although I am in no uncertain terms a fan, I only have so many resources and time to put toward things, and Frozen isn't at the top of that list. If a novel appears on a store shelf, I'll buy it. If it doesn't, I go without.

While my thoughts are mostly focused on Polar Nights, because I read Forest of Shadows over 3 years ago. I'm talking about both novels for the most part.

They are decent in size. Small enough for kids to read with no trouble, but more than a short story. Both tell full length, original stories.

These books paint a slightly wider view of Arendelle and it's surroundings than what we see from the movies. Neighboring kingdoms are mentioned by name (including Corona - Rapunzel's kingdom from Tangled. - Again, I'm going to get back to this later), and there are several named, recurring characters like Tuva and Ada, lesbian blacksmith wives (explicitly mentioned as being married) or Sorensson, the Astronomer who lives far outside of Arendelle and is introduced in Forest of Shadows, then plays a small but significant role in Polar Nights. There's recurring references to Aren of Arendelle, the founder of Elsa and Anna's kingdom, and a secret room or passage discovered in one book is referenced and used again in the next. It's really consistent and it makes it feel rewarding to read these novels. I very much doubt that any future Frozen visual media will reference their events, but if the stories themselves can keep a continuity across writers, then that's good enough for me to feel like I'm really in a bona-fide expanded universe.

There's some stuff in these books that I have personally wanted to see since the first movie. Things like finding out how Anna never recovered the original memories the trolls took from her, or finding out what Elsa spends a lot of her time doing in Ahtohallan...

(conjuring ice memories, apparently. Yeah, seems like while she's not going to "drowning depth" again, she is using her magical ice powers to pull up home-movies of her parents... Gotta wonder if she didn't accidentally pull up one of their date nights and then shattered the whole thing into ice shards in a panic once her dad put on the Barry White music.)

The books ALSO give me something that I have held in my head since the very first movie - Anna cracking jokes about her past and her mistakes.

I've always loved the idea that Anna doesn't seem the type to get all "Shell-Shocked PTSD Veteran" over her traumatic memories. That's Elsa's job, so I've always imagined she makes a lot of jokes and lighthearted fun out of it. Like, she seems the type to go: "OH HEY! That's a great statue of me! And I'd know! I've been a statue! Made of ice! Wanna see me do the pose?"

And while we don't get that exactly, we do get her ribbing Elsa about having Marshmallow throw her out of her ice castle, grumbling about how "Hans isn't actually THAT good looking", and generally having a sense of "oh no, I remember what happened LAST TIME..." about her. It's not as explicit as I'd like, but it's there and it helps with that feeling of the world being alive and moving. These characters do remember what happened yesterday. They are actively learning their lessons and trying to avoid the mistakes of their past.

The stories are compelling enough. While not groundbreaking, edge-of-your seat page turners, they both offer an adventure that's very much on brand for Frozen, effectively utilizing the characters and the world. This isn't a story where you could change a few names and slap Aurora or Belle or Ariel in instead. These stories feel tailored to Elsa and Anna. Unfortunately, there's a bit of an issue that I assume arises from being an author hired to write your own original entry into a carefully curated, multi-million dollar franchise, owned by the real world's full on Mega-Corp.

See, while I love the connected, constructed world these novels build around the movies - They do in-fact, happen to be being built around the Frozen media franchise, and Disney have been notoriously strict with this before.

If you were a part of the early Frozen fandom (again, I was), you might remember the sheer excitement around when it was announced that Elsa and Anna, as well as Arendelle and a number of other movie characters would be coming to Once Upon a Time, flinging the universe of Frozen into unexpected live action.

I'm not going to get into my thoughts around OUAT, because... YEAH I'm trying to be focused and that is worth a WHOLE other blog post - which I don't have any REAL desire to write out unless someone BEGGED me to do it, but long story short, given that the show explicitly is alternate continuity for ALL Disney's franchises, it had a lot of leeway in what it could do with it's regular cast... But not the Frozen characters. Although the writers did get to play around creating new backstory and lore, and chopping and changing a bit, there was a strictness to what they could and couldn't do with the characters. They couldn't give Elsa a love interest. They couldn't dramatically change anything from the movie. Characters had firmly fixed personalities that were absolutely not allowed the usual "flex" of OUAT - No extra edginess snuck in, nothing out of character.

(They did have incredible costumes though. Way better than any other live action projects that I've seen).

My point in all of this is, that was explicitly in an alternate universe. OUAT had NEVER had any bearing on any of the franchises it pulled it's roster from, and was marketed to a whole different audience.

These books are NOT. They are marketed toward the same audience as the movies, and are intended to fit alongside it. And it is painfully obvious that Disney holds a tight leash when it comes to ways for writers to interpret their billion-dollar characters. Obviously this is pure speculation, but I would imagine the writers for these novels were given dedicated character bios of characters like Anna, Elsa, Kristoff, Olaf and not allowed to deviate or even go into much depth beyond what was listed in those bios.

I say this for a couple of reasons - The most notable of which is the dialogue, and to a lesser extent the character actions. Characters have an unfortunate tendency to sprout stiff, unnatural dialogue, based on certain things that were mentioned in the moves.

Nowhere is this more egregious than with Anna and chocolate. The movies mention her having it as her favorite treat, and she has like two memorable moments involving it in the first movie, but the books treat it like it is NEVER off her mind. If the books mention Anna wanting to do ANYTHING, most of the time, it involves chocolate in some way. She brings it with her on expeditions. She can't wait to get back to the castle and eat some. She has a "choco-versary" with Kristoff, the anniversary of the first time they ate chocolate together. It comes off as a weird obsession, instead of the favorite food it was in the movies. Similarly, she's mentioned as having "Sandwiches" as her favorite meal a few times. Not only is this FRUSTRATINGLY non-specific, it also seems PURELY based on her one line in "Love is an Open Door" and it's callback during her conversation with Kristoff in the first movie... Although to be fair, this did also get a call back in Frozen Fever where we see her be enthusiastic about one, so... whatever.

It gets stiff with dialogue between characters too. Almost every conversation with Elsa and Anna seems to drift towards "we were seperated, but now we are together again, and I love you and am so proud of you!". They'll discuss the plot, and they do have some genuinely great moments (like Elsa talking about the trolls and Anna pointing out, somewhat sadly, that "no, sis, I can't remember, they took my memories as a child...") but a lot of it is re-hashing their end-of-movie "sisterly bond" stuff. It's a real shame especially in Polar Nights, because that is set AFTER Frozen 2. We could have had scenes of Anna asking Elsa for help ruling as Queen, or Elsa observing how Anna does things differently from her, but we learn nothing more about how these two interact than what we already knew.

The other problem that I assume crops up from Disney's strict oversight is that it's obvious the writers are not allowed to affect the world too much. They can play with the figures in it, but can't change the landscape dramatically. This is understandable, as it's unlikely the Mega-Mouse wants some kids novel throwing out a detail that might force them to change how they write the next movie. They're not going to kill off Kristoff, or suddenly give us a Hans redemption arc - As interesting as that would be, the writers need the all clear from Disney, and Disney won't want some hired novelist to make a major change to their giant money making machine which is no doubt shaped like Elsa's head.

This means that, although the stakes do feel real for the books themselves, there's a sense that nothing that happens within really affects the world that much. Characters don't learn a vital lesson or change in any significant way, and those that do are new characters, constructed for the book, who can easily be ignored by the wider narrative - Polar Nights has a whole segment with a pair of sisters, obviously designed to parallel Elsa and Anna, who's past and backstory, and the mysteries and mistruths thereof, form more-or-less the basis for the entire plot, but our ACTUAL sisters can't have a chat more complex that "boy I'm glad we're not separated anymore, also we're proud of each other!"

The result is - and this is kind of what I've been driving toward this entire time - these books give me a VERY distinct feeling, and it took me a while to identify what it was. I didn't catch it when I read "Forest of Shadows", but it WAS there, and Polar Nights has it there in full force.

These novels feel like FILLER.

Traditional, ACTUAL, filler.

SIGH - Quick sidetrack.

The term "Filler" is thrown around a lot these days, often by people that I don't think realized the term originally had a more specific meaning - At least from what my experience is.

"Filler" was primarily a term used by the anime community, referring to episodes of a show that were not adapted from the original manga. This practice was done as most anime, especially Shounen anime like those pictured above, ran almost continuously, and when your airing an episode a week which is sometimes able to adapt multiple chapters from the manga, you're going to close the gap pretty quickly.

This meant that things would be done in the episodes to stretch them out. Anything from lengthening fight scenes, to additional dialogue, all the way up to - perhaps most famously - whole new arcs created purely for the anime. These arcs had to tell their own stories that were entertaining, but obviously couldn't massively shake up the status quo, as they had no idea what would be coming next for these characters and this story. They relied on events distanced, often entirely unrelated to the plot at large (in-fact, rather infamously, Bleach once went to a year long filler arc in MID-SWORD-FIGHT BETWEEN CHARACTERS). Often they would invent new characters, new powers, and often draw on events of the past, or spotlight background characters to create an unobtrusive narrative.

These arcs can, and have, been good. There's nothing inherently wrong with filler, but as TV Tropes says: "These arcs can, and have, been good. There's nothing inherently wrong with filler, but as TV Tropes says: "At their most extreme, absolutely nothing that happens in a filler episode will affect things going forward, even if it seems like a character developed or grew in some manner."

Filler's definition has expanded a lot, and was never really as fixed as I tended to take it, though I still see it used incorrectly. If an episode of a show had the characters sitting around talking, with the plot not advancing at all, but we still learn things about the characters that matter, and have an impact or call back later, or their relationships change in SOME way, then it's NOT filler. In the words of my Media Teacher: "Just because it didn't feature a car chase and a shoot out, doesn't mean it doesn't matter." - Filler doesn't matter. Slow paced slice of life episodes can matter a LOT.

As a side note, to this side note, Filler in it's most traditional sense is dying out, and has been largely, though not entirely, gone from anime by the mid 2010's. Anime have switched over to the "cour" style of episode production, with a season consisting of usually around 12-or-24 episodes (a little leeway in either direction is common, like having 26 or 10 episodes), which focus on tightly adapting one arc or novel or portion of the story. They then take a break, and return with the next season whenever, picking up where they left off. This is why you don't really see stuff running for 200+ episodes in a row anymore, and why something like, say, Attack on Titan has five seasons. This has allowed for MUCH reduction of filler, and virtually eliminated the need for the filler arc. They do still pop up, but notice how today's "big shots" like My Hero Academia and Demon Slayer have multiple seasons instead of just running for a billion episodes like shows such as One Piece, or Naruto.

Though speaking of that, apparently some new shows are determined to carry on the traditions laid by their parents... *side-eyes Boruto*

AHEM. I really need to drop this topic and get back on track. QUICK, what's an appropriate Frozen-related GIF to use to move on?

I fuckin' told you I was gonna play it again.

ANYWAY, so my point is that - despite feeling like we've really entered a living, breathing world, with its own history and people, it feels like we're never allowed to see that world DO anything.

This wasn't too bad in Forest of Shadows, because even though it couldn't do anything massive, it could create the illusion of movement, by transitioning characters from their Frozen selves to their Frozen 2 selves, laying down hints of what would be fully realized in that move, but it is REALLY on display in Polar Nights - The set up involves exploring Anna's first major kingdom event as Queen, and yet, we really don't get any meaningful detail about that. We don't get a sense of how it feels for her to suddenly wield all this power and responsibility when, not just a few months ago, she was more or less the spare princess that could spend her days having picnics with snowmen. I mean sure, there's mention that she's nervous, but it really doesn't go into much detail. She's just "Queen Anna", the same way we saw her at the end of Frozen 2.

(Elsa's also still referred to as Queen - sometimes she gets directly called "The Snow Queen" - but this is a detail I like. It's not like the people forgot or disavowed her as their monarch. The two are called "The Queens of Arendelle" at one point. It's an interesting touch.)

The events of Polar Nights involve a lot of things happening (including major characters losing their memories of each other), but it all amounts to a problem that's easily resolved with Sisterly Love, and by the end of the book, everything's normal. I know these books are not going to affect the movies, but one of the cool things, as I mentioned, was that they did have continuity between each other. Sorensson was introduced as a man of science in Forest of Shadows, and then in Polar Nights, Anna and Elsa go to him for help with something they want a scientific explanation for. While some of these characters might pop up again to be mentioned in the next novel, it's hard to believe it'll focus on Anna dealing with the fact that... Say Dragurs are real, and exist out there, and that things like grudges and nasty legends and rumors can bring unwelcome power.

Some of the dialogue and phrasing is just plain awkward too. A lot of the time, when Anna spoke to Kristoff, it felt very bland, and forced-romantic, rather than their natural, more banter and warm interactions in the movies. We don't even get a call-back to "I prefer you in leather ;)" - Although that may have been pushing the biscuit. If they went any further with how Anna feels about that, the LOUD SCREACHERS might lose the ability to pretend she was being 100% wholesome and child-friendly with that line...

There's another line where Elsa's narration indicates she wants Anna and Kristoff to have kids so she can be "the cool aunt, literally" - A line that exists purely for that one lazy joke, since no other mention of them having children exists that I can remember.

(Though I am borderline certain that Frozen 3 will focus on their child, but again, that's getting distracted)

Polar Nights also avoids any direct appearances of Northuldra. No Honeymaron or Rider or anything - The only other significant characters that appear from Frozen 2 are Mattias (who fills a bit of a generic "general/captain of the guard" role, but that's his job so it's fine), as well as Gale and Burnie and the Water Nokk, who do have roles to play, but relatively minor ones. They are mentioned, but even when we see the Enchanted Forest, it's purely featuring the cast from Frozen, plus the wind and the new plush mascot lizard. Again, it's a shame because beyond: "Elsa loves the fact that she is living free" and "Elsa spends time pulling up home movies made of snow", we get nothing about how the former Queen is living as a spirit. Okay, I don't expect the book to explain about how Elsa hates needing to pee in a bush now or something absurd like that, but when you go from living in a castle to living in tents and caves, you've got to feel more than just "free" right? We don't even see how she interacts with the Northuldra. How do these people, who revered the spirits, interact with one who can speak to them in their language? Who can sit and chill out with them? Who can pop round for dinner? We get none of that, and it's sad, because it would have been nice.

Polar Nights features a mystery story between two sisters, one of whom is said to have outright murdered the other, several fights between Elsa and a Nordic zombie wraith that mimics her powers at one point, a Pirate Queen and her fleet sitting menacingly at Arendelle's borders, at one point escalating to firing on royal ships during a massive storm in an eternal night, Anna and Elsa traveling to a whole different neighboring kingdom, and Anna's fiance explicitly losing his memory of her, and anything they ever did together...

... and somehow it comes off as less compelling and impactful than Frozen 2, where - and I don't want to downplay or insult Frozen 2 because I think it's amazing and obviously it's themes run far deeper BUT - the main antagonist force boils down to "Dam that a bastard-man built one time".

(On that, Polar Nights is intent on reminding everyone that King Runeard was a Bad Man™ and every single character essentially goes "BOO! HISS!" whenever his name comes up. And yeah, the dude was an absolute bastard, and he only gets revealed to be worse in Polar Nights but you would think Anna and Elsa would have more complex feelings than "hate that guy" to their granddad who they believed was a bit of a legend up until the events of the second movie. Still, maybe they genuinely don't and at any rate, unpacking those feelings might be a bit more complicated than a novel intended mostly for kids is willing to get into.)

There's more that could be said, but I worry I've been sticking to the negative for too long. Yes, these novels do feel like anime filler. Lots of stuff happens, but it doesn't really impact anyone. There's new characters introduced and side characters discussed and all sorts of things that really don't mean that much to the world in the long run, and no doubt will be forgotten by the time Frozen 3 rolls around BUT...

BUT

The books are an enjoyable read. They let me return to the world of Frozen and explore a bit more of the land these characters live in. Yes, I wish the book featured a conversation between Anna and Elsa that didn't just feature them rehashing what they've learned in the movies, but it is STILL good to see them together again. It's heartwarming to know that Elsa still stays in the castle, that Anna let her keep their parents bedroom, that the people of her former kingdom still call her "Queen".

It's great to see side characters mentioned, and not just appear once. It's great that these books are allowed to look outside of the generic fairy-tale fare and bring up things like Dragurs and Huldrefólk and, while I do think the Sisterly Love being the solution to Polar Night's problem isn't the best ending, it does FIT with the themes for the franchise and it isn't a re-hash of Anna and Elsa, instead holding up a mirror to them and showing them what they could have been had their lives been but a tiny bit different.

They're good books, and I would rate them:

A solid B

Was originally a B-, but upon writing this out, I re-evaluated and I wanted to stress that I actually really do like them, and I hope they make more. I really want Frozen to be that thing that winds up having 20 different novel series, six comic books, two original TV series and a line of successful movies. It'd make me happy.

That is just about all I have to say on this topic except for:

OKAY SO YOU KNOW HOW I HAVE BROUGHT UP TANGLED A COUPLE OF TIMES AND I'VE BEEN SAYING I'LL GET BACK TO HOW I THINK IT INTERACTS:

Well - We all know Frozen featured Rapunzel and Eugene visting Arendelle and, ignoring some of the crazy and common fan theories (they're cousins I swear it still works if you squint), that suggests that there is a shared universe and I believe these books CONFIRM that when taken in conjunction with other evidence...

Consider that, Corona is directly mentioned in Forest of Shadows, and that would seem to confirm it, but I've still seen that, and the Tangled character's cameos waved off as cheeky Easter Eggs, BUT... REMEMBER THOSE FUCKIN' OLAF SHORTS? The ones where he re-enacts disney movies?

YEAH WELL, in the Tangled one, he has a bit of extra dialogue where he goes something like "this one is for one of my favorite people in the world, Rapunzel" or SOMETHING LIKE THAT THAT SUGGESTS HE'S MET RAPUNZEL PERSONALLY, and...

AAAAAND...

Polar Nights reveals that he and the others HAVE stayed in the Enchanted Forrest before, which gives him a timeframe where he could plausibly tell these stories in universe, AND AND AND AAAAANNNNND:

He also has a short where he re-enacts "The Little Mermaid" which IS CHEEKILY IMPLIED TO BE A BOOK THAT ANNA LOVES in Polar Nights, so Olaf has a REASON to know that story, AS A STORY--

AND BASICALLY THIS CONFIRMS THAT FROZEN AND TANGLED ARE SET IN THE SAME UNIVERSE AND THE FRANCHISE IS GOING TO CONCLUDE WITH AN ULTIMATE CROSSOVER THAT puts Avengers to shame and I SWEAR THAT IT'LL BE SO AWESOME AND--

The Analyst has been dragged off into the night by sensible people. Please ignore his ramblings.