#my writing style is more prose than dialogue

[topazadine]

Writing Post Masterlist

All my posts about writing - plus some I absolutely loved by other writers.

Masterlists by Other People (all good)

"Writing Tips Masterpost" by @deception-united - Deception-United has an incredibly wealth of resources available, far more comprehensive and detailed than mine. Go check it out!

"WQA Post Master Lists" by @writingquestionsanswered - Another fantastic and wonderfully comprehensive resource that covers damn near everything you need to know about writing. Genuinely one of the best free resources on writing that you could find on the internet.

General Advice for a Happy Writing Life

"The Myth of the Martyr Artist" - An incredibly important post, perhaps my most important one ever, that discusses why mental illness is a burden, not a benefit. I have no idea why this even needs to be said, but it does, apparently.

"Building Self-Esteem as a Writer" - Why you gotta be nice to yourself. You gotta.

"Identifying bad writing advice" - Warning signs that the post you are reading kinda sucks and you should click off.

"Advice to Beginner Writers: The Good, the Bad, and the Unpleasant" - How long it takes to become a good writer, what to focus on when learning, and why fanfic is such a useful tool.

"Mindset Shifts: Fanfiction -> Original Fiction" - What fanfic writers should know about deciding to take on original characters and stories.

"Defeating Protracted Writer's Block" - What to do when you find it impossible to write for days, weeks, or months at a time.

"Five Common Anxieties of Newbie Writers, Demystified" - Explorations of five mindsets that can set younger writers back as they learn their craft, including overcompetitiveness, overdescribing, and fearing they're "too old."

"Good Motivations for Continuing to Write" - Why it is crucial to have a passion for writing beyond fame and fortune.

"Extremely controversial writing opinions that will make you mad (but I'm going to say them anyway)" - Things you really don't want to hear, but need to be said. A bit of tough love, including the insignificance of ideas, the cold hard truth about how non-writers react to your writing, and the essentiality of having a well-rounded life.

"Why Mindfulness Is a Key Practice for Writers" - On the need to slow down and let our brain rest - plus some options that are categorically not sitting there in dead silence (boring).

"Writing When Happy" - Wherein I hijack someone's question to discuss the Myth of the Martyr Artist, why we might self-limit because of it, and how to do the impossible: write when we're happy.

"The Neurodivergent Writer’s Guide to Fun and Productivity" by @bookishdiplodocus - Excellent advice on how enjoying the process and reminding yourself that writing is supposed to be fun can help you stay motivated and productive, even when your brain is not cooperating.

"The Glorification of Self-Deprecation in Art/Writing Spaces" by @nicolkoutoulakiauthor - I've discussed before how crucial it is to have a healthy self-esteem when writing, but Nicol does it even better here. Nicol also includes some excellent reframing tactics so you can stay motivated.

Generalish Writing Advice (multifactorial)

"Signs That You Will Probably Finish Your Writing Project" - An analysis of the mindset that leads to results, and encouragement on how to develop them.

"'How Do I Start Writing?'" (Or; A Psychoanalysis of Newbie Writer Fears) - Inspired by the dozens of Reddit posts that ask this exact same thing, often with useless responses. So why do people ask this? I offer my theory.

"I Can Think of Ideas But Can't Write Them!" - A consideration of the many reasons you might find it difficult to get started on your precious idea-baby.

"How to elevate your writing style with 6 simple hacks" - Information about how to develop a prettier prose style, catch errors, develop good dialogue, and focus on brevity.

"How to improve your writing style : a 5-steps guide" by @writer-logbook - Especially great information on why reading widely is so helpful for your craft!

"Some Writing Advice" by @whispers-whump - Especially great discussion of why you shouldn't write what you mean.

"Practical Writing Advice Part 2" by @so-many-ocs - Does what it says on the tin. Simple, easy-to-follow advice that can break you out of writer's block.

"25 Prose Tips for Writers" by @thewriteadviceforwriters - I absolutely love the emphasis on sound and harmony here. As someone whose entire book series revolves around the magic of poetry, of course I think this is incredibly important advice!

"Pacing and Show Don't Tell" by @mylordshesacactus - Two for one deal! First, learn more about why pacing is important; then, look at some examples of the classic advice "show, don't tell." The post does a great job on breaking down what show don't tell actually means and what is not a violation of this guideline so that newer writers aren't confused.

Writing tools

"How to Build a Sustainable Writing Habit Through SCIENCE (Fuck Off, NaNoWriMo)" - Why NaNoWriMo doesn't actually motivate young writers and how to do better through a spreadsheet (yes, really, a spreadsheet). It also explains the importance of intrinsic motivation!

"'I've Outlined Too Much and Now I Can't Write!' (Or: the Double Outline Method for Overanxious Plotters)" - Some of us tend to go absolutely ham on our outlines, to the point where they're practically their own books. But then we also tend to not actually do the writing attached to said outline. Does this mean outlining is useless? Of course not. My method lets you have your outline and eat it too. (.... Wait.)

"'How Do I Make Myself Start Writing?' (Tips to Get the Damn Thing Done) - In this post, I provide a step-by-step guide to start writing, including a few tools to help improve motivation and concentration.

"How to Write Faster (And, Hopefully, Better Too)" - Eliminating distractions and forcing your brain to write is key to getting more done. Here, I explain how you might be limiting yourself by too much thinking and not enough doing.

Worldbuilding

"Stop Making Everything So Damn Complicated!" - Why fantasy (and scifi) does not need to be dizzyingly intricate to be enjoyable.

"How to Kick Ass at Worldbuilding" - I offer some suggestions on how to create a grounded and interesting world that will not bore your readers, based on real life examples.

"Grounded vs. Airy Fantasy" by @aethersea - Excellent breakdown of different levels of groundedness in fantasy and why it's important to understand your own approach.

"Fantasy Guide to Building a Culture" by @inky-duchess - Thorough and methodical analysis of what can create a compelling fantasy culture, including those things that many fail to think about when writing.

"Writing tip - Research" by @pygmi-cygni - Fantastic assessment of the importance of research, including for fantasy stories. As Pygmi-Cygni said, a lot of people claim that they don't need to do any research for fantasy novels, which isn't true! Any parallels to IRL need to be realistic, or you will lose credibility.

Plotting

"How to Use Chomolungma for Writing Adventure Stories; Or, the Plot Mountain Method" - If you're sick of saving felines who should really figure their own shit out, it's time to head to Plot Mountain. In this post, I offer you an alternative to the formulaic "Save the Cat" and "Hero's Journey" which also incorporates tension, characterization, and forward momentum.

"Avoiding Melodrama In Your Writing" - The most annoying all things: melodrama. My least favorite thing. Do not do it. I will show you how.

"How to Find a Plot When All You Have is Characters and Setting" by @rheas-chaos-motivation - This is a common problem for many writers, when you have cool characters or an intriguing setting. This short post can help you kickstart your ideas for how to create an intriguing plot that has built-in tension.

Description

"Remembering Perspective When Writing Descriptions" - Key factors to think about when describing other characters or settings from your POV.

"Description, Momentum, and Tension; Or, How Not to Bore a Reader" - Why, when, and where to put description so that people don't skip over it. Hopefully.

"Writing Notes: Seasons" - Each season has both benefits and downsides. In this post, we look at the negatives and positive aspects of each so you can decide how a particular season may strengthen your themes - plus some descriptions to help inspire you.

"Writing Advice: Spicy Mundanity" - Wherein I explain how to stop having boring descriptions by packing in characterization.

"How to Write Smut?" by @unfriendlywriter - Wonderful examples of how to write heartstopping smut.

"How to pull off descriptions" by @fictionstudent - Fictionstudent has a ton of great posts, both about film analysis and about the art of writing. I especially liked this one because it discusses how important perspective is for descriptions and the importance of filling in the details as a character would rather than just throwing it all at the reader at one time.

"How to avoid White Room Syndrome" by @writerthreads - Fantastic and focused advice on how to ensure you're offering readers just enough setting to help them envision the world.

Characterization

"Writing Relatable Characters; Or, Using Human Failures to Your Advantage" - Explaining how you can use character flaws and human needs to create a relatable character. Also explains the basic development of a plot, which is about equilibrium.

"How NOT to Write a Character" - Wherein I give you some examples of annoying characters we want to punt off a cliff so you can watch yourself.

"Writing Strong Female Characters" - Why you should give your female characters a secret goal, as well as how to avoid common 'strong female' stereotypes.

"Writing Compelling Trauma in Fiction: Dos and Don'ts" - How to avoid melodrama and create intriguing emotional wounds for characters.

"Quality Assurance Checks for Character Development" - Thought exercises that can help you differentiate characters, prune down unnecessary characters, develop true chemistry between LI and MC, and avoid having too many POVs.

"Developing Character Agency (Or; Cutting the Plot Strings)" - A discussion of character agency and how to ensure your characters are not bound by the narrative.

"Writing Notes: Thought Distortions" by @literaryvein-reblogs - Some psychological concepts you can use in your writing to add depth to characters.

"Questions about your character’s perspective on love and relationships" by @luna-azzurra - Excellent questions that can help you delve into your character's attachment style, what baggage they may bring to a current relationship, and how to create conflict through mentality.

"How to Write a Confession of Love," also by luna-azzurra - Perfect discussion of how to create tension, the utility of setting, not making it perfect, and including the other character's response.

Revisions

"Common Writing Issues that Reduce Readability" - Examples of fixes for four common issues: double describing, long sentences, overexplaining, and head hopping.

"How to Avoid Purple Prose" - A critical part of the revision process is making sure your writing is clear and balanced. In this post, I show a blatant example of purple prose and provide suggestions on how to make a more elegant passage.

"Differential Diagnosis When Your Writing Is Getting Worse" by @ariaste - Fantastic explanation by a professional writer about why you might feel like your writing is getting worse and what to do about it.

"How to Make Your Writing Less Stiff Part 3" by @physalian - Physalian's whole blog has some excellent advice, so definitely give it a look!

"How to Improve Your Writing" - Also by literaryvein-reblogs, this offers some excellent exercises to help with sentence-level issues, such as modifiers, parallelism, and details.

Publishing

"How to promote your book online : a discussion about social media (and few tips)" by writer-logbook - Great tips about how to get more interest in your book. I especially enjoyed the emphasis on patience and consistency. Writer-logbook has some excellent info overall about the nitty-gritty of writing, so I definitely recommend poring through their blog in general. (That's why they're included here twice!)

"A masterclass in how not to market your books, in one singular tweet" - Wherein I help you derive lessons from an abysmal tweet by an author.

"Mistakes I Made When Self-Pubbing My First Book (Part 1: Mindset Edition)" - I talk about how being delulu is not the solulu, that yes marketing is important (even if it is horrible), and how a bit of self-confidence can go a long way.

"Mistakes I Made When Self-Pubbing My First Book (Part 2: Presentation Edition)" - Graphics and covers and blurbs! Learn about them. Do not do what I did.

"Mistakes I Made When Self-Pubbing My First Book (Part 3: Ads and Reviews Edition)" - Why you have to get reviews. You gotta. And you gotta demand them. Shake those reviews out of your readers. You'll thank me later.

Specific Research Advice

"Assassination Methods Through the Decades: A Writer’s Handbook" by @hayatheauthor - A thorough review of different assassination methods, including a section discussing common assassination methods by region!

"How to Write Someone in a Wheelchair" - A group effort! This is a reblog chain discussing body language in manual wheelchairs, the mechanics of power wheelchairs, wheelchair propulsion methods, and a reminder that just because someone is in a wheelchair doesn't mean they can't walk short distances.

"Writing Research Notes: Caves" - Oh caves how I love them. Caves. Let me tell you about them if you want to write about caves. Blessed.

"Writing Research Notes: Horses" - A beginner's guide to horse mindsets, whether horses like working, approaching horses, how to ride, and tips on training.

"Writing Research Notes: Bipolar Disorder" - Written by me, a writer with bipolar disorder! This shares basic facts about bipolar, offers a list of symptoms you can use, and cautions you against spreading misinformation through poor characterization or myths.

"Writing Research Notes: Politics" - I provide a quick overview about governments and international relations, based off my suffering while getting an MA in International Relations.

"Stop Doing This in Injury Fics!" by @pygmi-says-hi - Discusses some common errors when writing whump/angst. The fever part was especially helpful for me!

"Writing US Military Characters" by @lookbluesoup - An explanation of the habits and mentality of US military characters. Many of these were quite helpful for my fantasy military characters, so you can get a lot of mileage out of these for soldiers in other militaries too!

Little Funsies

"What Painting Style Is Your Writing?" - A short exploration of different writing styles to help you better understand your own approach.

I'll be adding onto this as I continue to scroll through my old likes and, of course, as I find more resources.

[valtsv]

Do you have any tips to get better at writing? Your word usage is so amazing. the way u describe things are so utterly unique, it’s so mesmerizing. You motivated me to write more but I want to reach your level of skill

i'll be honest, i personally find my writing to be rather subpar and lacking in the necessary technical skill to justify its overly stylised prose and excessive wordiness, so i wouldn't necessarily recommend taking inspiration from me. that being said, i'm my own worst critic and i am very flattered that my writing resonates so strongly with you. i'm not a professional writer, so i can't offer much in the way of advice beyond what has, through trial and error and years of practice, worked for me.

something that people often point out to me when complimenting my writing is that i have a rather lyrical style, which i can see. i try to pay attention to the way that words flow together - which words best complement one another - and choose how to structure and order sentences based on that. i do have a fairly extensive vocabulary thanks to reading a lot from a young age, but i also frequently make use of the thesaurus (my most dearly beloved). obviously, trying to beef up your writing by simply using more obscure words that you found in a book will come across as clumsy, and detract from your writing rather than enhancing it, but if you learn how to stitch words together in a way that has a pleasing ear or mouthfeel, you can mitigate that somewhat, and even make it part of your repertoire of skills.

speaking of vocabulary, the more expansive it becomes, the more doors it opens to you in terms of what you can write and how you can write it. this is pretty straightforward common sense stuff, but you'd be surprised by how effective is if you actually start paying attention to it. likewise with grammar. not everything you write needs to sound like it was written for a sophisticated publication in a well-respected 19th century newsletter, but if you read widely and often, you'll find that your understanding of just how many ways the scaffolding of phrasing and punctuation can be used to support incredible linguistic architecture there are grows immensely, and start seeing opportunities to make all these little adjustments and additions and substitutions that enhance your work's overall presentation.

with regard to the above, i'd also recommend considering how you want your audience to feel. you can alter a reader's entire undercurrent of sensational experience simply by changing a few words, according to whatever emotional (or even more primal) response you intend to provoke. you can also mix your palettes, and flirt with crossing the wires (horror tinged with eroticism and vice versa, fantasy with a dose of down-to-earth pragmatism, tragicomedy, and so on). the more you experiment, the more your confidence will grow, and your skills begin to take shape, from crude instruments to refined, specialised tools.

one word of caution i'd offer you, based on my own shortcomings, is that my style of writing does very much neglect realistic-sounding dialogue. the way that i write and the way human beings talk to one another clashes without much grace or redemptive quality (at least in my opinion), and i have yet to find a satisfactory solution to this. i'll let you know if i ever figure it out.

[inbabylontheywept]

Your writing style i think is think is my favorite thing in life right now. How did you develop it?

The short answer to that is by reading Calvin and Hobbes, Patrick McManus, Dave Barry, Douglas Adams, and Terry Pratchett and doing my best to incorporate their style and cadence into my own. The long answer to that would be my life story, which is very long indeed, and uh. Slightly in progress.

But that's my style. If you're asking for advice on how to develop your own writing style, my first bit of advice is going to be to imagine who past works you've read that have really, really stayed with you, then study those. Figure out what you liked about those, and then try playing with them. And be prepared for the results to be weird. I don't even like Cormac McCarthy, but I'd run into this thing where I started reading a line and then fifty pages later, I'd stop and go, what the fuck, where am I, who am I, am I Jason Bourne? So I tried figuring out what made his style do that to me and it was literally just how much the man hates commas. He uses tons of transition words to just keep his sentences rolling. I threw that into my works and it did wonders for the feeling of urgency.

I tried copying Sam Kriss's super ornate prose. Zero success. Still don't know how he does it. I liked the story that came out of it of it, but it's a totally different beast from what Sam makes. I tried making dialogue like Damalur, and I couldn't even bring myself to post the results. Beyond dog. 2/10 work on my end.

And as always, look at what you already do well, and lean into it. Some fields only care about what you do wrong. If you're an airplane mechanic, or a heart surgeon, or an OSHA inspector, your job is not making a single mistake. But writing is one of those jobs that's measured more about what you get right than what you get wrong, and people will tolerate a lot of weird minor annoying bullshit things if you can get even one or two little things extremely right. I mean, I fucking loved The Locked Tomb series (another writing style I could not imitate to save my life) but the books are just aggressively confusing, and the first book's plot is both too slow (at the start) and too fast (at the end) and basically just MacGuffin driven. Right? But it's great, because Tamsyn's narrative voice is amazing, and her aesthetic descriptions are amazing, and the inner worlds of the characters are depicted so vividly. It's a masterpiece. Three things extremely right and it's a masterpiece.

i'm rambling a little and it's late. Thanks for the ask, and thanks for the compliment. I hope you have a wonderful evening.

[wordsnstuff]

Why does screenwriting have such a weird format? I know it's standard for scripts of all kinds, but it's also alien? It almost looks like it's designed for someone to write quickly??

Why are screenplays the way they are?

Screenplays are interesting pieces of writing because while they can read very beautifully, and quality is apparent in some scripts more than others, it is a medium that is extremely purposeful. The script is not the final destination of the idea, and that is what you have to remember. The script is, more than anything, a map. It gives the cast, crew, and producers the necessary information to get a sense of the story so that it can be adapted effectively. Therefore, the quality of a script is judged by a completely different rubrick:

Adaptability: Scripts are naturally going to go through many changes to serve the filmmaking process. Filmmaking is a fundamentally collaborative process so other members of the group must be able to effectively interpret the script well enough to make strategic improvements. Scripts are definitely works of art in their own right, but the design must account for adaptation into a completely different medium and you will not always be the person making executive decisions on how that is to be done.

Clarity: Creative liberty is acceptable in a lot of forms of writing, and style is definitely apparent in a screenwriter's work, but that is primarily to be found in how they practically form the elements of the story, rather than how it is delivered in words. The clearer your meaning and intent in a script, the easier it will be for the other people you're collaborating with to interpret and translate into the next medium. Even if your work is meant to be experimental, abstract, or avant garde, the script is the place where you make sure everyone that is inside of the production understands the point, so that they can help you make sure everyone outside of it is confused in the desired way. Your talent and style can be showcased in the way you demonstrate the particular brand of humor or suspense or drama in the descriptions, dialogue, and dialogue cues.

Efficiency: Format is extremely strict in the industry because it is a collaborative medium that often brings together hundreds of crew members who are all from different backgrounds/experience. The one thing that must remain consistent and reliable is the legibility of the script. The gaffer and the producer alike must be able to pick up the script and find what they need to learn in order to fulfill their role. The format of the script denotes specific crew member's cues in specific places so they know how to find what's expected of them quickly and efficiently. While on larger productions, there's often many directorial positions who are coordinating and communicating with the crew members who handle more detail oriented jobs, that isn't always the case.

My advice, if you're looking to gain experience in writing scripts that are actually meant to be adapted is to practice self-discipline, pragmatism, and distance. Your script won't always belong to you. There isn't the autonomy in screenwriting that you have in prose. Learn the rules of screenwriting, then learn how to enhance them in your own way.

Best of luck,

x Kate

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Masterlist

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[qoldenskies]

Do you have any writing tips? Especially for characterization/dialogue :>

uhhhh i am not a professional so take this with a grain of salt. here are things i think about a lot at least

i dont have any solid ideas on how i get my prose to be Like That, i am not super confident in it, but a thing ive tried to focus on it rhythm. this goes for dialogue too; if it sounds clunky in your mouth, unless its supposed to, it might be a sign to change it up and rephrase a little.

really long paragraphs are really, really, really really hard to read. fics that consistently have paragraphs that go beyond like 6 lines are borderline unreadable to me. i stick it out sometimes but a lot of the time the sight of a fat fucking Block will just make me click out immediately

its also always good to be punchy imo. i mean it depends on what style you're going for but i notice some of the best lines from my writing are just simple, single sentence-paragraph statements lmao

false starts and filler words are what i notice the most when it comes to stuttering, which is a thing pretty much everyone does unless they're speaking very intentionally (i keep it in mind for characters who are motormouths especially because our brains move faster than our mouths do sometimes). especially when people are stressed, they'll usually start with a sentence fragment and then say something completely different because they just found a better way to rephrase it <- its probably the thing i utilize the most. in general though people repeat words more than they t-t-talk l-like t-t-this, and even when i write more dirrect stuttering dialogue i try to make it. idk consonants i guess? sorry idk if this is helpful

i script a lot of my scenes before i write them out, which usually helps me keep things well-paced. i really only include action in the scripts when its in the midst of an action scene or if its relevant to the conversation in some way (or if i just have an idea and want to keep it in mind)

TAKE NOTES WHEN YOU GET IDEAS

save all your cool ideas for your active in progress story instead of storing them away for later. got a line of dialogue or an interaction that you want to put SOMEWHERE? see if you can fit it into your multichapter first, it might help you with ideas. more will come to you in the future with your later projects!!!

you dont need to plan everything out meticulously, most parallels in cw came to me in the midst of me writing them. the motif with raph and donnie and doors was a complete accident, as a good example. it fucks hard though lmao

also when plotting out multichapters i think in what i want to progress before anything else, so there's a sense of direction. with cw it was mostly what parts of cl i wanted to address, although i originally planned to make note of shelldon in like chapter fucking three and then it didnt happen until seventeen LMFAOOOOOOOO

okay thats all i got. im not a good advice giver .... im sowwy

[katatty]

Shifting Priorities

Thank you for all the nice comments yesterday! Some really helpful perspectives that gave me a lot of ideas on how I can tackle my simmer's block :)

Mostly, I think I need to trim down the number of neighbourhoods I consider "active" and the amount of projects I am doing in general. I have a hard time letting go of neighbourhoods, especially if I am still somewhat invested in them! But I also need to face the fact that I only have so much free time, and do not want playing the sims to be the sole thing I do with that free time XD

For some neighbourhoods I will also be trying out a more stripped-down approach to blogging, similar to what I've been doing with Driftwood. It makes me a little sad because I like my sims to feel fleshed out as characters and giving them voices is a big part of that! But maybe I can save the prose/dialogue for times when it is particularly needed, rather than including it as a default.

Finally, I am going to prioritise based on what I actually have the most fun with, rather than letting popularity drive my decisions!! Some neighbourhoods I feel sad about potentially retiring because I know people enjoy them, or I feel bad admitting I am never going to finish projects people were excited for, but I have to remember simming is something I do for myself, not for popularity or for other people.

So, plans for my neighbourhoods:

Pleasantview Plus - will continue in its current form for the most part, but holdholds I found less inspiring will just get short summaries rather than extensive documentation. This hood is waaaaaaay too big and I think not that many people follow it all that closely, but it's also my one true love and I would like to start prioritising it again rather than it always being on the backburner

Uberhood Challenge (YouTube Series) - This is a short-term series, and will continue as planned until I finish the challenge, which I'm over halfway through :)

Hollyhead - I hate to say it because I know a lot of people love it, but I feel like I have sorta outgrown this neighbourhood? Some simmers like their settings to be an escape from the real world, and when I made Hollyhead I think it was what I needed too, but these days I find how upbeat & wholesome it is a bit, idk, constraining?? I crave drama and conflict in my stories!! I also have kinda lost interest in the BACC rules and have started to find it more book-keeping and hassle for what I get out of it... Whenever I do open the neighbourhood I still really enjoy actually playing it, and I love the characters so much, but I just haven't found the events interesting enough to want to write about. I think this neighbourhood will not be retired completely (yet), but I will move towards writing much shorter updates in the form of newspaper articles and see if that helps. If by the end of this season I still feel ehhh about it, I might formally end it <3

Driftwood - no complaints about this hood, I'll probably continue with the current style of documenting major events & new builds only

Spruceburg (YouTube series) - I would like to do another season of this next year, after I finish the uberhood challenge! But I will probably go for a schedule of like, one season of series per year, rather than posting consistantly. I enjoy YouTube a lot, but its a lot of work too and I think has majorly taken away from my blogging time this year, which I am mourning now lol!!

The Fiero Legacy - it is probably time to throw in the towel with this and admit I just don't enjoy playing legacy style or with story progression that much! I always enjoy the period where the heir is dating but once they settle down and have kids it becomes a chore and a grind, plus with story progression's time system I always feel rushed and like I can't take a sim out of the house for an outing without potentially missing important milestones - the urban setting feels so wasted when its all family gameplay, haha. Hallie should be at the club!! It was an interesting experiment and a nice change of pace, but idk if I really see myself returning to it. I love the sims themselves and the setting, but whenever I actually load up the neighbourhood I just feel kinda stressed and overwhelmed :(

As for my building projects like Belladonna Cove, perhaps at some point I will get really inspired and return to them but for now they are on indefinite break. I remember saying a few time in the past that I didn't really feel much need to make over Pleasantview and Strangetown because if I wanted nice makoevers I would use frottanas, and tbh I feel the same way about Belladonna Cove - if I was playing it I would just use plumbtales makeovers XD With my past neighbourhood makeovers I was really inspired to make them because there wasn't anything out there that was exactly what I wanted but, well, there's loooooads of nice Belladonna cove makeovers these days so I just don't feel much drive to make my own version I guess?? I think I also have lost interest in building a little becasue I am no longer into super heavily decorated lots - I prefer lighter lots that won't cause lag lol! So yeah, I am probably not retiring from building forever but its no longer a priority for me :)

[more-than-tender-curiosity]

What Gatsby musical do you think is best?

The Great Gatsby : A New Musical

Gatsby : An American Myth

And depending on which you pick, why did you choose that one?

I have been outspoken in my criticism of The Great Gatsby: A New Musical to the point where it's kind of marked me as an asshole to fans of said musical, but I'm not backing down. Read my opinions boy

No, but seriously. Let me begin by saying that I came to this point already worn down by so many heartless, obnoxious, cash-grabby adaptations of prior works (Mean Girls, Beetlejuice, Heathers, etc) that bank almost entirely on nostalgia and spectacle and, in some cases, the unknowing of their YOUNG target audience, in order to blind said audience into just calling the music a bop and moving on.

And I'm tired of it. Yes, I'm aware musical theater has always run on adaptations—Chicago and Little Shop of Horrors are among some of my favorites! But I approach every single adaptation of ANYTHING with the same baseline question: is this adaptation justified?

You could take the very moderate opinion of "having more musicals to listen to is a good thing!" but I think that's naive, and falling right into the trap set by creators who are only here for Lin Manuel-level Tony's and that's it. There's no dedication to actually making something new with something already established. Nothing transformative. It's lazy.

That's what I mean by 'is this adaptation justified'. Does the adaptation in question engage with the source material in a way that refreshes it, dives deeper into it, and takes advantage of the new method of storytelling (in this case, from book to stage musical) to showcase how the new method of storytelling benefits the source material? Like in the case of Little Shop of Horrors, it uses satire to highlight deeper issues that are barely skated across in the source material while also pulling forth factors of the source material that were more relevant at the time when it was released.

I for one am exhausted by adaptations at this point. It's always been a backbone of musical theater but now, even outside of theater, we are awash in them. it's been said before that pretty much everything you see now is a remake or an adaptation or a sequel or a prequel or a cinematic universe or something derivative, and that tends to punch down on the smaller, more creative, original ideas that might've flourished if the market wasn't oversaturated with mass-produced corporatized shiny flashy garbage.

This is where the two Gatsby musicals come in.

If you're here, you know that I...dedicate a lot of time to this novel. I could have gone to college and got a degree with the time I have spent on this novel and its study. Unraveling every single sentence, every character motivation, every real life factor that plays in to Fitz's writing of the novel—every draft, every movie adaptation. The entire history of this novel and its creation is carved into the inside of my skull.

Now, one thing you should know about gatsby is that Fitz wrote it when he was just coming off the massive failure of his play The Vegetable. That's not the full title, but I'm not going to bother typing out the rest of it. Because it was bad. It was not good. No one liked it. So, naturally, Fitz wanted to improve on his playwriting skills. Up until then, he was good at short stories and he was good at long, descriptive novels, but he couldn't quite understand how to condense and reformat his novel-writing style into something more like a stageplay.

Gatsby was sort of his attempt. You'll note that Gatsby is only 47,043 or so words, which is less than half of most of his other novels. The action and dialogue are snappy. There is, shockingly enough, less purple prose than prior releases (in spite of Nick spending 23984798347928374 words, approximately, to describe his new neighbor's smile). Scott was trying desperately to pare down his writing and see if he could slowly shift his formatting toward something that could translate to the stage.

Many of you know that The Great Gatsby was a total major uber flop.

There went his dreams of making this a play. And there have been many attempts since, all with very limited success, because for the most part, there is a total lack of understanding concerning what makes this novel a novel instead of play material. All too many times, there has been a disconnect as to what would translate effectively onto the stage as it is written in the book, like the themes of being dazzled by a spectacle but not, as displayed in the novel, the downside of such a thing.

As I said. All too often, there is too little thought given to the advantages of adapting a written work to musical theater. This leads to much of the deeper shades of the story being left to the wayside in favor of shallow spectacle just to keep the masses entertained without actually translating the stunning symbolism and figurative work Fitz put on the page.

This is what happened to The Great Gatsby: A New Musical. They took the most barebones understanding that most viewers would have of the story (that it's a love story, just like Romeo and Juliet!—side-eye), and made everything as loud and as fast and as bright as they could to make up for any lack of exploration beyond what is very plainly written on the page.

This does not work with The Great Gatsby.

I've mourned the gooberfication of Nick Carraway before. I love the 2013 film, as I'm sure many do because it was many of our first experiences with any Gatsby adaptation, but you can see it with Tobey Maguire and you can see it here in The Great Gatsby: A New Musical. So many times I see people call him an unreliable narrator but it's very clear they don't understand exactly why he's unreliable.

This 'gooberfication' I speak of is Nick's attempt to convince us that he's the innocent one here, in every single situation, and everyone around him is a liar and he's always telling the truth so you can trust him. He's the only honest person he's ever known.

Red flag central.

So from that line alone, you have to understand that everything Nick says or does, leaves in or leaves out, is suspect. He's out of his element in New York but he is absolutely not some baby-cheeked little goober who is SO TOTALLY BLINDED by his infatuation with Gatsby that he's just willing to go along with everything and doesn't pass judgment. We joke "Nick says he doesn't judge anyone then proceeds to judge everyone in the novel!" Yeah, no shit. That's the thing. He is a hypocrite made only lesser by the way he plays up the evils of everyone around him, and that's how he gets by. That's how he sleeps at night.

You can cast that into whatever light you like, whether it's the hypocrisy of saying he's so poor when he's living in at LEAST a two bedroom cottage with a maid and modern appliances and his dad is paying for a full YEAR of his life after paying his way through an Ivy League school. Or you could say he does this to throw suspicion off himself and possibly his sexuality, which is a whole can of worms involving Fitzgerald's constant projection onto his characters that I cannot bear to crack open.

Point being, Nick isn't just the passive bystander in all of these situations. He makes it sound like he is, like he's just doing favors for people who are worse than him, and how he disapproves of even everything Gatsby does despite his evident fascination with the man, but at the end of the day, he's just passing the buck. Washing his hands clean. There are so many clues in the book to this sort of thing that should tip you off to the fact that Nick Carraway is not just some silly sweet guy who gets swept up into a life of chaos and crime just to come out cynical. He was already a judgemental, cynical individual who was forced to come all too close to the realization that he, too, is more 'one of them' than he can bear to admit—even in spite of how he attempts to obscure his own hypocrisy.

Nick is not innocent. No one in this book is (besides Pammy, though she's a ticking time bomb if we're meant to understand the wealth she will inherit). That's the whole point of the fucking book. There are a thousand hands each pushing a tiny bit to keep these impossible shades of class division moving, and condemning one person (like Nick does with Daisy or Tom) doesn't solve the problem. Jay still dies. The American dream is still a nightmare. Nick still has a father to fall back on.

Which is why it's so impossibly perplexing to me to display Nick as some sort of lapdog who just seems honored to spend time with these people. Why Jay is just some quirked up white boy who is, quite literally, just too quirky and obnoxious to bear. He and Daisy are so in love and they're so close to each other and isn't it just tooooo saddd to bearrrr?? So romantic????

There's nothing deeper to it. No asking why Fitz wrote any of these characters the way he did. No understanding of the deeper implications of what he was trying so desperately to convey, on both a social and personal level. Yes, it's a love story, but it's also a commentary on just how fucked everyone is by the cages of tradition.

And there is just no trace of that in the Broadway musical. Everything is simple and easily digestible. There is no deeper interaction with the source material, no drive to have produced it at all except, perhaps, to cash in on the new public domain. They got the biggest names they could with the biggest cult followings, knowing so many would just eat it right up and call each song a bop and it would trend on tiktok and they might get a tony and then they'd move on. No integrity. No passion. No justification.

Gatsby: An American Myth is much the opposite.

After hearing a Totally Legal version of the Broadway musical, I was terrified of what ART would do to this book. Now that I had seen just how fearfully easy it was to just slap some 'art deco' and glitter on the stage, write a painfully obvious love song, and move on, I was really concerned that this trend of bloodless, toothless adaptations would continue and I'd have to sigh and move on with my life.

Fortunately, everything I mentioned that bothered me about the Broadway musical is set right in Gatsby: An American Myth. I really should have expected nothing less from Florence Welch in terms of the music (which is, of course, one of the most show-stopping elements of the musical, as it should be) considering her prior works and how they relate to the Great Gatsby. This is someone who has been obsessed with the book longer than I have been and has woven it into so much of her body of work that I'm surprised this musical didn't drop the day it became public domain. I cannot think of a better contemporary musician to handle that facet of a Gatsby musical.

This adaptation itself does exactly what I would have hoped. I am, of course, someone who holds the book and all its drafts to a very high regard—if this is a religion, that's my bible. What's in there, goes, though it's open to interpretation. Typically I would be against adding things at all.

What they added, however, was brilliant. Nothing massive—just, again, ways to take advantage of the musical theater method of production, and ways to modernize and acknowledge more contemporary understandings of the source material. Where the Broadway musical carefully tiptoed around any indication that nick was anything other than straight and in love with Jordan Baker, Gatsby: An American Myth leaned right into the idea that he was made an outsider by his sexuality, and that was part of why he related to Jay so hard. Because otherwise, why would he? He's a middle-to-upper-middle class Midwesterner whose father is paying for a year of his life while he works a little for-fun job in the big city. What does he know about being an outsider?

Gatsby: An American Myth shows you that. Shows how everyone is an outsider to each other in this story, and how individualism destroys a community that would otherwise support you. You can take that on a society-wide level or personal: Jay being totally disconnected from even himself, or the wealthy pretending they don't live on the same planet as the poor.

Another miraculous addition was a sort of bridge between Myrtle and Wilson that just makes sense. I don't want to spoil it too much, but everything they added or rearranged or re-highlighted just goes to display the depth and breadth this story really reaches. They read between every line, proudly displayed the complexity of every single situation and character—how all of them are the victim and all of them are the perpetrator—while STILL making it sound fantastic in my opinion.

It's by no means a flawless work and I saw it early on its production. It's changed since then and obviously I haven't been able to hear it since I saw it live, but I have total faith in the creative team to have not completely thrown away their good intentions in favor of trending on tiktok.

To conclude I would just ask anyone reading to please inspect the media you consume. Inspect the motives of the person feeding it to you. There's not really any sort of Nobility to art, but at this point, with so many shallow attempts to cash in on our desperate search for community and contentment, quality and passion have been thrown out the window. Shoveling this hot shit at us day and night (remakes, sequels, prequels, adaptations) has become another tool of capitalism to keep us just satisfied to not ask for more.

Ask for more. Ask for better. You deserve it.

[bookwormbynight]

hello! as a huge fan of ur works i was inspired to write something of my own but im struggling to get L & light's voices down, in both exposition and dialogue, theyre so tricky! 😭 would you have any tips youre willing to share? 💖💖

Oh my fucking God I'm so flattered I'm going to crumple up into a little ball and die you let me know the second I can read whatever u got going on my dms are open

Here's the biggest single piece of advice I can offer you: can you hear their voice actors read the line you just wrote in your head. That's the one I always end up harkening back to. To get a good sense of this, make sure you know the material. Interpret the way the characters say things and deduce how this adds to the person they are beneath everything explicitly stated or shown. Watch the series a couple times, maybe focusing on episodes that the character you're struggling with features strongly in. That sort of thing. I use this in every fandom I've been in that has voice acting. This applies to exposition as well, although that's always a bit more nebulous and can really come down to personal style.

Character specific... Let's see...

L - Be an asshole. State everything eloquently, but basically as plainly as possible and do not pull any punches. His vocabulary tends to be a bit higher-class than pretty much everyone else in the anime, aside from maybe Watari. Lots of SAT words and synonyms for common words. ("I understand" instead of "got it" like Ryuk would say. But don't overdo it, he still speaks like a human being.) Do not hold back on the snark, he's a fucking dick and even more so when he doesn't have to watch his words for cooperation purposes. If you can fit the occasional pun or two in there, do it, you KNOW the scene where he shows a penchant for wordplay and I'm inclined to believe that wasn't out of left field for him. He's constantly cracking himself up and no one else, and he doesn't care, because any jokes he makes are for him. If Light's involved in the scene, have L fixate on him. In the anime, he's CONSTANTLY poking Light, asking questions, and trying to get him to engage. If I'm translating this into prose, I usually take his POV as the opportunity for the most fucking detailed obsessive descriptions of Light I possibly could want to do. (If L describes literally nothing else about his surroundings and all you can envision is a white room, HE WILL LET YOU KNOW HOW LIGHT'S EYELASHES ARE LOOKING.) He also tends to notice little details about others, to be fair, but far less frequently lol simply because he doesn't give enough of a shit to catalog them.

Light - He's a lot trickier for me, tbh. I'll do my best. He tends to avoid slang, but I don't think he goes out of his way to, and he's not afraid to cuss for emphasis, but otherwise he keeps his mouth clean. Other than that, his word use is very average and unremarkable (he pays a lot of attention to not being noticeably weird, even though he's super hindered in that goal by virtue of the fact that he's a fucking weirdo 😭 he's got most of the superficial stuff down, tho). His emotional thought process (and thereby descriptions) depends on where exactly he is in his Kira journey, sliding scale of arrogant but legit sweetheart to full on Regina George. He is kind of a bitch regardless, but he'll be very very polite if it's good for him to do that. He's a hardcore rationalizer, and sometimes he's right, but sometimes he's dead wrong and deploying it as a defense mechanism, which can affect the prose.

Hope this helps.

[aurumalatus]

how do i get good at writing like you 🥺👉👈

being "good at writing" is def a process, and since "good writing" is subjective it can kind of be all over the place. i don't really consider myself a good writer, and i was never an english major or anything when i was in college, so i'm probably not the *best* person to be giving writing advice, but i've been writing fanfic for a long time so this is my genuine advice in that regard! (below the cut)

serina's totally legit (maybe not) writing advice

start with an idea this one seems obvious. like, serina, no fucking duh. but starting with an idea that YOU like and are passionate about can make all the difference. for me, this is the difference between words naturally flowing on the page, and me writing shit like "he laughed laughily while laughing". if you can really get into an idea, it makes the process a LOT easier.

flesh it out if you're not an outline person, that's okay. i'm not really either, unless it's for multi-chapter fics. i just kind of skip around writing scenes that i think of as it goes, but warning this can get VERY disorganized very quickly, which is why i ALSO have a habit of restarting like 8 diff drafts of one piece LOL. everyone works differently so find your vibe. if your idea is something like "kinich and reader kissing", figure out WHY kinich and reader are kissing. where are they kissing? is it awkward? what's the vibe?

set the tone for me, every piece has a bit of a different style. pixelprincess has a lighter style, which means more basic descriptions that essentially serve to lead into the funny dialogue and other things. "brighella, the hellraiser" is one that i wanted to have a more evocative tone and a frigid vibe, which means it has more flowery-esque prose and metaphors, rather than straightforward description. turnfire is somewhere in between. for me, setting the tone can be helped by a lot of things, like making moodboards or playlists. for me personally, the music i'm listening to while writing matters SO MUCH.

don't be afraid to start over/change as i said before, i have a habit of starting over my drafts a LOT. i think the last chapter of turnfire had something like 6 drafts. but i always think "if this is dragging for me to write, it's probably dragging for them to read too". and sure, maybe that's not always true, but why would i keep writing something that even i don't like? i'm really not afraid to start over or put things in a different direction than i originally intended if i feel it's more interesting. if you're someone who likes to stick to your outlines though, do that! like i said, i don't really outline, so that's up to your individual preference.

write things down as they come i find ideas everywhere. you guys might have noticed that i like to write a lot of aus, and it's because i truly get ideas in every single media i consume. games i play, music i listen to, etc. if i think of an interesting wording or metaphor, i'll write it down. seeing these things really helps when i'm writing, and it often helps me branch out my writing.

don't be afraid to put it down. you might have also noticed that i have TONS of wips going on at any one time. THIS DOES NOT WORK FOR EVERYONE. some people find this very overwhelming which is understandable! for me, it gives me other things to work on when i'm feeling stuck in one piece. by switching between them, i can keep my ideas fresh and stay in better form without burning out for longer. again, this is a personal preference! if you want more specific advice regarding ACTUAL writing, like sentence flow, descriptions, etc, let me know! again, i'm REALLY not the best LOL but i also want to encourage everyone to get started on writing however they can if they feel the urge! the fandom can always use more writers :)

[blackwwatch]

something i haven't seen wrt FoM feedback is the character writing and dialogue. there's a lot of it, and they can react differently if you give certain items, seen certain dialogue, experienced different events, etc. which makes it really fun to talk with them several times over the course of an in-game day.

i think it's also nice that they have preexisting relationships with each other. i think it would be even better if there was more conflict, goals, and distinguishing characteristics between them to allow them to develop as characters.

1. dialogue

it's a little difficult since many characters have similar backgrounds and therefore speaking styles, but i think the character voice could be improved by varying sentence length, word choice, structure, and topic. otherwise, many of the characters talk very similarly--very articulate, forward, and kind. if i take away the speaker, can you distinguish who's speaking which lines?

You're so busy, and you still find time to be this thoughtful! Thank you, [player].

Adeline was originally suspicious of me, but she let me stick around. Guess I have my uses!

This gift is wasted on me, [player]. But maybe I can pass it on.

I like to drop by the General Store on Friday before everyone starts gathering!

Early mornings are my least favorite time in Mistria. Everyone's so... cheery. Like they're about to break into song.

the answers are: Adeline, Balor, Valen, Reina, and Juniper.

it was probably easier to narrow down the last one to either March or Juniper, right? and i think that adds to their popularity--they're distinguishable from the other characters in that they're ruder and less cheerful. they talk about you or others more than they talk about themselves.

that being said, i'm not saying dialogue quirks is what needs to be added. we already have holt, dell, maple, and luc.

each piece of dialogue should say something about the character themselves. whether that is their outlook on life, their aspirations, etc., and every character should have something different about them. they can be cheerful--i think that's a charm of Mistria, where it's so safe and trusting that celine keeps her door unlocked so that juniper and the player can barge in to ask for help--but emphasize different parts of the cheer.

is adeline more optimistic than everyone else? is balor more persistent in his beliefs? does this translate to shorter, and more casual dialogue for balor because he's preserving his out-of-town accent?

does valen have higher standards for you? is her dialogue full of more jargon and prose than adeline because she believes you also share her language?

is reina confident in her organization and time keeping? does she talk as if she's giving you advice because everyone could use a little help in time management?

2. progression

i think seeing character development as you gain hearts with the characters would make it more rewarding to talk with them every day. we have mini "plot lines" that follow them (Balor getting more into D&D, Juniper and Terithia speculating about the townsfolk), and i think there could be more "subplots" to add to the excitement of a new day. for example,

could Adeline be so focused on running the town that she doesn't realize that Eiland would actually prefer spending all his time at the dig site instead? do you get to encourage her to put Eiland on more hands-on tasks instead of paperwork?

is ryis struggling to get noticed as a maturing carpenter in his own right? does landen ask for your help to promote ryis and officially retire?

it could be rewarding to see ryis or another character achieve their goals because you helped them, or even saw a different villager help them. it's nice that you could see them grow and change because you had taken the time to build that relationship.

3. heart events

i would also like to see heart events for non-romanceable characters because i think it would add more life to the town. since this is early access, i assume they're still in-progress.

[creampill]

hi, hello, i'd love to see romantic obsessed narrator please.

hello????

uh hi welcome to my inbox. sorry I kind of lost my mind seeing you hop in here less than a minute after I reblogged your post while fangirling over your writing.

well, I’ll take a chance to be grossly self-indulgent any day. here’s your meal!

Romantic Obsessed Narrator/Reader HCs

- if you’ve read soup’s writing on the platonic version of this subject, then you know the main vibe that narry gives off when he’s in this kind of headspace

- he will do anything to keep your attention. Whatever it takes.

- he will keep making new content for as long as he needs too- he will read off different scripts, write and rewrite new ones, reward every single incremental decision you make to keep you interested.

- a romantic narry wouldn’t want to make you scared of him though. He wouldn’t want you to be uncomfortable or confused- maybe then you’d leave him. He’d never have a chance to woo you if you had a grudge against him.

- so he tries not to make it too obvious how much he’s tailoring the experience of the game to you. He’ll try to make it all fit in seamlessly with the rest of the games shenanigans.

- you, the player, don’t really see anything odd at the start. The game is so layered with secrets you’re not really shocked that you’ve found things you haven’t heard about before. That’s just how the game is.

- his obsession is the kind that manifests as a collection, almost hoarding: whatever information he learns about you, he cherishes.

- for the sake of this concept, let’s say you have some kind of mic attached to the game. Something that transmits your voice, your reactions- the thing that he fell in love with in the first place.

- something about your personality just… enraptured him. he wants to know more about you. He wants to know everything about you. Every piece of information, he keeps.

- He has an incredibly strong memory, but he knows how fragile the mind can be (r.e; the confusion ending), so he writes down what he knows about you. He writes all the tiny details down, everything he learns, every itty bitty thing.

- your favourite colour? The way you laugh? Your birthday you mentioned offhandedly? The exact times and dates you log into the game?

- everything. He keeps everything. In excruciating detail, too- his fanciful and descriptive writing style translates over to this too. He’s filled pages and pages with his fawning over you.

- these details also leak into the game, personalising it to you. Other endings pop up in your favourite genres; the adventure line changes colour to your favourite; the outside in the freedom ending becomes more and more similar to your childhood home.

- he also uses this information to make you more attracted to him.

- if it’s his voice that gets you (like it does the rest of us)? Then maybe he just happens to sit a bit closer to his microphone. Maybe he purrs his lines a little sweeter or dips his voice lower based on your reactions. Maybe he complements you more than normal- maybe he teases you relentlessly. Whatever makes you flustered is what he strives for.

- if it’s his silly dorky humour and endearing dialogue? Prepare for more jokes. Stupider ones. And a whole lot more dialogue for every possible choice and situation- Whatever made you laugh the hardest.

- and if it’s his stories? His prose, his talent as a creative? He will write for you. He will craft as many beautiful and unique and detailed routes as you want. He will act his ass off for you, moving you from laughter to tears, if that’s what makes you happy.

- it’s hard for him to contain how much he loves you sometimes.

- every time you leave, his heart breaks. He knows you have a life outside of the game- but he just wishes he could be part of that, too.

- when you haven’t played for a while, he has to hold himself back from cheering aloud when you load back in.

- he has to hold back the joy in his voice when you get excited, trying so hard not to laugh along with you. You were just so infectious- it was almost impossible to stop himself.

- but the narrator would defy impossible for you.

- because he loves you. And that means doing whatever would make you happy. Even if it’s impossible.

[valyrfia]

would you be willing to rec your favourite fics with the low kudo stats you just talked about? would love to be the one to add one more kudo to the tally!

yeah for sure!

even a Mouse by @ficster-28 - 19.7k, T, no pairings

Charles was fifteen when his dæmon settled. It was a perfectly average age to settle, and it happened so quietly and naturally that neither he nor Moira even noticed at first. They had other things to think about: today, they were aiming to beat out Ben Barnicoat and Max Verstappen at Val d’Argenton. It wasn’t until they were getting into the kart that they realised. Moira normally transformed into an insect to race, something small enough that she could crawl inside Charles’s race suit and be protected as he drove. Today, she didn’t even try to change; they both just looked at each other, and knew. “A mouse,” he said.

I don't even know where to start with this fic. It is by far my favourite F1 fic and is probably actually one of my favourite pieces of literature I have consumed. The whole fic is basically an exploration of sacrifice in motorsport in the form of a Dæmon AU. I read this early on when I was only reading Max/Charles stuff (you may recognise this author from their brilliant Lestappen fic in translation which ALSO haunts me, especially as a francophone) so I was a bit hesitant at first and it was only my love for His Dark Materials (dæmon AUs source material) that made me click on it. I have never been more glad. Please just take a leap of faith and read this.

melepathic. or something. by Anonymous - 8.5k, M, Lando/Oscar

It starts in Miami. It probably shouldn’t — Miami is far from amazing. Oscar’s brake issues and battery harvesting are laid out in the debrief like a wet sock. Lando doesn’t have much to add. What would he even say? The car was too slow. No shit. Anyway, it probably would’ve made more sense in Baku. Baku wasn’t bad. But it happened in Miami. Maybe because it wasn’t good, regression to a mean and all that as Jon likes to say. They filmed their final goodbyes for UNBOXED, had hot cocoa (Oscar) and a strawberry protein shake (Lando) in the canteen to put something of a bandage on the weekend. Oscar licked foam cream off from around his mouth. Lando found himself following the movement. Thing is, NDAs suck. They’re annoying, they’re nitpicky. If he’s in the mood and he has to go out, find someone, then whip out a biro and a legal threat, it kind of sucks. And not the good kind of sucking.

I'm pretty sure I've been insane about this fic on this blog before, but it's just such pitch-perfect characterisation of both Oscar and Lando that bleeds through perfectly into the prose as well, not just the dialogue. As a result, the end product is SO MUCH FUN even if the fic itself is kind of half crisis half FWB. It's a masterclass in characterisation and writing style, and I really wish there was more by this author to consume. It is THE best landoscar fic out there, and I think will be really difficult to top.

all that blood was never once beautiful by actparci (@sunshineyoujustwait) - 1.4k, T, Charles/Max

There are moments when Max gets it. He remembers Charles illuminated against the Monza sunshine, tall and proud, looking out over a sea of red. A king surveying his kingdom. a.k.a Max loves Charles, Charles loves Ferrari, Max struggles with the latter

A perfectly crafted character study of BOTH Charles and Max's characters that changed my brain chemistry in less than 2k words is all I have to say about this one. It's short, if you're Lestappen inclined there is no excuse to not have read this, the prose is GORGEOUS and the imagery is something else, and I'm always a fan of the Inherent Catholicism of Driving for Ferrari.

[pepperpottes]

i think i've figured out that my problem with writing fic is actually... reading other fic

i mean, my problem is a multitude of things, particularly perfectionism and a serious lack of self-esteem and confidence in my abilities to do a good job with literally anything, but lemme tell you, reading a bunch of absolute bangers on ao3 lately has NOT helped me in that department lol

like. i've read a few lately that are just SO GOOD. the kind of good that you can't stop thinking about it for days. and that's wonderful! i love when something is so well done that i can't get it out of my head. however, i really need it to get out of my head when i sit down to write my own shit, because then this starts:

"that author characterized [insert character] here so well; I can't do that! do i even understand this character at all?"

"their prose was so beautiful and poetic and had such a strong voice; mine doesn't! it's boring and lifeless and basic and there's nothing special about it to even call it a style!"

"their dialogue was so snappy and smart and realistic; mine isn't!" (re: do I even understand this character?)

"that story was so incredibly creative and well-thought out; my ideas are just lame and i don't have the mental capacity to come up with something that good!"

and most of all:

"that piece of work made me actually feel things; there's no way i could ever manage that!"

and then i end up staring at a blank page, internally screaming at myself: COMPARISON IS THE THIEF OF JOY

and i let it steal my joy, every time.

i do this with everything, by the way. not just writing. i have this terrible vice where i always think to myself, why is this worth doing if there's so many other people out there who are better at it than me? why would someone want to look at my pictures when they could look at something prettier? why would someone want to spend time reading my writing, when much better, more creative, more well-written stories exist? why would this company want to hire me, when they can hire someone smarter and more experienced?

i know a lot of this too is that i am so wildly out of practice with anything and everything creative, and that writing is like a muscle, and if you don't use it enough it grows weak again. i know that the more i do it, the better it will be. but just. ugh. i just get mad at myself sometimes for being this way. i'm mad at myself for letting my experiences in college make me hate writing SO MUCH that i didn't do it for eight years. nearly a decade of honing my skills, nearly a decade of ideas and stories, just lost.

(which is kinda silly, because i'm not even a... serious writer? i'm writing fanfiction. like who the fuck cares)

(but perhaps i could be a serious writer someday, like i always wanted.)

(circle back to, "but why would they hire me when they could hire someone better and more talented?")

idk. i'm just tired. i'm tired of being in my own head and not allowing myself the grace to say hey, it's okay if your writing isn't Pulitzer Prize worthy. it's okay if it's not as good as someone else's. it's okay if no one reads it or no one likes it, cause its yours and you should like it, and that's all that really matters in the end.

i'm also just physically and mentally tired from life and work and society and i imagine that's a much bigger factor in all of this than i'm giving it credit for. i punch out after 8+ hours of staring at medical records on a giant, blinding screen and i'm like, what are words? what are thoughts? i don't have any

(side note, i really feel like that job in particular has sucked the life out of me entirely. i used to be creative. i used to do things i liked, even if they weren't particularly good. i used to be... well, smart. i feel like i've regressed. or maybe i was never actually that smart or creative to begin with. BUT that's another rant for another time) (can you tell i'm a former "gifted student")

anyway, this turned into a really long and unnecessary rant about my deepest insecurities, but moral of the story: maybe i should stop reading fic for a while if i actually want to get something done without feeling terrible about myself in the process.

excuse me while i go, well... not write, probably.

[billsfangearring]

11 Good Omens Fic Favorites

a.k.a. I was going to choose my personal top ten but was too indecisive

One of my fandom resolutions for 2023 is to get back into reccing, so here’s a very casual GO rec list to kick things off! Fics are ordered longest to shortest.

As with any rec list, please read the warnings and tags on ao3 and make whatever decisions are best for you. I hope you enjoy!

the bucket list by darcylindbergh (@forineffablereasons)

There was a certain look that Aziraphale wore occasionally—a pinched sort of moue that looked like he’d just taken a very large mouthful of cinnamon—which meant he thought Crowley was being ridiculous. He had put it on. “Hang on,” he had said. “You want us to do human things?” * If you're going to go native, you might as well go all the way.

absolutely stunning, I wanted to take breaks while reading to really let it all sink in, I felt ALL THE EMOTIONS (44k, incomplete, E)

Your Mirror by equestrianstatue (@justlikeeddie)

I'll be your mirror; reflect what you are, in case you don't know. Crowley drummed his fingers briefly against his mug, and then sat back a little in his chair. He gave Aziraphale a long, appraising glance, and then seemed to come to some decision. “Listen, angel,” he said, “let me pitch you something.” Lulled by the familiar patter of Crowley’s voice as he was, Aziraphale still recognised this to be vaguely dangerous territory. He swallowed. “Go on,” he said.

one of the best-executed non-linear narrative fics I've ever read—just masterful, really peels back the layers in their relationship (28k, E)

This Soul Outstreaming by Rend_Herring

“Why did you come here?” Aziraphale interrupts. “Why do you keep doing this?” All the saving, he means, all the chasing after Aziraphale he does. It can’t only be that he’s not keen to endure a replacement. That can’t be it, not anymore. He’s going to get himself in trouble, and then it’ll be Aziraphale’s fault. Crowley’s mouth shuts with a click. He shifts uncomfortably in his seat, reaches for the handle of the fork and taps his fingertips against it before setting his hands in his lap. When he speaks, it’s very soft. “Don’t you know?” he asks. Aziraphale, unnaccustomed to his heart refusing to translate why it throbs with such haste, shakes his head.

sad, tender, funny, and romantic with beautiful prose, really just everything you want, so many quotable lines (22k, E)

Lay me down in Eden by caricari (@heycaricari)

Two supernatural entities go for a walk and Crowley gets more than he bargained for.

SO ROMANTIC OH MY GOD in the dialogue, interior monologue, and actions, excellent characterization, so pure (then explicit lol) (17k, E)

You've Got Kudos by curtaincall (@fremulon)

Aziraphale and Crowley both write fanfiction. As it happens, they both write Good Omens fanfiction. Of course, neither of them would ever admit this to the other. (A love story told primarily in AO3 comments)

this is the most meta thing ever lmao, really impressive skins for the ao3 look—pay attention to all the little details like usernames, etc. (4k, M)

build me a city, call it jerusalem by gyzym (@gyzym)

Man begets man begets The Tales of Men, and there's nothing godly in that; Those Above and Them Below haven't any need for the stories humans have been hungry for since the snake and the Angel with the flaming sword.

pre-show fic written in 2012, leans heavily into religious themes and Biblical references, melancholic, spare but beautiful writing style (3k, T)

The Gift by entanglednow (@entanglednow)

In which there is a little wooden elephant, and a long overdue confession.

simple yet checks all the boxes, very very soft and sweet, the DEVOTION, more biblical settings, truly just lovely (3k, T)

Anthony J. Crowley, Retired Demon and Airbnb Superhost by TheOldAquarian (@darkpurpledawn)

What are you supposed to do when you've been fired from your sweet job in Hell for thwarting the schemes of Satan, you've got a swanky flat in Mayfair, and you're looking for an excuse to spend all your time in someone else's bookshop? Obviously, you turn to the dubious world of short-term vacation rentals. The resulting Airbnb property has been variously described as "an instagram trap," "a vampire den but make it botanical," and "the weirdest bed and breakfast in the shared history of beds and breakfasting."

a highly entertaining series of Airbnb reviews of Crowley’s flat—every single one kills me, as do our ineffable duo’s cameos (3k, G)

Kissing, Accidentally. by skybound2 (@skybound2)

Crowley doesn’t mean to kiss him, really. It just sort of…happens. An…automatic response, if you will. An unintended automatic response. Unexpected, even. It’s not planned, that’s what he’s trying to say. ~~~ Or the one where Crowley gives in and kisses Aziraphale while he has him pinned against a wall.

winner of best use of footnotes, hilarious, Crowley is WHIPPED and an absolute disaster of a demon, just delightful (2k, G)

Too Generous by rfsmiley (@redfacesmiley)

“You are too generous to trifle with me. If your feelings are still what they were last April, tell me so at once. My affections and wishes are unchanged; but one word from you will silence me on this subject for ever.” Or: what happened after the [ we all got hit by a ] bus scene (aka "you could stay at my place, if you like")….

the TENSION, the PINING, ahh my heart was in my throat, excellent dialogue, and multiple P&P references (1.5k, T)

Interwoven Footsteps by skybound2 (@skybound2)

It takes them a while to get there. Six thousand years, give or take. But they get there.

criminally underappreciated (probably because it's super short), gorgeous, lush, sweet, their whole story in under 1k words (700, T)

[01-05-2001]

how are you so good at writing??? genuine question tho like what is your writing process or do you have any advice for someone trying to get more into/better at writing fiction?

hi anon!! thank you, this is so so sweet :3 i wouldn’t consider myself like. an authority on writing and i definitely think i have a lot to improve on, but here’s some advice i can offer up!

my general process for my oneshots is maybe unconventional? but it works for me.

a basic premise. eg, “oh, i want to write a caldre vibrator fic. how the hell is that going to work?” and figuring out how to get from point A to point B.

this is random, but it helps me keep track. at the top of all of my fics, i write this:

TITLE:

DESCRIPTION:

TAGS:

NOTES:

the title is usually left blank for a while. but the description is an incredibly short summary of the fic’s contents. tags helps me plan in advance for posting. the notes is just anything additional about their dynamic that i want to remind myself of. i find this really helpful to check back on every now and then.

bullet pointing key scenes of the fic. helps to have a writing buddy who can help you troubleshoot or bounce ideas off of!

under each bullet point, i write the scene out like a script, adding in notes about body language or general actions. i also copy paste in any little excerpts that come to me!

i find this the biggest step in avoiding writers block: blocking the entire scene helps keep the flow uninterrupted, helps me establish a pace, and helps to establish a strong tone in dialogue that i can then follow through in action and description. worst case scenario, i can just jump into the next line of dialogue and come back to fill in the gaps.

working top-down, i follow my script and fill in the gaps with action and description! this is obviously the hardest and lengthiest part, but that’s just the truth of it. i stick on some music or a video essay in the background and get to writing!

i usually end up working the start around, restructuring paragraphs until i find a flow.

Some general advice:

write what you enjoy. nothing will burn you out faster than trying to please everyone. it doesn’t matter if it’s cringe, or ooc, or whatever you think. write it if it makes you happy.

READ MORE - and REAL BOOKS (and poetry!). seriously. i notice the fastest improvement in my writing when i’m reading regularly. look at books you enjoy and ask: why do i like this? is it the themes, the characters? is it the writing style - the rhythm, dialogue, pacing? connecting with literature and developing analytical skills will seriously help so much. look at what you like and mirror it.

back to basics. especially with longer form stuff - use classic structures like three acts, freytag’s pyramid, etc. they are classics for a reason! learn the rules so you can know how to effectively break them. consider metaphors, flow, phonetics.

also, basic grammar and structure is non negotiable - walls of text or lack of punctuation will turn anyone off no matter how good the content is. i understand english isn’t everyone’s native language, but even a basic run through a spell or grammar checker online can make a world of difference.

on a more technical level:

variety is KEY. vary sentence length to keep a tight control over pacing, to control flow. read your sentences out loud to find the rhythm. try to keep from using the same structures or starters. sometimes i have to pull up another book to remind myself of different ways to open sentences when i’ve been staring at my writing for too long, lol

balancing description with succinctness is trial and error. IMO it’s better to be sparing than excessive. “purple prose” is hard to keep track of, and can feel like padding to a story. pacing is always, always key. remember, you CAN part with things: copy and paste little excerpts into a spare document. learn to delete!

understand the impact of intentional word choice. i love punchy verbs over wordy adverbials! but i also prefer to use descriptive phrases over niche words that readers won’t know. it’s about balance: complex language has its place, but using it intentionally is key. get a feel for a word’s nuance, otherwise your work can feel like Baby’s First Thesaurus. also, NEVER underestimate the impact of PHONETICS!!!

[balrogballs]

I’m curious how you “plan” your fics in your notes! If it’s okay with you to share your secrets ofc… I always face the trouble of wanting to write a story where “nothing happens” and its more an exploration of ones character. But then i never know when to start? I always feel like stakes need to be involved in order for me to write 😖

Of course, perfectly happy to share!

So sorry it took me a day or so to get to this, I was travelling and wanted to answer properly haha. Below the cut!

Just a note though this is just my chaotic little process and is by no means particularly expert/useful - I do put in quite a bit of work into them but I defo don’t take myself too seriously so this could fully just be me rambling! Also I am still in my cold tent hence forgive typos!

Have also attached some examples of my plan, from The Sword Tree oneshot but ofc no need to read that, its just an overview of the process :)

With the below re, planning, this applies to anything that isn’t in my Feral Children series - that series is a bit more loosely planned in that I centre them all around family/parenthood so its a bit more fun. I like to balance posting both kind of fics, and I’d say Cast in Stone would be the sole story where it’s both.

Normally I like to think of a few themes first, normally one or two for each, and theyre quite basic/expansive. In False Spring it’s an eldritch manifestation of sea longing as chronic illness in Elrond, and then in Rats of Valinor, the spiritual sequel, it’s how said illness isn’t ‘cured’ in Valinor, with a side of diasporic ‘reverse’ longing. Then I write, normally by hand bc I’m a dweeb, a general thematic outline of what I’d like the story to convey. Here’s an example that I’ve shared before from the Sword Tree.

Since with most of these stories, nothing very much ‘happens’ in terms of story beats, eg. climatic point of Rats is literally Elrond seeing a rat, the one for Sword Tree is Maedhros chopping down a tree, the “drive” is mostly emotional rather than action based. So I plan out the emotional arc, and then decide the best ways to convey each aspect of it. I don’t really write this out, but have a vague idea in my head.

However, and this doesn’t really apply to the lighter feral children stories at all as I dont plan those, I do spend a bit of time on the prose and symbols/elements for each aspect before I write the story itself — this is me being unimaginative actually, as I’m writing in a very similar style and process to my novel writing, where again, the prose matters more than the narrative arc. I actually find it a lot harder to write long plot driven stories, and hope to challenge myself on this front in the future.

But yes, here, I talk to myself a bit on Google Docs, think of interesting ways to say what I want to say, tighten some important bits of prose before I actually put it all together - here’s an example, again from The Sword Tree just to keep it consistent!

And then I just write it! Most of the dialogue, and definitely all of the humour/random observations/inserts are written as I go, and I’d say my general narratorial style is conducive to this as for the most part it follows a somewhat ‘storyteller’ style, which works well with said random inserts or fourth wall breaks so to speak - I actually very much played this up with Cast in Stone for narrative/plot reasons, as anyone who’s read it would know haha. I will say though, said storytelling style works nicely with Tolkien due to how the original books are written, and is probably why I’m so compelled to and enjoy writing for this fandom, but it’s not read too well when I wrote for, say, Naruto haha.

Anyway hope thats helpful and that I havent been just chatting out of my arse for such a long time! Sorry for the lateness as well, I wanted to answer properly and just really didn’t want to be the person that says “oh haha i just write xoxo” because wayyy too many people in litfic say stuff like that lmao

I also wanted to say this is by no means expert advice or even that this is very good advice even - it’s just what works for me!