#my writing style is more prose than dialogue

[fangharel]

we need to talk about The Silence and The Song

[PLEASE READ] edit to add: i realise that this post has been reblogged far and wide and that there is not a lot i can do about it now, but this is me trying anyway.

posting examples from the fic about my issues with its repetitive structure was careless of me, and i apologise to those of you who read it and became insecure about your own writing style. as someone who has worked with ai in academic settings, it's incredibly difficult for me to explain to you how the tone and structure of ai-generated fiction works and how, after reading enough of it, you can simply just tell. i do also realise that this is an incredibly weak argument, which is why i didn't include it when i originally wrote this post.

all that to say: there is an enormous difference between "beginner's writing" and ai writing. being repetitive as a new writer (or a seasoned one who just likes using repetition) is so normal. as is flowery/purple language. i've read hundreds of books and fics and the difference between these traits in ai-text and actual works is starkly clear. please don't feel anxious over the examples i've used in this post.

again, i apologise for any distress i have caused.

as per my last post, i have received a lot of encouragement to go public with this, and the more disappointed people i have in my dms, the angrier i get. so i will.

the silence and the song is an ancient arlathan au DA fic on ao3 by luxannaslut, and it is partly, if not entirely, written by an ai. i have no wish to be involved in any kind of fandom drama or witch hunting or bullying, but as a writer myself there are few things that piss me off more than watching people steal the work of others because they can't be fucked to write. it's disrespectful to your fellow writers, it's disrespectful to your readers, and it's disrespectful to the authors of the works the ai is stealing from.

ai is a plague that has no business being in creative spaces and you must do better.

the writing pattern

there was something very odd and monotone about the sentence structure of tsats that i couldn't quite place, so i fed chatgpt a prompt along the lines of "two people in a fantasy novel hate each other, but they secretly desire one another, and they kiss", and the screenshots above are the results. the third one is an excerpt from chapter 40 of tsats. the writing pattern is identical and it doesn't seem like the "writer" has even bothered to pretend they wrote it. if you're going to use ai, at least be sneaky about it. you know, paraphrase a little.

nonsense descriptions

"her nimble fingers worked with quiet precision" (ct. 1), "his grip firm but tender" (ct. 33), "her gown pooling around her like embers" (ct. 1).

fingers don't make sound, so what does quiet precision mean? as opposed to what? her joints cracking with every movement? how is a grip firm but tender? what does that mean? since when do embers pool?

the entire fic is littered with these adjectives that contradict each other or just straight up do not make sense, because all an ai does is generate descriptive language with no understanding of what the words it's spitting out actually mean. i could spend hours picking out examples from the seven billion pages worth of text, but i quite frankly have better things to do and would simply challenge you to try getting through a chapter or two without noticing the pattern.

repetition at structure-level

all the scenes in this fic are described in pretty much the same way. they open with purple prose vomit of the surroundings; solas is standing somewhere looking "unreadable as ever"; ellana's fiery golden molten fire copper ember ginger red hair is flowing this and that way; there's some dialogue with whoever is present and it leaves ellana feeling different variations of "something she couldn't name". this is, once again, a blatantly obvious sign of ai. below is the result of me feeding chatgpt the line "write me a scene from a fantasy novel where a woman with red hair is sitting on the ground in a magical garden at night", and side by side with that is the opening scene of the fic. make your own judgement.

repetition at word-level

this one speaks for itself. we fucking get it. her dress is orange, her hair is red, mythal's presence is heavy in the room, solas looks unreadable, compassion is sitting on her head like a crown, solas' ears are betraying him and ellana's move with every thought she thinks. we get it. the issue here is that an ai remembers the info you feed it, but not necessarily the info it shits out. if it's being told to write scene after scene of an elven woman with a gown that looks like fire doing xyz, it's going to do so with no regard for how many times the reader has already been informed of these details.

lastly: the breakneck speed

359,6k words in four weeks by a person who allegedly is employed and married and hasn't pre-written anything? no. any writer will tell you that this simply isn't possible. it absolutely infuriates me to see how much praise this "writer" gets for posting up to three full chapters in a day without anyone calling bullshit. i am pulling out my hair, you guys.

why i'm not going to live and let live this one

perhaps i would be less angry if the fic was some silly bullshit court intrigue Y/A stuff, but this is a text that handles very heavy and triggering topics such as SA, coercion, domestic abuse, and other things of the same vein. to sit back and put your feet up while having a robot write these extremely sensitive and very real human experiences with words it has stolen from texts written by actual persons is fucking heinous. the "writer" should be deeply ashamed of themselves and i'm sick and tired of watching people eat up their bs.

and on that note: the amount of people in my dm's telling me that they feel stupid and naive for not clocking this has infuriated me more than anything else. you're not foolish for this. being fed ai-generated bullshit is not what is supposed to happen on any creative platform and much less a fandom-centred one, so of course no one approaches a fic through that lens. fandom and fic writing is supposed to be about passion and the only person in this situation who needs to do better and change their behaviour is luxannaslut. polluting our creative spaces, wasting the time of your readers, and minimising the effort of actual writers who are working hard to provide content for us all to share and enjoy is vile and so, so lazy. i beg of you: do better.

[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.

[anonfandombandit]

hi. I wanted to reach out privately to ask whether you are using AI to write any of your fics. me and a few others are concerned you may be using AI to aid you in writing. some of the proof we have gathered:

excessive use of dashes and semi colons in a way that a human would not use them

repetitive use of certain words and phrases like 'smirks' 'thunderous' 'says softly' 'her eyes were piercing'

chapters being 20-30000+ words written in a short time frame

not using a beta reader who would pick up use of AI in your writing

using AI evasion tools to avoid AI checkers

please clarify if you are using generative AI when writing because its damaging to the writing community and you should be declaring if you are using it

I’ve been debating how to respond to this for a while now. I’ll be honest, when I first read it, I laughed. My first immediate thought was “wow, guess this makes me a real agathario writer now” because is it not a right of passage to get accused of using AI in this community?

Really, though, I’m kind of insulted. Bitterly so. So much so that I’m too offended to even feel really angry or upset. The fact you have sent this anonymously and “privately” is proof enough to me that you are not actually concerned, and have malicious intent. Who exactly are these “few other people” you are talking about? Why not post this publicly with your name behind it, if you’re so confident in your accusations? Doing so anonymously is, frankly, cowardly.

To make it incredibly clear - No. I don’t use AI in any of my fics. I literally work in academia where we are allergic to AI use. It’s false authorship. Using it in my career would end it. I’ve been writing fics for half of my life, I’d like to think I don’t need to rely on shitty AI prose and dialogue to tell a story. And I’m fully aware of how damaging AI use is to fic writers which is why I am vehemently against it. I’ve spoken to several other writers in the coven about how much I hate it.

Your proof is hilarious. Yes, I like semi colons and dashes. That’s my writing style. Is my use of the Oxford comma also suspicious to you? I also have favourite phrases and words I like to use, like every other writer. The 20k/30k chapters you are talking about were written in, on average, a month, so that’s ~1k words written a day which any other writer could tell you is possible. Also need I remind you that the 30k chapter was written while I was off work and bed-bound with pneumonia? So yeah, I might have had a little more free time to write in February and March.

I do my own editing rather than having a beta reader because throwing a novella at them to give feedback on would be insane. And I can only assume you are saying I’m using “AI evasion tools” (which…. What. What are you talking about) because you tried to use an AI detector on my fics and they came back with nothing. Because guess what. I don’t use AI. Because I love my fics.

Anyway. Guess I’m just going to feel bitter for a while over this. I was planning on scaling back my writing anyway in the summer since my PhD thesis writing period is approaching, but I might just start now. I’ll be focusing on safeword, hopeless and fragile things for the moment. I might write some short fics for AAA week but probably won’t find the time.

Thanks to everybody who has been so supportive and patient with me and my fic posting. I know it sucks that you have to wait so long between chapters, especially for safeword. But part of why they take so long is because I don’t want to rush writing them. I really appreciate everyone who has reached out to tell me how much my fics mean to them and how you have enjoyed them.

[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.

[irregularcollapse]

Hiiii just wanted to pop in and say I watched Masters of the Air and I really enjoyed it! Wouldn’t have known about it/known to look for it were it not for you and I enjoyed spotting all the moments I remembered seeing you reblog gifs of as I watched it ❤️ you’ve successfully carried on the grand tumblr tradition of influencing people to watch a show with gif sets! I can’t decide yet if I want to read any fic for it or not but if I do decide to I’ll definitely start with yours 👍🏼👍🏼

This is SO exciting to me hooray! I've managed to trick a few people into watching MOTA because I knew they'd like it, and it feels like an achievement every time. There's a lot I really like about it as a show, but especially the core performances, and John and Gale as characters. Personally, it resonated with me more than other war shows I've tried to watch, which is just a matter of individual taste really. I'm as surprised as anyone to find myself writing fic about military men 🤪🤪🤪

No pressure to read fic at all (though it's very nice that you're considering reading mine waowww ty ty) but this message was a perfect reminder for me to do something that I keep forgetting to do because my brain is a sieve, which is to shout-out a few writers whose stuff I have been enjoying recently, who I haven't personally seen recc'd a whole lot and so may fly under the radar (not a pilot pun, I swear) if you go looking for other fics. Alphabetised!

@blixabargelds / hart who is not only a brave writer, but one who writes with raw vulnerability that makes each work a visceral, multi-sensory experience, and truly approaches writing with a purpose and intent which radiates off the page -- as do strength of concept and the truthful, emotional weight that sits behind everything Frankie writes

@constanthaunt / justfine whose writing has such a beautiful cadence and flow to it, and who has such a rich understanding of not only how to use these particular characters but of how people work, and produces writing with real emotional nuance and depth

@feyd-meowtha / feyd_meowtha whose writing has a heightened, shiny quality to it that I really want to spend more time delving into. There's a real sense of fun and playfulness in what I've read of their work, and a clear enjoyment of the texture of words

@pleasuretrade / PleasureTrade has big things on the way I'm sure, because the snippets I've read have a really deft command of interaction and dynamic -- such lovely character interplay that I can't wait for more of, and dialogue which settles so organically and authentically

@reallylilyreally / ReallyLilyReally whose writing has a warmth and affection for character in it that is lovely to read, and really demonstrates how observation and action are the best tools for constructing characterisation. I've found a real "slice of life" quality in what I've read of their work which is so clever and well-executed, and I'm so keen to read more

@shipstorms / ipsilateral writes with a precision of word choice that I appreciate so deeply, and everything in each sentence feels so well-placed, and in their work as a whole there's such excellent use of pacing -- every paragraph serves a purpose

@soliloquy-dawn / soliloquy_dawn is so lyrical and lovely, with a richness of style that poses a confident challenge to the misconception that all detailed writing is "purple prose" (simply not true!); to me, Dawn's writing shows that often more is more and immersion is achieved best through a luscious focus on detail

@weimarweekly / VoluptuousPanic is delivering a masterclass on character voice with Looking for Eight, with writing that balances interiority, experience, and visualisation in such a delightful way. There's specificity in vernacular which is so competent and impressive, and the flow from a sentence > paragraph > chapter level carries you along in such a natural, gorgeous way

For a relatively small fandom, the writing side is quite prolific! There's a lot getting written all the time and I know I find it hard to keep up (and am sure a lot of people do). This list is hardly a dent in what I've enjoyed and who I've read! But it's stuff that's dug into my brain in the best way.

[whencyclopedia]

4 Elizabethan Playwrights and Poets

The Elizabethan era is often regarded as a golden age for English culture, language, and literature. Though William Shakespeare, Christopher Marlowe, Ben Jonson, and Edmund Spenser are amongst the best remembered writers of this era, many other poets, playwrights, and dramatists helped to forge this literary golden age. This article examines four lesser-known Elizabethan playwrights and poets.

John Lyly

Amongst the first of the great Elizabethan dramatists was John Lyly (c. 1553/54-1606), whose popularity reached its peak in the days before Shakespeare and Marlowe. Born in Kent, England, in either 1553 or 1554, he graduated from both Oxford and Cambridge, earning him a place amongst the group of well-educated late 16th-century English poets referred to by literary scholars as the 'University Wits'. Lyly was not a particularly gifted student – indeed, the antiquarian Anthony Wood notes that his genius was "naturally bent to the pleasant paths of poetry" rather than those of academics. Shortly after leaving Oxford, Lyly finished his first work, a prose romance entitled Euphues: The Anatomy of Wit (1578). It was an instant bestseller, undergoing four editions within its first year, and was quickly followed by a second part, Euphues and His England (1580).

These works were, according to scholar Stanley Wells, "short on narrative, but rich in dialogue, argument, and debate" and had a "colossal, if brief, impact on the development of English prose" (63). Here, Wells refers to the prose style with which Lyly writes, called 'euphuism', which involves an "unremitting use of alliteration, antitheses, puns, carefully balanced clauses, similes derived from natural history, and many other rhetorical figures of speech" (Wells, 64). This kind of writing was lighter and more elegant than Elizabethan audiences were used to reading and quickly became fashionable, later influencing the works of Robert Greene and Shakespeare.

After his almost overnight success, Lyly turned to writing comedies. With the patronage of Edward de Vere, 17th Earl of Oxford – a poem-loving aristocrat sometimes thought to be the true author behind Shakespeare's works – Lyly leased the first Blackfriars Playhouse in 1583. His first two plays, Campaspe and Sapho and Phao, were performed here the following year by the Children of Paul's, a troupe of boy actors favored by Elizabeth I of England. Throughout the 1580s and '90s, Lyly would continue to write plays – the most significant of these is his 1588 comedy Endymion, which was written in his trademark euphuistic style and contains multiple references to ancient myths and traditional English folklore. Indeed, all of Lyly's plays are characterized by mythological references as well as light and witty dialogue, leading him to be considered the first of the Elizabethan playwrights to write in "plain English". His style influenced the next batch of playwrights who would quickly eclipse him in fame; by the late 1580s, writers like Christopher Marlowe and Thomas Kyd had taken Lyly's place in Elizabethan theatre. As his influence faded, Lyly focused less on playwrighting and more on his political career. Having sporadically sat in Parliament since 1580, he now coveted the position of Master of the Revels, an office that was continually denied to him. Frustrated, he wrote the queen a despairing letter in 1593, begging her to remember his years of service:

Thirteen years your Highness' servant, and yet nothing; twenty friends that though they say will be sure, I find them sure to be slow; a thousand hopes, but all nothing; a hundred promises, but yet nothing. Thus casting up the inventory of my friends, hopes, promises, and time the summa totalis amounteth in all to just nothing.

(Wells, 66)

Lyly died in 1606, never having achieved his dream of becoming Master of the Revels. Like many of his contemporaries, his memory rests within Shakespeare's long shadow, although his influence looms large in the Bard of Avon's work; indeed, Shakespeare's plays Twelfth Night and Much Ado About Nothing are stylistically similar to Lyly's work, a fact that would have been recognized and appreciated by Elizabethan audiences. One example of Lyly's poetry is Oh, For a Bowl of Fat Canary:

Oh, for a bowl of fat Canary,

Rich Palermo, sparkling Sherry,

Some nectar else, from Juno's dairy;

Oh, these draughts would make us merry!

Oh, for a wench (I deal in faces,

And in other daintier things);

Tickled am I with her embraces,

Fine dancing in such fairy rings.

Oh, for a plump fat leg of mutton,

Veal, lamb, capon, pig, and coney;

None is happy but a glutton,

None an ass but who wants money.

Wines indeed and girls are good,

But brave victuals feast the blood;

For wenches, wine, and lusty cheer,

Jove would leap down to surfeit here.

Read More

⇒ 4 Elizabethan Playwrights and Poets

[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

–

Masterlist

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[hollow-lime-green]

I have just DEVOURED the last chap of 2scorc and what can I say.

WHAT CAN I SAY.

I'm in love. I have been screaming about it nonstop with my friend because this fic is just so good.

The foreshadowing. THE FUCKING META FORESHADOWING. I die.

Legit crying in the club during satoru's phone call. Poor boy.

Also I love how you write dialogues both in terms of words and in terms of layout. Extremely pleasant to read, chef's kiss.

I will leave a comment once a)I become more coherent and b)I'll finish re-reading the whole thing

Just fyi I'm now addicted to this verse and I cannot wait to see what you have in store for part 3, your jujutsu world building and lore is immaculate.

I'm in tears and broken by your writing, 10/10 would recommend (I have never forwarded a fanfic so fast in my life)

aaaaaa thank you so much <3

there's so many little breadcrumbs in previous chapters that lead to the hansel and gretel style witch cottage that is this nightmare of an ending (for Satoru, anyway :) )

the formatting has been particularly fun in this fic, and i wanted to pull back the curtain a little bit. the text alignment in this chapter in particular is a way to represent where the thoughts are coming from, for Satoru. so when you see a right-align, whether it's dialogue or an intrusive thought of his, it's kind of meant to signal hostility. center-aligns are complicated and unsure. and then left-aligns are standard character stuff. it's a similar thing for Suguru's dreams in previous chapters.

i've yapped a little bit about it here, but this is another inspiration i took from Murakami's Kafka on the Shore. (the other inspiration being the mission formatting in ch. 12).

when i write stuff like this, there's always a little voice in the back of my head going like 'oh god is this cringe' and 'will they think i'm taking myself way too seriously' etc etc. but.

a.) fanfiction is exactly the place for this semi-cheesy meta poem-prose fusion bullshit. b.) i hope no one is at risk of thinking that the twilight-rebecca black friday-minecraft parody song fanfic takes itself too seriously.

anyway! i am so glad you liked it, and it always super tickles me to hear about you guys talking about it with your friends :) I talk about writing this fanfic to my irl friends with the same energy of spraying an unsuspecting sunbather with a high-powered SuperSoaker™. and i get about the response that you'd expect, but I think they prefer it to me explaining the specific details of vore (more complicated than you would think).

i've got so much left for part 3, especially hyperspecfic jujutsu worldbuilding bullshit that we've been building up to since domains. in particular, we're gonna get really into Suguru's technique, barrier techniques, and RCT. we're gonna see clan politics, higher-ups, and of course, Satoru's taste in fanfiction.

[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 :)

[eraserspiral]

2024 fic wrapped

thank you to @wetcatspellcaster for tagging me! <3

What’s been your biggest learning point this past year?

I've learnt a huge amount from writers that I admire, especially @aevallare. mostly, I've learnt to get words down quickly and freely and messily, and then refine, rather than trying to do it as I go. that's very different from how I write academically. it circumvents the perfectionist overthinker in me, and has definitely resulted in better work.

How has your writing developed this past year?

ironically, it's difficult to put into words. before this (or rather last) year, I hadn't written fiction consistently since my teens. I was extremely burnt out from my PhD, and felt I had no words left in me. then something shifted gears in my brain and I suddenly needed to write. working with forgotten realms lore and bg3 characters has given me "permission" to be creative without the pressure; subsequently I'm developing a style and a rhythm that feels like me.

Good writing habits?

writing what I'd like to read, rather than what I hope other people will like.

analysing, synthesising, percolating.

roget's thesaurus.

Bad writing habits?

if we're being technical, I use far too many adjectives, dialogue tags, adverbs galore. so much purple prose. but... I love playing around with words and I'm having fun.

Favorite thing you wrote?

aside from my two oneshots, probably chapter five of the fall. it has kisses, angst and jaheira giving unsolicited sex ed.

Favorite reads?

answered here - but happy to have an excuse to share some more things I've read that have stayed with me.

fic

these two shitheads (series) by @atsadi-shenanigans out of the saddle by @koalamatcha houses (series) by @bluebeebalmwrites momento vivere by @hylianworrier (plus many more)

not fic

redeeming objects by natalie scholz the poisonwood bible by barbara kingsolver

Biggest win?

the reaction to an offering has genuinely floored me (in a good way).

Goals for the new year?

answered here, but also: delivering the story I want the fall to be.

Your favorite words of the year, aka the words you check each chapter for, making sure you didn’t repeat them 788 times?

like dr wetcat, rather than looking for repetition, I'm going to share a couple of bits I'm happiest with.

He saw her admission about Gale for what it was, an olive branch extended (although yew would be a more apposite choice, he supposed: evergreen; common to graveyards; decidedly poisonous). - chapter four of the fall

Gale is steel wrapped in soft edges. - an offering

What are you excited for in the new year?

properly working on the bloodweave au I've been threatening plotting for months.

more generally, 2024 was a year of purest shit. in 2025, I have publications in the offing. I won't be continuing in academia, but publishing my research before I leave is the best fuck you I can imagine.

plus, you know, more pelfnis.

tagging: @aevallare @koalamatcha @slothquisitor @kittenintheden

[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.