#that's basically what the literal prose translations do too. in my opinion.

[britneyshakespeare]

So yesterday I read "Slimed with Gravy, Ringed by Drink" by Camille Ralphs, an article from the Poetry Foundation on the publication of the First Folio in 1623, a major work without which most of Shakespeare's plays might very well have been lost today, possibly the most influential secular work of literature in the world, you know.

It's a good article overall on the history and mysteries of the Folio. Lots of interesting stuff in there including how Shakespeare has been adapted, the state of many surviving Folios, theories of its accuracy to the text, a really interesting identification of John Milton's own copy currently in the Free Library of Philadelphia, and the fascinating annotations that may have influenced Milton's own poetry!!! Do read it. It's not an atrociously long article but there's a lot of thought-provoking information in there.

There's one paragraph in particular I keep coming back to though, so I'm just gonna quote it down here:

...[T]he Play on Shakespeare series, published by ACMRS Press, the publications division of the Arizona Center for Medieval and Renaissance Studies at Arizona State University... grew out of the Oregon Shakespeare Festival’s plan to “translate” Shakespeare for the current century, bills itself “a new First Folio for a new era.” The 39 newly-commissioned versions of Shakespeare’s plays were written primarily by contemporary dramatists, who were asked to follow the reasonable principle laid out by series editor Lue Douthit: tamper in the name of clarification but submit to “do no harm.” The project was inspired by something the linguist John McWhorter wrote in 1998: “[the] irony today is that the Russians, the French, and other people in foreign countries possess Shakespeare to a much greater extent than we do … [because] they get to enjoy Shakespeare in the language they speak.”

Mainly it's the John McWhorter thing I keep coming back to. Side note: any of my non-native-English-speaking mutuals who have read Shakespeare, I would love to know your experiences. If you have read him in translation, or in the original English, or a mix of both. It's something I do wonder about! Even as an Anglophone reader, I find my experience varies so much just based on which edition of the text I'm reading and how it's presented. There's just so much variety in how to read literature and I would love to know what forces have shaped your own relationships to the stories. But anyway...

The article then goes on to talk about how the anachronistic language in Shakespeare will only fall more and more out of intelligibility for everyone because of how language evolves and yadda yadda yadda. I'm not going to say that that's wrong but I think it massively overlooks the history of the English language and how modern standard English became modern standard English.

First of all, is Shakespeare's language completely unintelligible to native English speakers today? No. Certain words and grammatical tenses have fallen out of use. Many words have shifted in meaning. But with context aiding a contemporary reader, there are very few lines in Shakespeare where the meaning can be said to be "unknown," and abundant lines that are perfectly comprehensible today. On the other hand, it's worth mentioning how many double entendres are well preserved in modern understanding. And additionally, things like archaic grammar and vocabulary are simply hurdles to get over. Once you get familiarized with your thees and thous, they're no longer likely to trip you up so much.

But it's also doubtful that 400 years from now, as the article suggests, our everyday language will be as hard to understand for twenty-fifth century English speakers to comprehend. The English language has significantly stabilized due to colonialism and the international adoption of English as a lingua franca. There are countless dialects within English, but what we consider to be standard international "correct" English will probably not change so radically, since it is so well and far established. The development and proliferation of modern English took a lot of blood and money from the rest of the world, the legacy of which can never be fully restored.

And this was just barely in sight by the time that Shakespeare died. This is why the language of the Elizabethans and Jacobeans is early-modern English. It forms the foundations of modern English, hence why it's mostly intelligible to speakers today, but there are still many antiquated figures within it. Early-modern English was more fluid and liberal. Spelling had not been standardized. Many regions of England still had slight variations in preferences for things like pronouns and verb conjugation. We see this even in works Shakespeare cowrote with the likes of Fletcher and Middleton, as the article points out. Shakespeare's vocabulary may not just reflect style and sentiment, but his Stratford background. His preferences could be deemed more "rustic" than many of his peers reared in London.

Features that make English more consistent now were not formalized yet. That's why Shakespeare sounds so "old." It's not just him being fancy. And there's also the fact that blank verse plays are an entirely neglected art nowadays. Regardless of the comprehensibility of the English, it's still strange for modern audiences uninitiated to Elizabethan literature to sit there and watch a King drop mad poetry about his feelings on stage by himself. The form and style of the entire genre is off.

But that, to me, is why we should read Shakespeare. We SHOULD be challenged. It very much IS within the grasp of a literate adult fluent in English to read one of his plays, in a modern edition with proper assistance and context. It is GOOD to be acquainted with something unfamiliar to us, but within our reach. I'm serious. I do not think I'm so much smarter than everyone else because I read Shakespeare. I don't just read the plain text as it was printed in the First Folio! The scholarship exists which has made Shakespeare accessible to me, and I take advantage of that access for my own pleasure.

This is to say that I disagree with the notion that Shakespeare is better suited to be enjoyed in foreign tongues. I think that's quite a complacent, modern American take. Not to say that the sentiment of McWhorter is wrong; I get what he's saying. And it's quite a beautiful thing that Shakespeare's plays are still so commonly staged, although arguably that comes from a false notion in our culture that Shakespeare is high literature worth preserving, at the expense of the rest of time and history. It is true that his body of work has such a high level of privilege in the so-called Western literary canon that either numerous other writers equally deserve, or no writer ever could possibly deserve.

The effort that goes into making Shakespeare's twenty-first century legacy, though, is a half-assed one. So much illustrious praise and deification of the individual and his works, and yet not as much to understanding the context of his time and place, of his influences, forms, and impacts on the eras which proceeded him. Shakespeare seems to exist in a vacuum with his archaic language, and we read it once or twice in high school when we're forced to, with prosaic translations on the adjoining page. This does not inspire a true appreciation in a culture for Shakespeare but it does reinforce a stereotype that he must be somehow important. It's this shallow stereotype that makes it seem in many minds today that it would be worth it to rip the precise language out of the text of a poet, and spit back out an equivalent "modern translation."

[coffinsister]

Hi there!

I just wanted to let you know that I'd never heard of Saya no Uta until I saw you talking about it on my dash and I was like hey I'll look into that!! I had no idea what I was getting myself into, and it was definitely an experience. I've only played the route of choosing Saya and choosing to call Ryoko, so I still have to make the other choices to view all of the game's content, but I just wanted to come say thank you for giving me the second controversial piece of media I've been able to consume without my ocd throwing a bitchfit, because the whole story is fascinating from a psychological standpoint and that definitely drew me in.

I just wish the story was a little more 3D, I guess? Like the writing is overly descriptive of things it doesn't need to be descriptive of and underwhelming with the actual voiced dialogue. It's an extremely bizarre contrast. And from what little Japanese I've learn over the years out of SpInterest there are some translation points that aren't entirely accurate.

A big one is the fact that Saya speaks in third person which is a common cutesy mannerism for small children in Japanese media. In fact, she speaks super similarly to Maria Ushiromiya from Umineko ( complete with using 'uu!' for emphasis too ) which caused me to attach quickly to her for it. While it's true that this doesn't translate well into English, it does lose in translation just how young Saya really sounds while speaking. Because in Japanese she's saying things like 'Saya did this for Fuminori because Saya wants to be with Fuminori forever!' and it's getting translated as like 'I did this to make you happy. So you'll stay with me forever, right, Fuminori?' and those are two completely different tones. In fact, it's so overlooked from the English translation that this trope of hers isn't even mentioned on the The Song of Saya tvtropes page and that's wild to me.

Sorry, I didn't meant to turn this into a rant in your inbox asjklhd. Thank you for bringing this intriguing piece of media to my attention. 💖

Hiii, I'm so sorry for taking so long to reply to this ask but it was lovely getting it, so please don't apologize! We love getting long asks, and talking about our interests <3 And I'm really happy me basically screaming into the void about it, got you into it! That's great, that's exactly why I post about the things I like.

This was very interesting to read so thank you for sending it.

Side Thought: TV Troupes actually really really sucks for this kinda thing, it is widely innacurate with big media, and incredibly lacking for small media. So personally, I would not chuck TV Tropes lacking this as much to the (very bad, like super bad) official translation, as much as I would to the site just kinda sucking.

I'm sorry if I sound harsh, the website is fun, like any other wiki is, I just have personal beef against it, do not mind me, old man yells at cloud.

The first route I finished was also the one with Ryouko, and tbh, in my opinion that's the best one, but obviously seeing the other endings gives a lot of extra information, and character depth, so I hope you play through them and enjoy them too.

And yeah, I feel you, I wish it was more 3D and that I could have cared more about the characters, the writing definetly feels too much like purple prose, and way too descriptive about meaningless things sometimes, while also compeltley glazing over others.

Also big big same about the translation, I already posted my long rant about it, but it's really such a shame, because Nitro+ is actually so good at conveying character through dialogue, like actually reading some of the VNs in Japanese is a whole new experience on its own

And exactly as you said, it would have been far easier to understand Saya is a literally preubecent child if the translation had shown how childishly she actually speaks, or another big one, we would have gotten to see more of just how badly Fuminori wants to show off in front of Saya and Yoh, if the translation had actually shown him avoiding being fully honest with Saya.

Like there's so so many moments in Japanese of him just going, Well, about that, you know... to Saya when she's asking him about their plans together, and he's very reluctant to ask her for help, even when he really needs it, until she blatantly offers it, and he takes it.

In the Official English version he literally just goes "Well, the thing, Saya is that I failed to kill Koji, any ideas about that?"

So much character missed there, I feel like also missing the honorifics isn't helpful or good, like Yoh calling Oumi, Oumi-chan makes them feel way way closer, than just college friends who hang out between classes. And it gives you a better sense that they care for each other.

My hot take about translations is that they shouldn't just accomodate to what's most familiar to the target audience, in this case USA people, it should just make the media more accesible. It isn't a failure of art if it is a bit of a struggle to engage with it, it's good to make an effort to try to understand foreign art, even when the way the text is presented, isn't super familiar or relatable to you.

This is basically what everybody who isn't from an English speaking country already does lol

[folkloristico]

1, 9, 10, 13, and 14 for the writer ask :)

Hi, thank you for the ask!

1. What part of the writing process is the most enjoyable?

Okay, so, this could be an unpopular opinion for the writing community, but I love editing! My editing shifts from light-editing to heavy-editing based on the first draft (sometimes I just go with the flow and write everything that comes to my mind, even if it means ending up with a horrendous prose), but whichever the case, I enjoy the process. The way I do it, I already have the story—its skeleton, so to speak—and here it comes the fun part—I can focus more on the choice of words, on the rhythm (something I still don’t have a full grasp on in English), and add all those silly little details that make the fic pop up.  

9. What inspired you to write your first fic?

Foolishness of youth, probably. xD I always had a keen imagination and I would enjoy making up scenarios in my head; I was barely a pre-teen when I started writing a fic which was a crossover between Pokémon and Naruto, and my main reason was that I thought it would be fun to make my favorite characters interact. For years, the only thing I was interested in was writing down every idea that poked at my mind, as a way to give it a form and a meaning, I guess? In the years, my interests shifted and my skills improved, but my main goal has always been giving myself everything I wanted. I wouldn’t be writing for mostly dead fandoms if this weren’t the case.

10. Why do you continue writing fics?

What I just said—basically, creating something that caters to all my specific needs. That has been, and I hope always will be, my main goal. However, another thing that keeps me going is having the chance of interacting with readers/writers that share similar headcanons/ideas as mine. I don’t really ‘do’ fandoms because they’re too messy for my liking, I despise the drama, the wars, etcetera. Fanfics have given me the chance of meeting people that I really enjoy talking to. To me, interaction is a big part of fanfics and I’m glad every time a reader reaches out to tell me they enjoyed my stories.

13. Describe your writing style. If you were to participate in an anonymous fic writers guessing game (like The Masked Author), what writing habits do you have that would be a dead giveaway that it’s you?

This is a tough one! My writing style changes depending on the language I’m writing in. My style in my native language is very descriptive, you can put any word literally anywhere and it helps a lot set a rhythm. In English, on the other hand, my style isn’t personal just yet, I think I need more time to get there. For obvious reasons, writing in my native language is my comfort zone, especially if writing internal monologues/heavy introspective pieces. I did translate some of those into English and while I think they’re decent, it feels forced.

However, I do have a tendency of using the same expressiond/choice of words. I particularly like when I’m reading an author and a part of their vocabulary casually slips into mine.

14. Share a snippet.

Daphne smiled. “As much as I favor magical academia, I do have a keen interest in the humanities.”

“And what do the experts in the humanities say?”

“I was more interested in what you had to say.”

Griffin pursed her lips in a thin line. In all honesty, she didn’t know what to say. Didn’t know what she would do if the situation speculated by Daphne were to happen. Daphne had been clever in suggesting Faragonda as the person whose life was going to oppose everyone else’s, although it was no secret that Griffin and Faragonda had a special bond, a complex relationship that could be traced back to their high school days. Nor was the fact that Daphne had admitted between the lines that she was aware of the disagreements between Griffin and her father a surprise considering that neither of them had made any effort to conceal it, and moreover, Daphne had a natural penchant for catching the unspoken words squashed in the silence of her parents. Marion and Oritel seemed to be under the impression they could deceive Daphne, but Griffin wondered if it wasn’t the other way around.

“May I deduce by your silence that you have no answer to the dilemma?”

“I suppose you have one?” Griffin retorted, somewhat on the line of a challenge, though she was curious what Daphne’s answer would be.

(The only thing I enjoy more than writing about Daphne? Writing about Daphne through Griffin’s POV.)

[serinemolecule]

Re: name translation. Do you have an opinion on translating names in the Tales of Genji? From what I understand the original basically never uses names for any characters but some translators give the characters names because they think it makes it more comprehensible.

(context: translating names)

I’m all for translations that translate style rather than translating language. Translating Shakespeare to prose is completely valid, and so is translating Genji to not-courtier-language.

In general, I’m not a stickler for accuracy/faithfulness. Nearly the opposite! I’ve written before about how focusing on literalness can easily go too far and lead to horrible translations.

The main thing I've been trying to convey with my translation posts is that the important part of translation is to let the concepts conveyed by the original work shine through. I’m not trying to prescribe any particular translation style other than just “not missing the forest for the trees”. I think most mistakes, including “translating names” in cases where it is a mistake, are caused by people focusing too much on translating every individual word, instead of translating the overall message.

But individual stylistic choices are of course up to the translator. Maybe you do think translating names better conveys the story of the original. I won’t judge you! What I will judge is if you make a translation you yourself admit is bad, and act like there was nothing you could do about it because an important rule of translation was that you can’t leave any word in the original language. No. The only important rule is that you help audiences understand the original work, and you don’t focus on useless rules that don’t help them do that.

[multsicorn]

book-and-show

My preferred mix of the two canons is basically ‘The Untamed, but Wei Wuxian lost control of his zombies by his own goddamned self, and also plot/logic holes are taped over by explanations from the book when needed and possible.  And we know that wangxian are together and will be married, but we're left with spaces to fill in the details.’  (One of the cool/interesting things about having multiple versions of a canon is that one can mix and match!)  But there are definitely things that I prefer, separately, about each.

[two very long lists.  all of which are all about personal opinions/preferences, and none of which are looking to start discourse!]

Eight Things I liked better about the show:

1. "Who am I to you?"  "I had thought, that you were the one who knew me for my whole life."  "Still, I am." is *twenty zillion times* more romantic than a stolen blindfold kiss, in a way that pretty much encapsulates why I so much prefer show to novel wangxian overall.  And in this TED talk - I mean, in another post, hopefully, in not too long, I will.

2. Lan Wangji's explicit questioning of and overturning his understanding of 'what is right, and what is wrong,' rather than simply being motivated by 'if loving Wei Wuxian is wrong, then screw everything else.'

3. Introducing so very many characters earlier in the chronological timeline, and showing us more about them and their relationships prior to Wei Wuxian's death - and outside of the key moments in which they're involved in the plot.  Wen Qing and Wen Ning, Jiang Yanli, Mianmian, Songxiao, Xue Yang, Meng Yao - this list could also be its own post.

4. More focus on the Sunshot Campaign and its aftermath, pre-death, specifically on the period when Wei Wuxian is the feared necromancer, and he and his loved ones are dealing with that, against a background of war and then possibly more war.  It's by far my favorite part of the narrative, just because of my preferences re: genres, so I appreciate it being foregrounded rather than just a backstory that's shown in flashbacks.

5. The successive confrontations between Wei Wuxian and Lan Wangji over 'leaving the right path'!  In the courtyard, when Lan Wangji pulls Bichen on Wei Wuxian to make him listen; in the sad umbrella rain, when Wei Wuxian holds Chenqing out in front of him, defying Lan Wangji's efforts to rein him in.  These things probably fall under the umbrella of the TED talk from the first point, but they're the beating heart of WHY I LOVE THIS STORY.  And they're not even in the novel...!  I thank the CQL team for my life.

6. Also, THE COMB STORY.  I'd never have thought either that 'how do we improve an m/m romance novel?  By adding a het romance subplot, of course,' but the fact is that I love the dimension it adds to both Jiang Cheng's and Wen Qing's stories.  Highlighting their shared loyalty to their clans - except not shared, because they're from different clans! - but their shared *understanding* of what righteousness, justice, etc., is, and the way it leads to their tragedies, and the way it's a counterpoint to Wei Wuxian's and Lan Wangji's different and ultimately shared understanding of 'what is right' and the way *that* brings *them* together is just... so good.  I am getting over it approximately never, and, again, it's show-original.

7. And I think the last big thing - other than, the acting's wonderful, imo, the visuals are great, (even the 'bad' special effects? I like 'em kinda ridiculous?), and when the prose-in-translation of all versions is iffy at best, (not judging MXTX's prose! or the scriptwriters'! but I unfortunately cannot read or understand it) it's REALLY NICE to have other major dimensions of the story that aren't lost or diminished in translation.  Honestly, I am only watching cdramas and not reading cnovels (I only read MDZS so I'd know what's in it) for that reason alone.  But in terms of *story* stuff -

8. I think that censoring wangxian's relationship down to the '(really really loud) subtext' level counterintuitively also makes the rest of the story seem considerably gayer.  If wangxian exists in hints and looks and narrative parallels etc., then likewise, so do the 3zun and Yi City triangles.  Not as much as wangxian, but they're more minor characters, and they're on the same continuum... to the extent that I legit thought that songxiao and xiyao would also be novel canon.  (They are not.)  If Wei Wuxian shocking Lan Wangji by showing him gay porn in the library, and commenting on Lan Wangji's beauty, is because he is actually into guys, then maybe Nie Huaisang lending Wei Wuxian that same porn, and also commenting on Lan Wangji's beauty, means the same thing, if that's all we have to go on. etc.

Nine Things I liked better about the book:

1. There's something about Wei Wuxian's narrative voice, the running commentary that he gives about others and most of all himself that is... funny?  Yes, it is, but that's not the part I love.  It's hard to pin down, but the pattern of the things he judges and the things he doesn't judge at all, even though maybe he should, but he really has so much empathy - in the literal sense, I mean, as well as the magical - is very specific and endearing?  He's exactly like that in the show, too, but we hear much less of it when he's not telling the story.

2. Getting to hear A-Qing in her Empathy fleshes out her cleverness and her bravery, again, in a way that's not easy to replicate seeing it from outside of her head.  (I think we may have more of all of the ducklings/juniors, actually, but I'm just not all that interested in their friendly banter.  Not when there's life-rending trauma in the OG of the same story!)

3. From the chronological start of the story, the Wens' domination and power-hunger is portrayed in a realpolitik way that's both more interesting and fits the rest of the story better, with the Jins later filling that same vacuum, and fearing Wei Wuxian's potential to do the same sort of thing to them, etc., as chronologically following and competing different takes on the struggle for power, without any need for the flat fantasy mcguffins of the Yin Iron or the 'spirit snatch.'

4. Wei Wuxian ~appreciating~ Nie Mingjue's dead body parts is hliarious. I love him hanging out with the corpse girls.  I love the Wens risingout of the blood pool for him ;___;.  Overall his relationship withthe corpses that he magics is such a cool weird fun part of the book,that is missing in the show except his friendship with Wen Ning for'let's make a show about necromancy but pretend it's not' reasons.

5. The fact that Wangxian don't split up and go their own ways at the end of the story, even temporarily!  I could go either way on 'Lan Wangji becomes Chief Cultivator' - I like the way that it moves into 'the future will be better than the past, and we'll work to make it that way', in the same way that 'the kids are alright' does, and the fact that Lan Wangji hates diplomacy and is bad at it can make for good amusing stories!  But I also approve of the fact that the personal win condition for so very many of these characters is to peace right the fuck out of sect politics, (like Mianmian our true hero does <3), and I believe in that as a happy ending.

6. Wei Wuxian's and Lan Wangji's complementary ~ravishment~ kinks.  I don't like the exact way they're written in the novel (and extras), but I *will* take and run with the existence of them, nevertheless.

7. The post-resurrection plot makes, um, sense?  Let's not forget the importance of that!  (But, honestly, 'must a plot make sense'?  It's not all that important to me, lol.)   Going from one place to another to collect the pieces of 'our dead friend's' body rather than seemingly at random makes the journey feel purposeful rather than direction-less, and gives an indication of progress that's not simply 'amount of the story read as per chapter count.'  Though it's still not clear to me why the juniors squad needs to be in Yi City!

8. It has more of Wei Wuxian's inventiveness.  Whether founding the Diabolic Path rather than 'just' inventing some tools and talismans within and also outside of it, or figuring out/explaining how some sort of magic works, whether lecturing to the juniors or working it out for himself, or something like that one night-hunting extra where he's being a supernatural consulting detective... it's fun to see more of his ~mind at work,~ in a way that doesn't fit as well either into an audiovisual medium or under the constraints of 'what is happening? definitely not corpse magic!' that censorship imposes.

9. The structure of revealing what happened in (what I can't help thinking of as) the main portion of the plot - who Wei Wuxian is, what his life story is, and Lan Wangji's part in it - through interleaved and not even necessarily in-order flashbacks is... so interesting?  Unfortunately I can't tell how well it would've worked for me in terms of changing my understandings of characters etc., because I watched the show before I read the book, so I came to it knowing the outlines of the story.  But it's a cool idea, and I wish that I could experience it properly!  (Though I would never have read the book without watching the show first, I would've failed out at the start due to translation issues and then if I'd persisted past that due to all the gay chicken stuff.)

[orihara-infobroker]

Hobbies and Criticism

I sat on this when it happened, and again yesterday but it’s something I do want to speak about because I’ve seen it happen often enough that it merits discussion. There are a few separate elements here and I will try to be cohesive in stringing them together.

It’s long so it’s going under a cut... Sorrynotsorry XD

On Unsolicited Criticism

Fan art and fan fiction are, fundamentally, hobbies. I am not addressing commissions here. I am talking about artists who create their art out of their own desire to make something based on whatever inspired them. Some people love sharing that art with the world. Some people don’t. They are not doing so because they are being paid for their work but because they want to create something out of personal love for it. Those who share it with the world are not obligated to. It is a gift. A gift, by virtue of the internet, that you are not required to accept or like - certainly I don’t like every fanfiction written about my fave pair. In fact I don’t like most of them. It is still a gift, however and the mannerly thing to do when you come across a gift that isn’t to your liking, is to simply pass on it. It’s very easy to do on the internet. Hit the back button. Scroll past it. Block the artist if you find their art repulsive. The fundamental rule of mature fandom behavior on the internet. Curate your own experience.

Further to this, when a person offers up a gift, it isn’t your place to critique them, unsolicited. You aren’t doing anyone a good turn by pointing out where they are fucking up. You may think you are somehow contributing to fandom by “helping” a struggling artist to improve their works by providing unsolicited criticism but you aren’t. In fact, from what I have seen and heard from artists, it’s usually the opposite. Many fan artists aren’t professionals. Some might be, more so I’ve noticed in the graphic art sphere than in the writer sphere, but most aren’t. Many fan artists are beginners. Many fan artists are students of their art. Many are learning as they are doing. Most importantly, many are doing this for fun, as a hobby, and aren’t aiming to become professionals. 

Many fan artists who are either learning as they go or just doing this for fun when they have time are more than aware that they aren’t professionals. They know that they aren’t the best. They usually have an idea of where their weaknesses are. Sharing their art often takes a great deal of courage for them because they know they are offering something up that isn’t perfect but they love it enough to share it in the hopes that other people will love it too. Coming into their space after they’ve shared a work of love and pointing out all the things that are wrong with it is more likely to cause a new writer or artist to recoil and give up than it is to cause them to double down and try to get better. This isn’t theoretical for me. I’ve heard former artists and writers say that they gave up because all they ever heard was how bad they were. Again, not people who wanted to be professionals. People who just wanted to create things for fun. Who had that fun stripped away from them by strangers who thought it acceptable to enter their space and shit on their work.

When a child is learning to do something we do not take the picture they drew of their stick people families and smiley suns and tell them “Honey, the sun doesn’t have a face. People aren’t sticks. That’s not how to draw hair.”

We do not do that because it is not productive. It is hurtful. We know this and yet fans seem to think it’s “helpful” and acceptable to do this to other adults. Assuming the artists are adults, which is a fallacy. Many are teens as well. Under the assumption that adults aren’t going to burst into tears because you pointed out their failings, you shovel your criticisms over them without stopping to consider that maybe, just maybe, they will because they know they aren’t that perfect. They know they can’t draw hands. They know that their grammar isn’t the best. But they’re trying and they’re creating and they just want to share their ideas. They want to share their love with people who love the thing too. 

They didn’t ask for criticism. They provided a gift and had someone take a shit on it. This is not kind and helpful and certainly I would not be inclined to continue to provide gifts to anyone who treated me in such a way. Unsolicited criticism does not improve artists, it drives them away.

On Solicited Criticism and Being Constructive

I’m going to talk from a writer’s perspective here because I am a writer and I don’t entirely understand artists methods because I never took any sort of art classes. I still think the overall theme of this applies to artists as well, especially when discussing the purpose of criticism and the method of delivery.

Many artists and writers do want to improve and would appreciate genuine criticism of their works. This is a double-edged sword, of course because in my experience we aren’t taught how to take criticism as a flaw in our skill without feeling like it is a flaw in ourselves. We associate our worth very strongly with our ability to do things and as such, addressing our flaws can become a very emotional battle.

When an artist solicits for constructive criticism, they aren’t asking you to point out everything that is wrong with their work. That isn’t what criticism in this situation is meant to be. They are asking for explanations on why things don’t work. They are asking for guidance on how to improve. If you cannot provide that kind of feedback, don’t give the criticism in the first place. 

As a writer I do wonder if I am perhaps more attuned to the way words work than the average reader. As such, I try to give people the benefit of the doubt when it comes to word choices and I want to talk about that a bit as it relates to online conversations around criticism. We give tone to certain words. A single word’s meaning might not be negative but how we use it in day-to-day conversation can very much instill a level of emotional subtext to that word that translates into how people write and read that word. 

When giving feedback to a person, it’s easy to make a checklist of all the things they got wrong. In some cases, this can be acceptable, such as with basic grammar mistakes. If you’re asking me to proofread your work for grammar, I’m just going to red pen it and note the corrections in the margins because this is simply the mechanics of writing and I know plenty of native English speakers who don’t understand the full complexities of the language. I speak about English (which is the literal worst language in existence) because it’s my native tongue but this can apply to any language.

However, when you begin to delve into deeper things like characterization, themes, plot and so on, this becomes significantly less straightforward. When you add a writer’s voice (or an artist’s vision) into the mix, it gets very messy.

The one thing that should never change when giving criticism is tone. One should not be cruel or harsh in delivering criticism. One should be kind and understanding. The artist is opening themselves up and asking for help which is difficult enough on its own. The response should be patient and helpful. Take care to choose your words to support and uplift the artist, not to tear them down. For every criticism you offer, you should also try to offer a solution or a guideline for the artist. If the criticism is about how the pacing of the story is too slow, making the story drag, then explain what makes it feel slow and why that is a negative thing. Offer suggestions on what might improve the pacing. 

Ex. I noticed that in this chapter it felt like nothing was really happening to further the plot and that left me feeling bored. Perhaps you could improve the pacing of this chapter by including some reference to how this affects the greater plot? Or add something to the end of the chapter to bring us back around to where the plot is headed?

As many “beta readers” are also not professionals, it’s understandable that maybe you don’t know how to offer constructive criticism. Maybe you just have a feeling that something doesn’t look or read write but you don’t know linguistics well enough to identify the why behind it. That’s ok too, as long as you convey that honestly and kindly.

Ex. When I was reading this part of the chapter it didn’t feel like it flowed very well but I’m not sure why. If you have another editor, maybe ask them for their opinion on it?

Because sometimes when we are reading something our own internal biases will create problems where there are none, or catch problems without knowing why they are problems. This is especially useful if you’re being asked for your opinion on whether or not someone is handling a sensitive topic well (race, sex, sexual orientation etc.). 

When it comes to the writer’s voice, this is where criticism is very difficult. If an author loves their purple prose (overly flowery descriptions of everything) and it bothers you as a reader, you’re probably not their audience and criticizing them for it isn’t actually helpful. It’s fine to ask them if they mean to write in that manner, or ask if it serves a specific purpose to them but if their response is that it is the way they enjoy writing, then it is not a topic that is open for criticism.

Conclusion

Artists - Nay, People grow by learning from their mistakes but they need support in understanding what those mistakes are and how to improve them. They do not grow by constantly being told to “get better”. Respect those who are gifting you with their art. Give them the respect they deserve for being kind and brave enough to post their creations. If they don’t want criticism, respect that boundary. If they do want criticism, give it in a kind and helpful way.

Lastly, and especially because this is what bothered me the most about the incident that caused me to write this:

Artists grow by doing. They cannot get better without doing and making mistakes and doing more and making more mistakes. This is the literal process of learning a skill. Do not ever tell an artist to stop creating because they aren’t good enough. It doesn’t make you ‘helpful’. It makes you a giant fucking douchebag.

[dachi-chan25]

I had books that I either loved or hated so idk maybe I need to do another unhaul to ensure I read books I'll actually enjoy.

1- OtherEarth (Otherworld #2) by Jason Segel

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So this was a big disappointment. It started out fine, but I had this bad feeling about what the twist of this book would be about 50% into it, and then the twist comes and it was just as bad as I feared. Honestly I don't even know if I wanna continue with the last book, I have it but honestly I can't say I am looking forward to it, it wasn't just the plot that fell down but the characters felt pretty inconsistent and yeah not a fan.

2.- Fireborne (The Aurelian Cycle #1) by Rosaria Munda

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The only thing I knew going into this was that it was inspired by Plato's Republic and that it was similar to Game of Thrones, so maybe that is why I found it pretty underwhelming. Like yeah I could see why it was based off the Republic with this system of education (tbh I still found it pretty basic and very much alike to other social systems I've read in other YA books) and there was some intresting tid-bits but not enough to keep me intrested. Now the characters, I liked both individually (unpopular opinion but I liked Annie more, I thought she had real potential but it was wasted because the moment she and Lee have this romance her character completely lost herself on thinking about him and what he did all the time) but I do not think they worked together romantically. There is some potential drama for book 2 but I am not intrested in reading it.

3.- The Mistress (The Original Sinners #4) by Tiffany Reisz

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This book was so good. Yeah it was super predictable, but the drama tho. I really loved Layla, she gave us an outsider's insight on Søren and Nora's relationship, and she is just the sweetest that I instantly knew she and Weasley were gonna get together. I cried at that last confrontation scene with Nora and Marie Laure and I am so happy that Nora is back together with Søren because they are truly a good couple despide everything.

4.-Gods of Jade and Shadow - Silvia Moreno Garcia

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I LOVED it. Ever since I saw the cover I was sold. This book I feel like it was meant for me. Like our protagonist Casiopea Tún is a dark skinned mexican girl of mayan descent in the 1920s who meets one of the lords of Xibalba and goes on a quest to help him retake his throne???? And on the way he falls in love with her so much he is about to forfeit his divinity to have a chance to be with her. I just, it was so beautiful, I felt my culture was really represented here, and it's so wierd to see the 1920's represented in Mexico I don't believe I had read something like this before and I will read anything Silvia Moreno Garcia writes from now on. Hopefully we will have a second book for this because that ending makes me wonder what adventures Casiopea will have.

5.-Little Gods by Meng Jin

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This book blew my mind. The structure is perfect for the themes . Su Lan was a truly fascinating character though I felt very sad about her, always wanting to escape her past and thinking she was so undeserving for anything good in her life and still fighting to go on. The ending was so good, and all the cast of characters made an excellent conection between the past and the future.

6.- As I Lay Dying by William Faulkner

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Yeah I am a pretentious ho. I was very intimidated by this book (and anything written by Faulkner really) and I was really having trouble understanding the book at first because the prose is so particular (there are sentences that read like Shakespeare, some are almost Biblical stuff and then most of the dialogue is this very coloquial english with very poor ortography) and as English is not my first lenguage I struggled. But then we get to Addie's death and all this odyssey the family goes through to bury her, and it was so beautiful and exciting. I especially loved everything about Addie's chapter, she was so much better than her husband and she deserved better than what she got. I really liked Dewey Dell and Darl. While I hated Anse Bundren with a passion so the end really made me angry like waaaaat this selfish asshole gets everything he wanted and then some??? But I got why it made sense for the book. So I definitely recommend this, but my advice is to let yourself glide through the book, do not try to understand or make sense of it as you start it because then you become frustrated like it happened to me at first but it's a really beautiful book so I am really considering reading more Faulkner.

7.-Chosen (Slayer #2) by Kiersten White

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I enjoyed this book so much. It's a very easy read and we get some growth on Nina and Artemis. I liked the idea of the Watcher's Castle being a refuge for inofenssive demons. And omgggg I fangirled SO hard when Oz, Harmony and Clem appeared (my fave characters, like literally I only need a Spike cameo in these books to be completely happy). I really wanna see Nina meet Buffy in real life and ahhh I am excited for whatever the next book will bring us.

8.-Out of Salem by Hal Schrieve

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This is perharps my favorite book I read this month. It felt so relevant to things that are happening in the world, but escapist enough to bear it. For starters I love a good urban fantasy setting, and this was it. Z was a great non-binary protagonist (the fact the author is also non-binary also helps) like it was pretty original to make them a zombie when necromancy is viewed as wrong in their society and they get discriminated for it even though they knew nothing about how it happened to them. And their friendship with Aysel (lesbian muslim werewolf girl!!!) and Tommy (shapeshifter boy) was amazing. Like the way this book translates real life bigotry and social injustice to this magical creatures was truly amazing I recommend it to everyone of any age. Especially middle graders as this book is meant for that age group and I feel this is an amazing diverse read for that age group.

9.-El murmullo de las abejas de Sofia Segovia

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Realmente este libro es precioso, soy una super fan del realismo mágico y este libro realmente me toco el corazón. Aunque he de admitir que entre a este libro sin saber nada, y bueno que este libro pega diferente en el 2020, yo no tenía ni idea que este libro nos presentaba la Pandemia de Influenza Española de 1918, y bueno es bastante triste leer todo lo que paso cuando nosotros estamos pasando épocas muy similares. Simonopio es un personaje divino, poseedor de una sensibilidad y una inocencia verdaderamente fuera de esta mundo, y la forma en que la familia Morales lo adopta y lo abraza tan profundamente dentro de la familia es realmente hermosa. Fue muy difícil leer acerca de Anselmo Espiricueta porque puedo ver de donde venía todo ese odio y esa ignorancia que terminaron en tragedia y no puedo dejar de sentir lastima por él a pesar de todo el mal que hace durante el libro. Recomiendo mucho esta lectura.

10.-Riot Baby by Tochi Onyebuchi

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A book so relevant in our current times. So powerful and impactful even if the book is pretty short. We get to see how the systematic racisim at work. We get to get a glimpse of this awful reality through Kev and Ella, two gifted siblings that have lived this experiences in different ways and they cope with this in vastly different ways.It was such an intimate read I cannot begin to describe how angry and sad it made me, but also very glad I got to read it because we need to keep being aware that this is the reality for black people all around the world and they don't get to shy away from it so we shouldn't either we should see, learn and fight as hard as we can to change things for the better.

11.-Brave New World by Aldous Huxley

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I re-read this book to have it fresh in my mind before the new series airs on July. And I liked it better now than the 1st time. This world is so scary because I see so many realistic elements it shares with the present. I felt a lot for Lenina (for everyone who lives in this world really) because she wanted more than what the society had to offer yet was so deeply conditioned as to what was right that she could just supress her emotions with soma. This book is of course full of racist and sexist stuff (cuz woman and indigenous people can never win) but I feel it helps to get a feel about how fucked up society is as a whole. In the reservation woman are subjected to the usual slut shaming and gender roles we get in our society while in London we get a world in which woman are judged for not sleeping around and being happy and infantile. Like it seems controling woman and their relationship to intimacy and sex is always a bit theme is classic dystopic books which makes a lot of sense given it works like that in the real world too. Same thing with indigenous people being treated as savage to congratula te ourselves for being so much more "civilized" never stopping to think how deeply fractured and flawed this may be. We also get explotation and brain washing of working classes and all that fun stuff. Really and amazing book eerily accurate tho.

12.-Brick Lane by Monica Ali.

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This is the story of 2 very different Bangladeshi sisters with very different temperaments making their way through life. Nazneen is a very dutiful daughter that marries the man her father picked for her, moves to London, though her husband doesn't make her happy she tries very hard in this foreign country with so many desires of her own she wishes that she always supresses because of her upbringing. Then we have Hesina, she was always beautiful and runs away with a guy she was in love with, later he abandons her and she gets jobs and loses them because different man keep making her fall for them to abandon them later. Different as they are this 2 Sisters keep relying in each other through letters. I thought it was very moving, and I really liked the ending for Nazneen while Hasina left me feeling worried and unhappy.

13.- Gideon the Ninth by Tamsyn Muir

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I was very hyped for this book and I am so sad I didn't like it. I just didn't feel the world building was cohesive (we have space travel but we don't have baths??? And rapiers as weapons??? Most of it felt like aesthetic decisions) the characters felt very one dimensional to me. And the plot was all over the place, just when I thought I knew what it was about it takes another turn and introduces so many generes but it did not feel natural at all so yeah I will not be reading the next one.

14.- Luces de Bohemia de Ramón Maria del Valle Inclan

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Me pareció una obra maravillosa. Definitivamente captura el espíritu creativo bohemio.

15 .- Don Juan Tenorio de José Zorrilla

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Yo adoro el Tenorio, sin embargo si que he de decir que prefiero la versión del Burlador de Sevilla de Tirso de Molina pues siento que el final es más adecuado. Me parece que aunque la prosa es hermosa Doña Ines pierde mucha agencia en esta versión, me recuerda mucho más a Angelina de la obra "El Honor del Brigadier" que la versión que hizo de ella Tirso de Molina, definitivamente se romántiza mucho más está figura de seductor canalla en esta versión, aun así es una historia arraigada en México, es una tradición para mi verla cada Noviembre, este año me temo que no será posible así que disfrute muchísimo leerla.

[whentherewerebicycles]

god ok I did not finish the cover letter I just spent this whole travel day drafting yet another fucking version of it. I do not understand the one-page non-academic cover letter as a genre!!!!! I do not know how to write it!!!!! I have written one million shitty versions of it and then abandoned them all in despair bc they’re all too long and I don’t know what I’m doing!!!!! I don’t understand how you could possibly say anything worth saying in this stupid genre!!!!

.

I think the underlying issue, or one of them, is that I’m insecure and confused about if/how my academic experiences translate to these higher ed admin jobs. I feel really dumb because I don’t understand what they will find interesting or unique, and I can’t tell if I’m aiming way above my station in an embarrassing way, like they’ll be reading the letter and going “oh.. lmao she really thought...”

.

the other frustrating thing is that EVERYONE has a goddamn opinion about what the cover letter should look like, and if you average all those opinions together you basically end up with the blandest imaginable cardboard prose. my instinct in these situations is always to just fully disregard other people’s advice and write the thing that feels truest for me, which has generally worked well for me (probably bc people are relieved to read something that isn’t the essay equivalent of tapioca pudding). but here I feel like I’m holding back from doing that bc I don’t understand the Rules of applying for jobs outside my field and so I’m not sure I can trust my own judgment. THOSE ARE MY FEELINGS.

.

anyway I literally cannot spend any more time on this because I still have to write five letters of rec tomorrow, read all of Brighton Rock, lesson plan for two classes, and map out the whole rest of the semester!!!! but I also can’t NOT spend more time on it because I am about six weeks away from unemployment!!!!!! I literally! hate this! process!!!

.

ok but I did finish my resume I think, I just have to proofread it and trim it down a bit. I’m calling it for the night and am gonna read fic forever, byeeee.

[sovinly]

Thoughts on icelandic sagas, norse myths, or a mythology tradition of your choice?

Oh man, here we go, thank you friend. This got super out of hand, so I only did the first two and I am so sorry this got so long.

So, Icelandic Sagas: a+ reading material and super fascinating historically! There are a bunch of categories that I won’t go into, but here’s the thing: the Icelandic sagas are simultaneously super interesting in that they’re vernacular literature (that is, Not Written in Latin, the language of the Learned Men of the Continent, which is unique and slightly more accessible to the people (though they still had to be dudes who could read, so that is very slightly but still Notable)) and yet many of them are also trying to appease the standards of continental thinking (Hello, Snorri’s desperate attempts to make native myths palatable to more Classical tastes and apparently the gods are just from Troy now). There’re lots of elements of oral poetry, especially in the earlier stuff, and it is academically VERY EXCITING. Especially because of what’s been preserved.

Also interesting is the amount of meta-commentary in some of the sagas, and not just in an adding-historical-details sense: there’s a vested interest in explaining the value, purpose, and relevance of the sagas and especially the sagas in the vernacular. BUT ALSO I am just really into the sheer breadth of material there is - fictionalized account of the settling of Iceland, recountings of myths, ALL THE CONTEMPORARY POLITICAL DRAMA, LEGAL DRAMAS, historical accounts, retellings of French and English romances! There’s a lot and it’s really neat. I have a master’s degree in the subject and could yell for hours, but will sum it up with: VERY FASCINATING FIELD, STORIES WORTH READING.

“But Sovin!” you say, “Where the fuck do I even start?”

Good question, friend, let me offer you some recs under the cut because everything is out of hand!

Völsunga saga: The saga of the Völsungs! One of my all-time favorites. The same story cycle as the Nibelungenleid, but infinitely preferable. It’s a fun mythic romp rife with heroism, disaster, impossible choices, and drama, including: The Worst Hero Test Ever, Poisons: Internal and External Applications, Dragon-Slaying and Cursed Items, Long Term Revenge Plots, Very Literal Interpretations of Blessings, and So Many Schemes Gone Horribly Wrong! Content warnings for incest, so many murdered kids, dead kid cannibalism, general murder, and some misogynistic BS. There’s an audiobook version for free, too!

Looking for something shorter? Try Hrafnkels saga Freysgoða, the tale of a real fuckin’ dick chieftain in the 10th century, featuring legal disputes + drama, revenge, indications of cultural changes, power struggles, a horse, and, of course, murder. Content warnings for murder and mutilation.

For a basic (but biased) intro to the Norse myths, give Snorri Sturluson’s Gylfaginning a try. It’s a rough introduction to the mythic cosmology in a knowledge contest frame story, with some bits of the Völuspá (the best-known of the Poetic Edda poems, a convoluted but fascinating read) for poetic flavor. Just don’t take Snorri too seriously, he has an agenda, after all. They’re myths, there’s some fucked up shit, but I think this evades anything too graphic.

There are many more sagas, of course, and I’ve left out some of the “key” (aka most popular) Icelandic sagas, mostly Brennu-Njáls saga (Burnt Njál’s saga), Egils saga Skallagrímssonar (Egil's Saga), and Grettis saga(Grettir's Saga), all of which deal with social issues in early Iceland, feuds, and dudes who just cannot fucking calm down and live within societal boundaries. They’re good, but very dense and not as reader friendly.

SO, MOVING ON, NORSE MYTHS:

Oh fucking man do I have many feelings on the subject. And the way they’re interpreted casually, yikes.

Which I kind of hate saying, because myths are supposed to be fun, and I am all for interpretations, but a lot of derived material just makes me sad.

A lot of what we have to base our understanding of Norse myth on is, well... Snorri. Snorri Sturluson, a 13th century Icelandic Commonwealth aristocrat. And there’s some really interesting stuff in the material we have, and not all of it from Snorri! But our understanding of pre-Christian Norse myth is very biased, late, and relatively spotty.

I love the myths, I really do, there’s some good fucking shit there! I wish I had a good compendium to recommend, because they’re a blast. It’s hard not to enjoy all the inventive, petty, witty myths: a lot of them involve trickery and riddles and People with Opinions. It’s really fun to sink your teeth into a story and wonder “oh shit! How is this gonna resolve?!” And, as with the rest of the Icelandic sagas above, some of the prose and literary devices will just blow you away, though translations can be a bit stilted. (Y’know what are great? Kennings. Kennings are great, and there’s an online database for them, which makes me happy.)

Uuuuuunfortunately, the myths’re very poorly understood and often miscontextualized. It’s like talking to a bunch of people who think Disney’s Hercules is a complete and accurate understanding of Greek myth. Yeah.

Like, I want people to have fun, fun is good! Marvel’s interpretation can stay the hell away from me, but it’s kind of its own thing, so I can just plug my ears and pretend it doesn’t exist. But, oof, there’s so little nuance to so many interpretations.

Myths are kind of... inherently political. The Vanir hostages (Njörðr, Freyr, and Freyja) may be earlier deities incorporated into the Æsir tradition as it developed, but they’re clearly marked as outsiders for a reason! They act like outsiders! (With the possible exception of Freyr, who’s the only one of the three to not survive Ragnarök, which, like, OH MAN AM I INTERESTED IN THIS, Y’ALL.) The jötnar (not giants in the way we’d think of them, actually) are also liminal outsider figures, which is why Loki and Skaði get such weird roles too. Myths are about liminality and about society: people get to be marked and unmarked for a reason.

If we recontextualize things, I think we need to do it intentionally. There’s a difference between recognizing and exploring why Loki and Freyja (and Freyr really should be here but I guess no one loves him?) resonate so much with queer people ((suck my dick, Respected Norse Folklore Scholar *double middle fingers*)) and projecting our social mores and restrictions onto myths without considering the implications. It’s so easy to be reductionist (Loki is a Disaster Gay/Trans Woobie and Freyja is a Delicate Helpless Flower Who Can’t Do Shit for Herself/Hot to Trot Warrior Badass who Eschews Girly Shit(?????)) and gloss over that.

Which is fine, I guess, people are having fun and it’s not like it’s hurting the pre-Christian Norse community. But then you’re pretty much playing with original characters and it’s okay to acknowledge that, instead of pretending it’s the Hottest New Take on the material. I’m not always a fan of the same displacements on Greek deities, but it feels a little different to me, given their cultural/mythic dominance and the way they’ve been used in Western society to manipulate and reinforce social norms to a greater degree? Also people generally seem to understand that there’s a... separation there from the core material that I often see missing from discussions of Norse myth.

I definitely am not going to rain on anyone’s parade, but it’s hard not to sit there looking directly into the camera when I see some of this shit.

Anyway, Norse myths are great and I think are full of fascinating suggestions as to a variety of social norms and structures, as well as the liminal and outlying cultural spaces that we can explore!

On a last note: Freyja and Oðinn are both psychopomps for the warrior dead. Oðinn’s hall is Vallhalla (Valhöll) and Freyja’s is Fólkvangr. Freyja gets first pick, motherfuckers, and I love her.

[pens-and-parchment]

Hello fellow bookworms! I saw a few different bloggers/bookstagrammers (most recently, Cait @ Paper Fury) do this tag and it seemed like a ton of fun. Given that I haven’t done a tag in a loooong time, I figured this was perfect to get back in the game!

Three Favorite Authors

LEIGH BARDUGO – (as if y’all didn’t see this coming from ten miles away) Leigh is my Queen. She writes character development like no one else I know. I worship her and very much wish that I was her. Enough said, honestly.

RICK RIORDAN – This one might actually be more of a surprise, since I never really talk about Percy Jackson in my posts. But PJO is arguably the series that changed my life the most, and given how Rick manages to use his privilege as an accomplished white dude to write very diverse casts and stand up for marginalized representation, I basically will stan him for the rest of my life.

LAINI TAYLOR – This one was a tough slot to fill, since Rick and Leigh have always been my go-to favorites. But when I think of stunning writing, I think of Laini. I’ve read her DoSaB trilogy and Strange the Dreamer, and with every book she publishes Laini only seems to get better and better. Her prose are lyrical and luscious, if I’m ever able to write half as well as her I’ll consider myself to be a pro.

Three Weirdest Things I’ve Used as a Bookmark

Truthfully, I’m a really boring bookworm that actually just uses normal bookmarks most of the time. But here’s a few random things I’m pretty sure I’ve attempted to use as a bookmark before:

RECEIPTS – Everyone has done this at some point so it’s not really that weird, but I seem to lose my bookmarks a lot and receipts are everywhere in my house, so they end up taking a spot in my book all the time.

A HAIR TIE – My room has approximately 83 billion elastic hair ties sprawled all over because I notoriously wear one and then lose it, so in moments of both desperation and laziness I’ve used these as bookmarks.\

MY CAT’S TAIL – Saving the weirdest for last, I’ve attempted to use my cat’s tail as a bookmark more than once! She’s always laying next to me on my bed while I read, so when I have to get up for a short period I’ve kinda just sneakily slid her tail in between the pages. Sometimes she wakes up and gets mad, sometimes if I return fast enough it actually works! Such is the problem with using an animal for a bookmark.

Three Books Binged

We all know I’m a notoriously slow reader, so there aren’t too many books out there that I’ve managed to binge read in one go. But I managed to think of a few!

TO ALL THE BOYS I’VE LOVED BEFORE – I remember randomly picking this book up one night and not finishing it until 3 am that same day (well, technically the next day, but you get what I mean). I just couldn’t stop reading until I saw what would happen between Lara Jean and Peter K!

SHATTER ME – I’m kind of cheating with this because I think it actually took me two days, but I read this dystopia on my Nook over vacation and remember blazing my way through it!

SIMON VS THE HOMO SAPIENS AGENDA – Another contemporary that I read in just over 24 hours, also on my Nook. Becky’s writing is so funny and relatable that I’m pretty sure my eyes were glued to the screen until the very last sentence.

Three Characters I Love

KAZ BREKKER – Another answer you definitely should’ve seen coming. Kaz is my favorite character of all-time, I always joke that if I had had a terrible childhood, me and Kaz would be identical. Other than his crappy past, we basically are already.

AIDAN – AIDAN’s chapters in Illuminae are, in my humble opinion, the best written, most creative pages in a book that I’ve literally ever read. Jay and Amie are fricking geniuses. AIDAN is such a morally complex and dichotomous character, his internal dialogue definitely qualifies as poetry.

ENNE SALTA – If you guys haven’t read Ace of Shades yet, I have to kindly ask you to drop literally every single thing you are doing, run to your local library or bookstore, and grab this gorgeous book. Enne is feminine, logical, tough, sexy, and insecure all at the same time. I think she’s the perfect example of a real teenage girl that finds herself neck-deep in a ton of trouble.

Three Unpopular Bookish Opinions

Oof, buckle up kids.

MOVIE/TV ADAPTATIONS SUCK – Okay I know that not all adaptations suck, but I personally get sick to my stomach when news comes out that my favorite stories are being translated for the big screen. I actually wrote a whole blog post on it a while back, but it basically boils down to the fact that the Percy Jackson movie gave me deep-rooted trust issues for the rest of my life.

TROPES ARE ACTUALLY PRETTY FUN – While it does admittedly depend on the trope, I find that most of them don’t bother me. Fake dating? Give it to meeee. Dark, swoony guy with a tragic backstory? As long as he isn’t problematic, I’ll probably fall in love. Competition to the death? Hasn’t gotten boring yet.

OLD BOOKS SMELL TERRIBLE – New books smell fricken amazing. The crisp pages, freshly printed ink, I could smell it for days. Old books, however, smell musty and make my nose itch and remind me of old people.

Three Favorite Book Covers

AGFKAOSUFBDOOAUDF THIS WAS HARD SO I CHOSE A BUNCH OOPS

Let Shadow & Bone represent all Grisha covers because they’re the best and I’m clearly an original person

I didn’t really like Onyx & Ivory or The Hazel Wood but both of them have gorgeous covers so I guess they deserve appreciation

I’m pretty sure every human under the sun chose Caraval for this question because honestly how could you not

All the Nyxia covers together are so spacey and colorful and you all NEED TO READ THIS SERIES

I hope you guys enjoyed the tag, now tell me what books or authors you would choose for each question! And what’s an unpopular bookish opinion of yours?

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  What are your top three favorite authors? Three unpopular bookish opinions? Check out my new post, where I talk about a bunch of fun things in groups of three! Hello fellow bookworms! I saw a few different bloggers/bookstagrammers (most recently, Cait @ Paper Fury) do this tag and it seemed like a ton of fun.

[phoenixagent003]

In Defense of Fanfiction

So, fairly recently (at time of writing), a fellow writer decided to disparage authors who cut their teeth writing fanfiction which, in their words “actively teaches you to write worse.”

Now, as someone who did cut their teeth writing fanfiction, my gut instinct to seeing this tweet was to angrily quote tweet it with the reply “Oh fuck off.” But that much as a I wanted to do that, I didn’t for several reasons. For one, I just generally try to be restrained and selective for who I get that angry and confrontational with online, reserving it mostly for politicians, celebrities, and DC’s Titans. Entities at once morally bankrupt, and largely immune to any kind of damage that I personally can inflict due to an absence of actual humanity.

And that all being said, this person was… well a person. A person with a narrow-minded and incorrect opinion, but still a person. And a fellow writer. So then I thought about refuting their bad-take, but that felt too much like swooping in to mansplain writing to someone who by all accounts seems to have been doing it at least as long as I have, and who’s been considerably more professionally successful at it.

Plus, like I said, I got my start in fanfiction. My origins are quite literally being targeted and attacked here. And feeling targeted can make people say and do some really stupid stuff if they don’t stop and think beforehand.

Basically, I didn’t want to start a Twitter beef over this because quite frankly the internet would be a happier place if we all just did that less, but I still saw a lot of bad arguments and missed points, so I couldn’t just say nothing. And so here we are, at a compromise between Twitter arguing and saying nothing—blogging about it.

The writer in question turned her single tweet into an entire thread that brought up a lot of very different, very unrelated issues, some of which I want to touch on as well, but before I do any of that, I want to answer the central argument, taking it as much as I can on face value and inferring as little else as possible: that fanfiction “actively teaches you to write worse.”

Does it?

Twitter is a terrible medium for communication. It rewards broad, inflammatory statements and its character limit leaves little room for nuance. Some people attempt brute-force circumventions of that limit, but most don’t, and the site isn’t suited to it. So it is unsurprisingly difficult to parse out exactly what they meant, but I can take a stab at it by covering as many bases as I could think of.

Does the medium of fanfiction inherently teach poor writing fundamentals, like prose, plot structure, or character development?

No. Writing, like most skills, is honed by practice. Every time you think about the best word to put on a page or the best way to structure a sentence or story, you are getting better at writing. You start a sentence, and think to yourself, “Hang on, there’s gotta be a better way to word that.” And that moment, where you reflect on your craft and look for ways and spots to improve it—that is you learning. Developing. Maybe you think of a way to word that sentence better, maybe you don’t. But the act of thinking, of searching, of even just acknowledging that it could be better is still work towards improvement. Doesn’t matter if it’s dialogue written for Harry Potter or for your original character, do not steal.

90% of fanfiction is crap. But 90% of everything is crap. Fanfiction is perhaps more famous for being mostly crap, but it’s really not hard to understand why. First off, the only barrier to entry for writing is basic literacy. If you can read this sentence, you can try your hand at writing. The difference between fanfiction and say, traditionally published works, is that fanfiction kind of keeps that low barrier to entry, whereas to get traditionally published you typically have to impress at least two other people—your agent, and then the editor you agent sends your shit to. And even then, that’s not a insurmountable barrier to entry. A metric butt-ton of people do it all the time.

In short, with fanfiction, the “slush pile” is open and visible, whereas with most other stuff, the only people who have to read that garbage are agents and editors, God have mercy on their souls. But rest assured, there is just as much shitty original fiction as there is shitty fanfiction.

In addition to the low barrier to entry, fanfiction is where a lot of people first dip their toe into this gig. And unless you are an unparalleled prodigy, when you’re new at something, you are bad at something. Which is fine. Doing something poorly is the first step to doing something competently. Practice is practice.

Now, you can practice something incorrectly and do yourself wrong—anybody who knows about proper weight lifting form can tell you that. But for the most part, a writer working on fanfiction is no more likely to do this than someone writing anything else.

The two exceptions I can think of are character and worldbuilding. Somewhat unique to fanfiction (we’ll talk about that in a minute) versus original fiction is that in fanfic, the characters and world are already established. Depending on the kind of fic you write, you may very well not get practice or experience making characters or worlds, since you’re using someone else’s work to basically cover that for you. So, sometimes, in this one specific area, fanfiction does feature something of a crutch that could theoretically lead to deficiencies in a writer’s fundamentals.

That said, that is very much dependent on the type of fanfic. Some works feature entirely original casts, telling a new story with new characters in an established setting. And even in fics which predominantly focus on the established cast, fanfic writers are downright notorious for adding new, original characters into the mix. Most of them are… awful. But we already covered why that is. Remember, bad writing is not the same thing as bad practice.

Ditto worldbuilding, where we’ve got plenty of fanfics that outright replace the world of the established story. The Alternate Universe concept is a very popular one in fanfic.

I will say in a closing than with worldbuilding and character, fanfiction does typically replace only one of these while keeping the other. Mainly because if you changed both, you’re liable to have left the realm of fanfiction altogether.

Does fanfiction, by its nature, leave you unprepared for making the transition to the professional writing world?

Let’s pretend for a moment that we didn’t just shoot down the idea that writing fanfiction means you never honed your ability to create your own original world and characters. That’s nonsense, but let’s say for purely hypothetical arguments sake, that if you start out writing fanfiction, your character-creating muscles will atrophy and you’ll only be able to work with pre-existing concepts, worlds, and characters. Does fanfiction leave you unprepared for making it in the world of professional writing?

For your consideration, I present: the very concept of episodic television. TV shows regularly bring on writers who did not originate either the show or its characters. TV writers craft stories borrowing a world and characters that somebody else came up with. The only difference between them is fanfiction is they got paid and get to be stamped as canon. Same muscles getting used. Same kind of exercise.

The spec script, the method by which most people showcase their ability to write for TV, is literally just fanfiction.

Then we have adaptations and retelling of both licensed and public domain properties, where once again, we have scores of writers, taking characters and concepts that they did not come up with, and using them to tell their own stories, or even just put different spins on the originals. What if Hades and Persephone, but without the whole “against her will” thing? Hey Marvel, can I use your Norse god character to tell a story about how societies built on the back of colonialism are inherently flawed and shouldn’t be preserved at the expense of the people?

The skillset of playing with other people’s toys to make something compelling is an incredibly valuable one for a writer to have. If anything, I’d argue that fanfiction is even better suited to teaching this skillset than writing original fiction.

And as a quick aside, that practice of playing with other people’s characters and constantly asking “Is this in character for them?” is a very useful practice that actually translates very well to writing your own characters. When you invented a character, it can be tempting to declare anything you write “in-character” since, well, you wrote it, and they’re your creation. But that thinking can easily lead to disjointed characterization.

I routinely ask “is this in-character?” while writing for characters I created. It makes me a better writer, and I learned how to ask that question and how to identify the answer from writing fanfiction.

Does fanfiction distort your sense of good taste?

This is the closest I could possibly come to agreeing with the original argument. The last time I was actively involved in it, the fanfiction community had pretty low standards, actually? I say this, because when I was writing fics, I was actually heaped with praise and attention, almost all of which was near universally good.

But I was not good. I was bad. I was very bad. Because I was in junior high, and an idiot, and those fics were the first thing I ever wrote that was longer than seven pages. But I updated my fics daily over the summer, in a very popular fandom that predominantly targeted people my age. So I got lots of fans and praise, and I started to think I was a good writer. Even worse than that, other people thought I was a good writer, and told even more people that I was.

Which is an affront to good taste.

That having been said, even though I do hold fandom and its nature partially to blame for the single most humbling aspect of my entire life, I also just hold adolescence in general to blame? Maybe? I like to think that much as I grew beyond my poor grasp of my own woeful incompetence, so too did my audience grow up and get a better understanding of what actually good writing is.

But then again, EL James and Reki Kawahara have made more money than I’ve ever seen in my life. So maybe neither fanfic nor adolescence is to blame. Maybe sometimes trash just sells.

As an aside, I hope this doesn’t come off as me trying to be mean or make fun of all those people who liked my old stuff. I know I’m embarrassed by it, and the only reason I haven’t deleted it all is because I need an ego check every now and again (and they’re also how I met my wife). But whether you also did a 180 on my old stuff as you got older or you still unironically think it’s good… thank you for the support. You are my humble beginnings and I would not be the person I am today without all of you.

…and that’s enough getting sentimental and making this about me, let’s go back to debunking opinions that are objectively wrong because I disagree with them.

The Other Stuff

I feel I’ve thoroughly said my peace on the original argument put out by my colleague. Namely, that they are wrong. But I’d also like to very quickly address the everything else they spewed out. My takes on this are considerably less long winded and probably could have been sanded down to a Twitter reply, but I still figure their inbox is getting enough shit already, and I want to make this more about the arguments than the person.

I’m not going to cover everything in detail, especially since I am super not qualified to speak on some of them—there is only so much I as a cishet dude feel comfortable giving my opinion on—but I will cover the bits that stood out and ground my gears.

EL James and Cassandra Clare are “fucking terrible”

No disputing the EL James part. Her character work is atrocious, her understanding of actual kink and BDSM dynamics and lifestyles is woeful, her plot bears clear evidence of serialized work that was not properly cleaned up prior to publication.

I haven’t read Cassandra Clare’s work. I have heard both good and bad things about it, but let’s say for argument’s sake she’s also not great.

This comment shows a distinct lack of knowledge of just how many authors, many critically acclaimed, write fanfiction on the side or got their start in it. Neil Gaiman writes fanfiction—and usually manages to get paid for it. I could go on with a long and yet still non-exhaustive list of authors who have done or still do it. Bottom line, there are some very high profile, not good writers whose start in fanfiction has been effectively weaponized against them to further underline their badness—“Of course EL James is bad. What did you expect from someone who started in fanfiction—while simultaneously many good writers have their connections to it downplayed by either choice or their own profile.

“Low effort formulaic lowest-common-denominator writing is bad actually”?

I almost brought this into main discussion, but I said I would infer as little as possible and on its own, this tweet didn’t directly say it was talking about fanfiction. I would argue it heavily implied it, and I very much doubt the author of the tweet would disagree with me, but I made the no inferring rule and I stuck to it.

I’m actually still going to take this argument on its own for a moment. I’ve already covered how and why fanfiction is generally seen as bad—low barrier to entry and the bad stuff is as easy to find as the good stuff—so I want to talk about something else. “Low effort writing is bad. No real arguments. I could jokingly say Neil Gaiman could drunkenly scribble something on a napkin that would outclass my best efforts, but I actually don’t have that low an opinion of myself.

Lowest-common-denominator writing is probably bad. In general, I think trying to appeal to the lowest common denominator is a good way to make uninspired trash, but on the other hand…fuck it, I’m liable to be included in that lowest common denominator most of the time. That’s the whole goddamn point of the LCD. It casts a broad net. And there’s a place for that. I don’t think it should be a big place, but still a place.

“Formulaic writing is bad” though? That I also just straight up disagree with. Formulas are a tool. And like every tool, they can be used really well, or really poorly. Used well, a formula can provide a solid structure around which to build interesting stories or ground the audience in otherwise unfamiliar settings. Don’t call a hammer a bad tool just because you’re hitting the nail wrong.

Several arguments discussing fanfictions relationship to queer and female audiences/writers/identities:

Nope, not touching that.

Oh fuck off.

Fanfiction isn’t collaborative or about community because “it's all corporate IP” and “Ultimately, someone else legally owns it, and you are choosing to give a corporate entity your creative energy.”

And this is actually something that’s been bugging me a while, specifically regarding the relationship people have with corporately owned IP and how it being owned by a corporation doesn’t automatically invalidate it as a source of emotional investment or cultural symbolism. But quite honestly, that really deserves its own post, so I’m just going to put a pin in this that and say we’re done here.

Glad I got all that off my chest.

So that was a thing. If you’ve got your own experiences with fanfic, good or bad, I’d love to hear them in the comments or over on Twitter.

If your curious about my history in fanfiction, like I said, it is all still technically out there, and very bad, but I’m not so much of a masochist that I’d link it here. I wouldn’t read it if I were you.

I write newer, much better stuff now. Some of it is here on this website, and some of it is in a novel coming out Fall 2021! Check that out instead! I promise it’s a much better use of your time.