#the amount of comparison I do with other writers is bad

[alexanderwales]

Save the Cat!: the short review

I liveblogged this book (anything tagged #save the cat on this blog), but this is the actual review of it.

Save the Cat! by Blake Snyder is a book about screenwriting, and it's very specifically about screenwriting spec scripts in order to get huge sales for movies. Blake Snyder worked mostly with family films, PG affairs, and sold a pretty large number of scripts, most of them by sticking to a formula. He knew a lot of people in the business, and his ethos seems like it was their ethos (though I should probably read a few other books for comparison before making any sweeping generalizations).

Blake Snyder is a hack screenwriter, but he's a hack's hack, and aside from a few completely unwarranted barbs at films which were more commercially successful and societally important than anything he would ever end up doing with his life (he died in 2009), he seems to understand who and what he was. He's writing screenplays to sell those screenplays for the highest possible dollar amount. He calls his screenplays "product". He cares about good story only in the sense that he wants whatever producer or actor is reading the script to think that it's hot shit.

Some of this is probably an act, Snyder playing up some version of himself like a good writer would. He contradicts himself at certain points, and reveals that he doesn't walk the walk quite so cleanly as the rest of the book would have us believe. He's brash, in a way that I found charming.

He's also irritating, because I fundamentally disagree with this approach to making art, and maybe that would be fine if I could just say "eh, we have very different goals" but he also doesn't seem to understand his own system very well, nor does he seem eager to explore it, and he's constantly just saying stuff without regard to whether or not it's true, or makes sense. I get the feeling that the book was written in a bit of a rush, something to work on while beating out scripts, rather than being a labor of careful love. That it took off was either his marketing talents or just that its paint-by-numbers specifics are really appealing. There are pieces that I would have pegged as being written by GPT if the book didn't predate LLMs by a wide margin, especially some examples that make no damned sense and his rambling-but-formulaic way of imparting lessons.

A lot of the examples are also kind of eye-rolling, but I cut him a little slack, because it's hard to write about writing, and giving examples of tricks you use is one of the hardest parts. You kind of need the reader to have read/seen the thing in its entirety, because if you give the brief version, with no investment or background, it just seems lame. Some of this is also Snyder, who worked mostly in 90s PG family movies: those examples are always going to be a bit cringe.

This book is the #1 book in Amazon for screenwriting, and so far as I can tell, has been the top book for screenwriting since it came out twenty years ago. It's a bestseller. As a writer, I think it's kind of crap, both because it pushes formula and because I think that it's not likely to result in very good scripts. I think you can tell a good story using this formula, but once you've mastered the formula and understand how all the pieces are supposed to move together along with the principles of storytelling, you won't need the formula. The book also does a bad job on principles of storytelling, at least in my opinion, dancing around them rather than laying them out in a clear and concise way, and especially in the middle it's poorly structured, which is somewhat ironic given how much Snyder seems to lean on structure.

I have never written a screenplay, much less sold one. Going into 2024, I told myself that this would be the year to give it a go, and I've been writing a comic, which is much closer to screenwriting than prose fiction. Maybe 2025 is going to be my year to actually sit down and hammer out a screenplay, but I can't say that I expect to take too much from this book.

[milliesfishes]

for the first time in a long while I'm feeling good about my writing :)

[theesteppenwolf]

Ok y’all imma need you to listen to me on this and not take me the wrong way, i am just venting yet again. I need to get shit out of my system and yapping with others is the way i do it.

I love neve, she’s such a dope character, adore her to bits. Don’t be weird about her.

But every time i see scenes and lines of dialogue that Lucanis/ Neve get that 100% should’ve been there for Rook too i get pissed off. I can’t help it.

To be entirely clear on this, it’s not that i have a problem at all with them getting together if neither aren’t romanced it’s that the writing for their relationship highlights the glaring oversight Lucanis/Rook get.

Even the banter around them has more depth than what rook gets. His lock in scene is just a refurbished Neve one, one that’s again, more fulfilling if Neve is the one he romances. It’s just insane to me that someone looked at this and said “yeah players won’t have a problem with this”.

I am not one of those people that thinks Lucanis is just settling for Rook or he cares more about Neve than them, i think that’s too doomery and untrue narratively. But they fucked up the writing for Rookanis so bad that i completely get where that is coming from.

I have a shit ton of hcs to make his whole romance arc better but then i see something from the Neve/Lucanis one and i am reminded that they really didn’t give a shit in the actual game. Again it's the quality and quantity of the writing that i am getting angry at by comparison, not the general concept of them being together. I can't stress that enough.

If Mary Kirby managed to write (or cowrite) the whole thing with Neve and those scenes/dialogue i really don’t understand why Rook barely exists in theirs until the very end of the game.

Ok i am done, vent over. Again please don’t say weird shit about Neve and be hateful. I don’t want another fem character getting an absurd amount of hate for something writers did.

[jouxlskaard]

Strap in, fuckers. This is a long one.

I've seen a lot of discourse and discussion recently about why TMAGP isn't resonating with listeners as much as TMA did, with a lot of people pointing towards the infrequent structure of each episode and the lack of subtlety that TMA had once excelled in. And while both of these are true, I think the main culprit that has caused these problems for listeners is one thing: the pacing.

TMAGP is only going to be 60 (Edit: 90) episodes long, compared with TMA's absolute behemoth of 200. When I'd found out about this, I'd assumed that it meant TMAGP would have a much smaller story - not having to establish as much information as TMA did, and allowing the story to have lower stakes as a result. This certainly wasn't a bad thing, as many sequels that have tried to one-up their predecessors have gone disastrously wrong, but I knew that the structure would be different to TMA as a result.

However, from the 12 episodes that we've seen so far, it appears that TMAGP is going to have similar levels of stakes to TMA - not the same stakes, of course, but they'll likely be on close to equal footing. This means that TMAGP has to establish the same amount of information to listeners with significantly less time to do it in, and the pacing has to speed up to adhere to that. In the first 12 episodes of TMA, we had established one possible recurring statement character (Gerry), a disturbing worm woman (Prentiss), and the fact that Jon doesn't like his assistant and refuses to believe any of the statements. In the first 12 episodes of TMAGP, we've established every important protagonist and what they sound like, two recurring statement characters (Bonzo and Ink5oul) with one that has already physically appeared, much of Sam's backstory and his ties to the Magnus Institute and the fact that something is deeply wrong with their workplace. That is a big difference.

This difference in pacing is what I believe is turning listeners away from what they'd originally enjoyed about TMA, because there's no longer that warm, comforting atmosphere when you listen to it. Its sound isn't designed to come from a tape recorder and a tape recorder only anymore; it's no longer a sit-down and listen to the Archivist tell you spooky stories for 20 minutes anymore; and, like I mentioned earlier, the structure is no longer the same throughout each episode. The horror anthology aspect, whilst still being there, has now taken a back-burner to the metanarrative because so much has to be established in so little time. To many, that's a bad thing. They listened to the original because they liked the statements, and the little things connecting them hinted to a much larger story at play. When this story was revealed, we got to see Jonny Sims and his brilliant prose at its best, because there was no longer anything to hide and the statements were in their purest forms - no longer having to establish information to the audience, and simply basking in the fear.

I'm sure we'll get to see the same thing in TMAGP once the narrative reaches that point, but the current pacing has uprooted a lot of listeners' expectations for the show. I'm going to listen to the entire thing, personally; yeah, it's different, and it doesn't deliver the same vibes and comfort as TMA did, and I probably won't be able to fall asleep whilst relistening to the more obscure episodes like I could before, but in a frankly disturbing way, I'm still fascinated with what Jonny, Alex and the other writers have created. This type of horror is the only kind that I genuinely enjoy, and I'm excited to see what direction Protocol goes in.

Edit: I feel like I should clarify that I don't see this comparison as something that takes away from TMAGP. Alex has said that it's going to be different from the get-go, and I do think that comparing it to TMA is an exercise in futility to an extent. I just wanted to talk about the shows together because I feel like they complement one another, and the narrative beats that I've talked about are less to do with TMA on its own and more to do with general narrative structure. We have buildup, payoff and pacing no matter what show it is, because that's what makes a story. I think TMAGP could be taken a little bit like Deltarune in terms of its relation to the original source material: separate entities with some overlap in character and themes. At the end of the day, it's still early days for the show and this entire spiel could just end up gathering dust - I just think it's a cool thing to think about, and it gives me an excuse to infodump about how pacing can affect a narrative and the audience's response to it.

I wrote this while my cat was laying on me. Have a picture as a reward for reading this whole thing.

[do-you-ship-this-comic-ship]

propaganda:

This is for all of my fellow Two-Face and Gilda lovers out there! Personally I think that BruHarvey as a ship is underrated because of how much more popular other Rogues are (especially the Joker and the Riddler), and the prominence of ships between Bruce and various members of the Justice League (and of course the various comp het ships DC keeps trying to force Bruce into).

In comparison Harvey just doesn't really capture the fandom's imagination as much. Therefore BruHarvey isn't super popular because they don't consider it as an option a lot of the time. But that being said, I also find that a lot of people when presented with BruHarvey as a possible ship will be pretty amenable to it! It's just a fantastic ship if you want some old man/toxic/tragic yaoi! The ship has so much going for it! Childhood friends to lovers. Enemies to lovers. Friends in their civilian identities, as they try to pursue justice for Gotham together, and even friends after Harvey becomes a villain too! It's SO juicy and has SO much unexplored potential if DC weren't COWARDS and would just let Brucie kiss men already! Each of their themes of justice, duality, and redemptive love mirror one another in such an exceedingly tantalizing way that I could write a whole college thesis on it! But I'm not just here about them. I'm also here for my girl Gilda too!

Now BruHarvey may be an underrated ship... And Two-Face as a character is just about rated as a character (not underrated. Not overrated. Just rated). But Gilda...? My poor, poor girl Gilda! Writers never know what to do with her and refuse to give her the justice she deserves!!! Gilda is a big part of the reason why Two-Face was able to work so well as a character and concept all the way back in the 40's in the first place! I don't think that Harvey would have been as iconic of a character with as much staying power as he does with just... SO MANY imitators if it weren't for Gilda's presence and ability to help Harvey redeem himself! The whole point of Harvey as a character is that while he might be a villain, he is never too far gone as to not deserve a chance at redemption. He genuinely cannot help himself when it comes to the compulsion of doing crime. And in his original stories, he was able to redeem himself and reach a happy ending with Gilda helping him, supporting him, and loving him through that journey.

The reason that Batman doesn't kill is largely because of Harvey himself! His childhood friend that he deeply cares about, and who, no matter how much society at large, and even Harvey himself tells Bruce that he is beyond saving, that he still cares about nevertheless and will NEVER give up on! And Gilda was the first person to never give up on Harvey and was the one to lead him back to the light! In a time where Batman might still occasionally use a gun and where the punishment most criminals would recieve in the comics was death or a lifetime of jail, never to be seen again, Two-Face stood out because of his redemption! A redemption that the writers of the comics stuck to for decades in spite of a clear demand to have Two-Face back as a threat! (Hence the many, many imitators.) And sure, the helpless damsel who saves the bad guy through the power of love may be a tired trope these days, but it's still one that can work very well, and as a woman first written in the 40's Gilda actually has a surprising amount to her that later writers would forget or just outright ignore! Gilda clearly was a female character who had more going on in her life other than her boyfriend at the time she was first written. She was actually a sculptor!

A woman with her own well-respected career entirely divorced from her DA boyfriend's! And while Harvey was her primary muse, I have doubts that her career just stopped when he turned to crime! After all, she seems to have been a woman who owned a house and lived on her own and had enough wealth to spend her free time going to the movies (and apparently buying herself mysterious cloaks). In the 1940's! We love a woman who can get everything on her own without needing a man (though it is a nice bonus) in this household! And she was doing it as an artist when that stuff was less common! And her other biggest trait is her unshaking love and loyalty for Harvey. I think that it's genuinely interesting how the crime and murder matters very little to Gilda (and similar characters that fill her role in stories). What she doesn't like is how he lies and tries to decieve her specifically. She would die for Harvey. She would kill for Harvey. She will stay with and help him through thick and thin. No matter what.

And very few pieces of media do her character justice! The Long Halloween may ostensibly be about her, but they gave her nothing in her life other than the men she associates with, a desire for children, and murder. Not even a hint that she was a sculptor, barely a hint that she studied law or anything that other iterations offered! She's my girl! And she could honestly offer a number of very interesting story posibilities, if only writers saw her potential! But clearly they don't given that for the last several decades, they've been writing her out of stories, or killing her off in brutal fashion so that they don't have to deal with the question of what she's up to while Harvey is doing his crime stuff. Hell. Gilda was the catalyst for the Long Halloween, so why isn't Dark Victory about nor even include her in person!??? Why not explore her being Duela Dent's mother!? Why not show her standing by Bruce's side while the both of them try to help Harvey recover!??? Why do the writers try to make Harvey NOT a wife guy!? Why can't they let Gilda be around and Harvey's wife that's cooler and more chill than him!? Why must Harvey be single!? By far he has the best romantic chemistry with (out of anyone who isn't Gilda) Bruce and no other major character! But if you stick Harvey and Bruce together for that sweet, sweet tragic yaoi and angst... Well... First of all DC are COWARDS who refuse to let Bruce be into dudes. And second of all, why not just let Bruce, Harvey, and Gilda be together and poly!!!? But I'm no coward! Double the partners means double the chances for tragedy and angst! (Or comedy if you'd like!) And double the possibilities for love, recovery, and redemption! Gilda wouldn't and shouldn't give up on Harvey!

And Bruce and Gilda cheating on Harvey without his blessing!??? BROKE! Them being in a polycule? Excellent! And if you need any proof that Bruce, Harvey, and Gilda could be a functional polycule, you should read the daily newspaper Batman comics as archived on @daily-batman! Because they make a GREAT case for it there, and seeing their relationship develop in that story is just delightful! Harvey watches Batman (that he's half figured out is Bruce) kiss his wife (named Alice but like... She's CLEARLY just Gilda with a different name!) and isn't bothered by it AT ALL other than it giving her hope that he can get better! Kissing his wife? That he understands and is perfectly fine with. But giving her HOPE!!!??? Now THAT'S a line too far! Sounds like something someone poly might do! And also... That series finale!!! Lol. Harvey getting jealous of and trying to kill Bruce for thinking that he's stealing his girl? Nah. Broke. Harvey being a-okay with Bruce smooching his wife because he's already in love with Bruce too...? HELL YEAH! Let's do it! Who needs love triangles when you can have power throuples instead!??? Join the few of us that enjoy the ship! And give Gilda and BruHarvey the love they deserve!!!!

Also just LOOK at the image I sent and tell me that it DOESN'T look like Bruce, Harvey, and Gilda are getting poly-married! BruHarvey is juicy and even more juicy with the added DLC of Gilda in the mix! And Gilda deserves the whole world! Give them the world!

[chevelleneech]

While I do not mind BuckTommy, I wish their shippers and anyone more partial to them than Buddie, would stop lying about what their relationship is.

Tommy does not prioritize Buck, he simply revolves around Buck. It is the whole reason why them having zero development this season was so stupid, because it left way too much room for fans to make their own decisions on what the relationship is or isn’t, and claim it as canon. It’s why people are already saying they’ll be mad of BT break up, because Tommy is Buck’s healthiest partner, when he’s not.

Tommy is not a character who has a storyline, let alone one who makes decisions that impact the overall story. Everything he does is a result of what the writers need Buck to feel or where they need Buck to be, and that does not make him a healthy partner. They just haven’t written any conflict for them, good or bad.

Thus far, their biggest issue was Buck stumbling through his first date with a man, where Tommy did in fact mock his nervousness then leave him standing in the curb alone. Now, I’m not hung up on that, because I can see why it happened. Buck was extremely nervous and being awkward and likely made Tommy feel bad a little bit, but at the same time, it was wrong of him and he didn’t apologize. And since snippy remarks is all we really know of Tommy, it does become canon that he isn’t actually that nice to Buck. No matter what Bobby said, because as I said before, I strongly disagree with the writers writing in their own cop-out as an excuse for failing to develop Tommy or BT during the season. So yes, Tommy is attracted to Buck and doesn’t treat him like shit, but none of Buck’s exes ever did either. Pretending otherwise is y’all trying to rewrite the show to uplift your ship.

All that to say, Buck and Tommy dating is canon, yes, but them choosing each other or making sacrifices for their relationship, is not. We have been shown quite literally nothing. Everything BT shippers claim for BT, does not actually exist in canon. Not a single bit about love, lust, infatuation, commitment, relationship goals. Nothing, and I wish more “on the fence” fans pointed that out instead of piggy backing as if it’s true. Y’all are hopeful, and that’s fine, I am too. I want Buck to be happy, but I also don't want to give Tim and co praise for doing less than bare minimum.

Buck coming out overshadowed the entire season this year in terms of press and social engagement, but the amount of story and screen time he got in comparison is abysmal. By lying about canon, y’all are giving credit where it is not due. I mean honestly, if someone were to put together a compilation of out!Buck, it would not amount to anything. More so, they’d have to pad it with Buddie scenes, which speaks for itself even if they never go canon.

Anyway, my point is, stop lying about canon, and stop hyping Tim, the writers, and ABC up for what is currently a pretty poorly written storyline. Be happy we got bi!Buck, but also want more for his queer relationship. Especially when his relationships with women came with various small scenes to build their foundation, and him talking to his loved ones about how much he liked them.

[snowblack-charcoalwhite]

Do you think that Aegon was whitewashed this season? As in, they realised they went too far with him in s1 and wanted to rectify it in s2 at the expense of other characters, mostly aemond and alicent. The problem is, you can't retcon everything. He is still a bully and rapist in show canon, but for some reason they now want to downplay it and focus on his incompetence, but also on him wanting to make something right while constantly being undermined by his family. I can't even enjoy such a confusing arc because it's inconsistent and manipulative. Also, it seems they wanted to nip Aemond's popularity and propping up Aegon at his expense apparently worked. It's true that TGC is extremely likeable, he was even in s1 when they wanted to show his character as a drunken rapist who doesn't understand consent, and he is now when they want to show Aegon as a tragic victim of his traitorous and unsupportive family. However, it's not enough to rely on actor's talent and charm when the writing is all over the place. Finally, I must say that I'm really disappointed with the green fandom, I even had to left their sub on Reddit because of the hate they constantly throw at Alicent and even more, Aemond. Like someone on other blog said, they never turned on Aegon after s1, they were relentlessly stanning him and blamed everything on the writers, but now won't do the same for aemond. Seriously, Aegon stans behave identically as Daemyra stans and that is something. It's sad because I've liked both since s1 but it's a fact that the green side of the fandom is much harsher and unjust to aemond, it's enough to check out the mentioned subreddit and some blogs here to get the picture.

Hello!

I think that Aegon's character was not so much whitewashed as used for a very unsavory purpose which was to make other Green characters, especially Aemond and Alicent look bad (here is the link to a post where I expressed my opinion on that matter). In order for that to work there was not a lot of actual embellishment needed - Aegon's story is a compelling and a tragic one as it is. The problem, however, lies in that the writers did their damnedest to use the most touching and relatable aspects of his arc to the detriment of other characters - who were supposed to love, cherish and support him.

As for the fandom reactions, I have always had an impression that among the hardcore TG supporters sympathies for Aegon run wider and deeper than for Aemond anyway. IMO there is a combination of various reasons at work here: him being the leader and the beating heart of his faction (in the book, that is), his incredible character journey, the way Tom's charm and charisma fill even the underdeveloped and kind of warped show version of Aegon with color and life (if we're talking about the adaptation) - and/or the simple fact that someone likes one character more than the other, sometimes even without being able to name a reason for it.

The thing is - while it doesn't sit right with me when people are not willing to cut one character some slack and at the same time cut the other (their favourite one) all of it - I can't really judge the favoritism per se: we are all human after all. What I do have hard time stomaching is the fans (in that case Aegon's - or more precisely exclusively or heavily prevalently Aegon's fans) being unnecessarily vicious about it.

As someone who loves both Aegon and Aemond, I for that exact reason have always felt disheartened by seeing fans of one Targtower brother shitting on the other one (or even worse, the fans getting personal with each other). Over the two years of being in the Tumblr fandom I have seen a number of posts made by Aemond's fans where they bashed Aegon by downplaying his good qualities and heavily focusing on the negativity ("useless drunk", "atrocious bully" etc) - and obviously have never agreed with them (to put it mildly) and am not about to start agreeing now. But - even in comparison with that - not even the amount of the posts but the intensity of the hate Aemond has been getting from Aegon's supporters is something else. And the worst part is that some of the posts I saw positively reek (sorry, I can't use any other word here) of schadenfreude. Guys, I understand the anger and frustration about having your character being heavily mistreated by the writers (which is exactly what happened to Aegon in season 1) - in fact I was right there with you when it happened. But now, when the exact same thing is happening to other character, maybe you can recall just how much it sucked and hold yourself back a little? Yes, Aemond is being brought down in great part by the script having him treat Aegon horribly, so your current lack of love for the former is understandable. But in season 1 the same was happening in reverse (although to a considerably milder degree - brotherly bullying, as shitty as it might be, doesn't equal an attempt on one's brother's life) - and in spite of some Aemond fans tearing Aegon to shreds in their blogs I personally saw far more people who like Aemond still expressing their irritation and outrage about the way Aegon was written in season 1. I am not trying to shut anyone up - but is making an effort to show some understanding and compassion for your fellow Greenies so much to ask? HotD has all but destroyed the Greens as a team and a family - but the fans don't have to (if you ask me - should not) mirror that atrocity.

[olderthannetfic]

The To Gaze Upon a Wicked God situation is more complicated than a straightforward "yes/no" on whether it's a colonizer romance or not imo.

I think the author wants to send an anti colonial message with the book, but it very much wants to have the cake and eat it too. It's written a lot like other "dark romantasy" and the marketing surrounding it went hard on the enemies to lovers thing (the Zutara comparisons especially was still being pushed even in late April). Iirc, the real love interest only appears for less than five scenes?

With that in mind, I don't think it's unreasonable to read the protagonist's rejection of the prince at the end as a set-up to a tortured "I love him but I can't trust him anymore because he's evil and lied to me" while Baihu simped for her in the background and the prince gets redeemed with a heroic act at the end of the second book or something. That was my impression until it was revealed that the childhood friend was the real love interest.

(Maybe I just read too many angsty "you killed my whole clan but I still love you even though I'm not supposed to" cnovels in my youth hahaha)

Imo, it was in really bad taste to do a fake out marketing, but idk if she has control over that. It feels like nobody around her understood how touchy the subject and her inspirations were, because none of these irl decisions wouldn't have happened if they did. I don't think the original anon had the right to comment like they understood everything without reading the book, but I completely get the feeling of "wtf girl you did not just write/say that." Also the writing was... not good.

I hope the "baihu cut" remedies a lot of its issues. Plenty of white authors write shit takes on history. Asian authors shouldn't be burned at the stake when they do the same

--

(Followup to last anon about to gaze upon wicked gods) One thing I forgot is that the author's notes directly mentioned the Japanese occupation and unit 731. I think it's reasonable for readers to make the connection between that and the Roman invasion + human experimentation mentioned in the book. I can't blame them from being grossed out or even outraged when everything irl points to Antony being the intended love interest even though he's the leader of in universe unit 731

I can well believe that it's mostly a skill issue.

People should be free to criticize a book for what's actually in there, but yeah, there's definitely this vibe like nonwhite authors or minority authors or whomever aren't allowed to just... not be very good.

I don't mean they should be free from all criticism, but there's a particular type of extra torches-and-pitchforks criticism that amounts to "Thou shalt be a godlike writer from birth or else!"

[byoldervine]

Writing Tip - “Mine Isn’t As Good As Others”

We’ve all heard someone say it. We’ve all said it ourselves. We read a book and then go to our own writing project and this “Mine isn’t as good as that, will it ever be good enough to have anyone care about it?”. And today I’m going to give you some reasons why you feel that way

1. You’re too close. This is your own writing, where you’re aware of all the failed drafts and the struggles to try and get it right and, most of all, the idealised image in your head that you conjured up all by yourself. When you’re reading someone else’s work, you only see the best in it, and it paints you a picture that wasn’t there before. I guarentee you the author couldn’t paint the original image in their head as beautifully as they imagined it, but since you have no frame of reference for that original image you can only enjoy the amazing new image you’ve conjured up yourself. The words never do the original image justice, and that can be a struggle for authors to accept since they read such vivid descriptions from others

2. Familiarity. You know how when you read the same word over and over it stops looking like a word? Thats what happens when you’ve been working on the same story too long. This is why we always say fresh eyes are so important; someone entirely unfamiliar with the story will view it completely differently, but not someone who’s micro-analysing every little word choice

3. Faulty comparison. If you’re reading a finished book, one that the author was proud enough to publish, and then turn around and get sad that your first draft isn’t as good, you need to be realistic; you can’t compare a finished product to a work in progress. Finished books will undergo a whole bunch of edits, the least amount of edits I’ve seen is about three dedicated ones before the book got published - and for some books I’ve seen it go upwards of ten. Are you really gonna compare the first draft to the twelfth one?

4. First drafts are bad. In fact, don’t ever compare your first draft to anything, because they’re not supposed to be good. Your first draft will never see the light of day. Many writers rarely if ever share their first draft outside of getting advice on how to progress on something they’re stuck on, usually they’ll at least wait until the second draft before that gets out to beta readers or anyone like that. Your plotting is your foundation, and your first draft is like the scaffolding and framework of your house. Sure, it does good to hold it up and give you a clear idea of where you’re going, but it doesn’t exactly constitute a house, does it? It’s not supposed to be the house, it’s just needed in order to progress further

5. Difference in experiences. On the whole, reading is passive and relaxing, which is why everyone enjoys it as such a chill past time. All the work has been done for you, you can just sit back and enjoy it without putting any effort in. But writing is an active project that you need to be putting a lot of effort and mental strain into. You can’t just zone out and watch the scene play out in your mind, you actually have to write it down. This can be very discouraging, especially when it breaks you out of your immersion constantly. Reading feels better in comparison because it’s easier, all the hard work is someone else’s problem, and as such we can think that the other book is so much better than the thing we shacked together just to get our daydreams to work out

[pathologicalreid]

On the subject of maeve and reid I always felt like all these personal plotlines involving the characters could have been much better developed had the show dedicated more time focusing on the characters personal lives.

Now, don't get me wrong, I love the cm episodes where the plotwists have me gagged or at the edge of my seat waiting to see what happens. But sometimes I wish there could be whole episodes just about the characters you know? I feel like they give us so little fluff that whenever there's any sweet bau bonding scene, you best believe I'm eating it up like a starved woman.

I feel like this may be controversial, but I would still watch every season even if there were zero criminals in it lol. Shows like brooklyn 99 mastered the personal to professional ratio and I wish that criminal minds was the same even though brooklyn 99 is a much light hearted show and the amount of screen time given to the bau characters personal lives probaly reflects thier work life balance anyway

you're so right criminal minds never had a consistent balance with personal to professional, but i will say that b99 and cm is maybe not the best comparison. my understanding is that b99 is a sitcom (i've never seen it) and cm is a crime procedural. (more under the cut)

i think the cm writers always flopped when it came to writing love interests. they'd introduce great people and they'd fall off the face of the earth or have the most abrupt exit. i love beth clemmons. i love hotch and beth. but when they break up all we get are a few throwaway lines between hotch and rossi.

i have a lot of problems with season 15 of cm but 'saturday' very easily makes my list of least favorite episodes because it's just bad. they needed to continue the trend of fun scenes and instead tried to make a fun episode. (and i'm choosing peace and am not going to talk about spencer's hair in that episode) we should've had more softball games and karaoke and cookouts at rossi's.

for all other personal plotlines, a major grievance i'd like to bring to the writers is that they'd have a character mention something or do something and then it's never mentioned again or only brought up when it's important to the plot.

[missgryffin]

Thanks for the tag @jamesunderwater! Loved reading your answers!

🍓 how did you get into writing fanfiction?

My first (very bad, very cringe) foray was between releases of OotP, HBP, and DH. Back then I was writing Marauders as well as 7th Year for the Golden Trio and a post-Hogwarts fic called "Friends" in which Harry, Ron, and Hermione lived together in Grimmauld Place 🥲

🍇How many fandoms have you written in?

Just HP!

🍈 How many years have you been writing fanfiction?

I mean, I went through the early childhood fanfic phase that lasted 1-2 years, but then I didn't write again until picking it up in 2020 as an adult. So really, only about 4 years now of writing consistently, and maybe 6 years total in my life.

🍎 Do you read or write more fanfiction?

I also definitely write way more than I read. Mostly this is a product of limited time—writing is a creative outlet for me, and when I have the time for it, that's usually what I reach for.

🍌 What is one way you've improved as a writer?

I think I've improved a lot with descriptions and vocabulary. Like for example, with revising LFTS and ES, there's been so many moments where I find myself just intuitively taking a sentence or small exchange or small paragraph, and expanding it into something that is just a better portrayal of that moment? It's hard to explain, but when I do the side-by-side comparison, it feels more elevated, and I think that's going back to improving on writing descriptions of what's happening that feel more fluid.

🍑 Do you have any bad habits as a writer?

Oof okay not sticking to a solid writing routine resonated with me too, that's definitely something I'm trying to be better at but it's hard!! Also a major bad habit for me is focusing too much on word count and setting unrealistic expectations for what I can accomplish in certain amounts of time. I've had to do a lot of mindset work to adjust to the fact that some of my old methods were unhealthy and unsustainable, and simply aren't realistic with making writing fit into my current, healthier lifestyle. But it's hard! Old habits and mindsets are ingrained and so tempting to default to. Like I've tried using daily word count goals several times, and it's always a trap. One would think I've learned my lesson, ha!

🍍 What's the weirdest topic you researched for a writing project?

Hmm nothing's really coming to mind as being particularly "weird." I do ping @redrobyn285 and @welsh-green about Britishisms from time to time, and that often sparks funny conversations about cultural differences. Like for example, we recently had a very in-depth conversation about terminology for dorm rooms and different sizes of beds 🤣 But in all seriousness, I learn a lot from them and owe so much of the Evans family lore to their input!

🍉What's your favourite type of comment to receive on your work?

The play-by-play reactions are my absolute fave! It's so gratifying and fun, especially when there's suspense and tension involved in the story and you feel like you're bonding with the commenter through the shared experience of all the emotions happening.

🍐What's the most fringe trope/topic you write about?

Hmm Castling was pretty fringe, I don't want to spoil it for anyone who hasn't read, but I'm not aware of any other Jily fics dealing with ~that~. But besides that, I don't think anything on my current slate is that fringe tbh. I've mostly been writing Hogwarts Jily lately, and that's pretty vanilla as far as tropes go. But I do have some adult!Jily in my back pocket that have some more fringe tropes for me 👀

🥭What is the hardest type of story for you to write?

Angst. Hands down. I think because I'm an empath, dwelling in dark emotions for a story can be really difficult for me. Probably the angstiest scene I've ever written is the opening scene of Vindicated, and there's a reason that's only like 800 words 😂

🍏What is the easiest type?

Rom-com style fluff and smut! I'm such a sucker for all the classic sexual-tension builders: bantering, jealousy, flirting, a little sprinkle of comedy, pining, awkwardness. It makes me giggle and kick my feet while writing, and it puts me in a happy mood every time I'm writing it, which is probably why I'm addicted to it 😇

🍑Where do you do your writing? What platform? When?

Scrivener! I'm at a point now where I've learned enough of its functionality that I truly can't imagine ever going back. It's my fave. I also use Notion religiously for my whole life, and that includes fanfic, but I don't actually write in Notion unless I'm jotting down ideas on my phone or brain-dumping an idea that doesn't have a Scrivener doc yet.

🍋What is something you've been too nervous/ intimidated to write, but would love to write one day?

Domestic/Pregnant/Parent Jily. For the simple reason that I haven't experienced being pregnant/having kids yet and I feel like a fish out of water trying to write it because I don't know what I'm talking about 😂

🍇What made you choose your username?

I don't really remember the whole thought process anymore, but I love the musician/DJ Gryffin and was listening to some of his first album a lot in formulating ES, I am very much a Gryffindor, and also wanted something short, sweet, catchy that would be easy for people to remember and spell. And honestly I think missgryffin just popped into my head at some point after that!

I might be late to the game on this one, but tagging @petals2fish @apalapucian @blitheringmcgonagall if you're interested! 🫶

[smallblueandloud]

i keep feeling like. there's something parallel between rose and yaz's endings. maybe parallel isn't the right word -- but i keep wanting to draw comparisons, i think because they're two characters who really defined specific doctors and for whom it's basically confirmed the doctor returned their (romantic) feelings

(they're not the ONLY ones who fit this description, but i'm in no way qualified to talk about clara or even river, so bear with me)

it just feels. i don't know. rose never leaves on purpose. she is separated from the doctor, forcibly, every single time. the doctor sends her home, or she gets stuck in an alternate universe, or the doctor leaves her in the same alternate universe. every single time, she fights to get back to the doctor. the writers had to create a perfect happy ending for her (half-human version of her doctor who'll age along with her, in the alternate universe where her father is alive) because otherwise she wouldn't stop fighting to get back to the doctor, and the show can't have that. the show needs to move on. we need rose to fade into the past.

i haven't seen all of yaz's episodes, but her arc seems very similar from the limited amount i've seen. she keeps fighting to get back to the doctor. she's in love with the doctor, and the doctor basically confirms returning her feelings, albeit in a very stilted, hesitant, doctor-y way (compare "imagine that happening to someone you--" with "and if i was going to, believe me, it would be with you").

but when yasmin's doctor regenerates... yaz is just expected to. step away, go back to living her life, never see the doctor again. kinda like the abandonment that most companions have ever experienced -- getting dropped off once and then goodbye forever! -- except with more of the onus on her. the show has to move on from rose's era, so she gets dumped on a beach. the show has to move on from yasmin's era, so yaz has to accept that the doctor is going off to die alone. she has to make her peace with that information.

i don't know. i think yaz's ending is trying to go hand-in-hand with graham and ryan's purposeful exit -- it seems like the chibnall era tried really hard to have Not Terrible endings for companions. which is very admirable! but honestly? yasmin's ending feels crueler than most, including rose's. yaz was in love with the doctor. the doctor reciprocated those feelings. they should've gotten their equivalent of s2-era 10rose! she should've gotten a chance to stay with the doctor through their regeneration, the way other love interests have been able to (s/o to river and clara!).

i know this is because of the limitations of the show. bad ratings meant chibnall left after only one regeneration, and new incarnations of the show rarely bring in characters from other eras.

but i'm still very sad for yaz :( like yes, she wasn't just dumped on the curb without warning. but she was still expected to say goodbye to someone she loved, knowing that person was dying, and not say a word of protest. if the previous history of the show is any indication, she's never going to see the doctor again. she doesn't get a half-human version of the doctor to live out her days with, and she's not "allowed" to fight to get back to the doctor, either, due to the way the show's structured (but also the way the doctor talked about them saying goodbye). she has to live the rest of her life knowing that the doctor is out there, perfectly capable of visiting, and the only reason they won't visit is because yaz is from a specific time of their life that they've moved on from.

i know she has the companion support group. and i know she'll move on! she's yaz. she's strong and self-actualized. she'll be okay, eventually. but she has to be okay, you know? she has to learn to live without the doctor. rose never had to do that.

it just makes me sad :(

[sigmaleph]

today my currently-ongoing writing project reached 25 000 words. a milestone as arbitrary as any other, but I am focusing on it because my previous longest writing project ended up around 20k and this is the next roundish number after that.

also half a nanonwrimo, for another comparison. i definitely can't do a nanowrimo right now, getting this much done took me substantially longer than half a month.

i set myself a goal of writing around 400 words per day every day and I have basically kept it for multiple months. given my previous pattern of writing tiny amounts of a story and then giving up immediately, it is encouraging. it would be personally very meaningful to me if I could complete a long-form writing project ever and this looks certainly more plausible than every previous attempt.

if this ever turns into a complete story, well. it will be my 'best work' in some sense out of lack of competition but there are many ways in which it is not, I think, my best work. the setting, while i am fond of it, has a substantial amount of thrown-together-at-the-last-minute-ness to it, because it was. I would like, some day, to do better than that. I don't think this is the time for it, though. this is the time to just build the habit of putting words in front of each other every day without quitting.

one day i would like to show this to other people, because i have spent months on this and some people have said nice things about my writing before and they might like this one. but i am in some ways worried about it. in the obvious way of 'maybe it sucks' ofc but also like what if i want to do this over but better. am i burning something by exposing it to the light? who would read the better version if the bad one exists to make it look unoriginal and derivative. i already worry about all the ways this is derivative of my last project

ah well. i still think it's worth it. one day i will write something Good but i have a bunch of becoming a better writer to do on the way and this is the most successful attempt at that so far

[level1cleric]

so lies of p is a really good game in the soulslike genre

i am struck immensely by the approach neowiz (the development studio behind lies of p) takes with its story telling. while prolific with item descriptions that give hints as to what horrible events went down in the setting (a la dark souls) it also has numerous in-world pieces of writing, by in-world writers. critics. fathers. children.

letters to family, letters to warn off strangers, cryptic notes (obv), advertising flyers, landmark information for tourist reviews, it's there! its information in the game about the world made BY the people in the world! and its not vague as shit! i feel more for the Scrapped Watchman than i ever could for Vordt of the Boreal Valley or most any other boss in Dark Souls 3.

Vordt here is the prime comparison to the Scrapped Watchman I feel. Each is an appropriately early boss, required for progress, who is large, wild, and inflicts a status ailment heavily in their second phase.

The most I can surmise from Vordt (from multiple item descriptions) is that he was sent as an outrider from Irithyll by Pontiff Sulyvahn, sent to Lothric to do... something. Stop undead? Block pilgrims? Couldn't tell you. But he WAS sent to kill. And that's about it. Who Vordt was before he was a monster is unknown. All he has ever been to DS3 was a boss to be fought. Even his unique weapon gives no information about it's wielder. Lame.

The Scrapped Watchman, on the other hand, hoo buddy. I felt bad after that fight. The amount of information you can find in the area leading up to him gives you a clear idea of who they were, what they did, and who in the community cared about them, before everything went wrong. (being vague on purpose here)

suffice to say, lies of p rewards exploration of its world with more information about its world, in a way that is really satisfying, compared to the slow drip-feed that dark souls games likes to give. its very refreshing. play lies of p.

[oklotea]

Y'know.... The writers really didn't have to do all that. Making ubercorn and glitch old friends.

They could have very easily written them off as long time rivals, who are still rivals, and everything would have been easily accepted by all parties. And I wouldn't have to be completely driven mad by these two and the story between them that we didn't get to witness.

But they ARE. they ARE old friends. Despite everyone constantly pitting the two against each other in class, despite the constant comparison whenever they hung out together, despite THE STARS ALIGNING PERFECTLY just to put the two in circumstances where they could have very easily hated each other, been against each other, rivaled each other, and be very much NOT FRIENDS..... They WERE. It took. STRENGTH and COURAGE for the two of them to stay friends, to stay close with each other.

They had to persist together to keep their friendship alive, even though everyone around them perceived the two as night and day, the embodiment of light and the dark blackhole of wasted potential, a good example and a bad one.... They held onto each other so strongly.

Everytime they had to choose a partner for the end of semester geo-challenges, they would immediately turn to the other. They had a special little clubhouse, in a crawlspace. Just for the two of them. Hidden away from the judgemental eye. The amount of memories that the two constantly reminisce over, only further proving just how special their relationship really was.

Everything was against them, and yet for so long they kept going, and going...

So what tore them apart? What event could be so impossibly cruel and unfortunate, that it broke this bond, this trust, that they had spent so long strengthening?

IT DRIVES ME SO FUCKING MAD KNOWING WE WILL NEVER KNOW THE ANSWER TO THAT QUESTION.

[parachutingkitten]

Not an ask per se, just a similar feeling. You’re someone whose Ninjago stuff, here and on YT, I’ve really enjoyed for at least a few years. And I’ve been similarly obsessed with the show for some time. But… it’s as you say — DR is objectively fine, objectively nice, but I don’t feel the same obsession about it and its characters, plot, etc that I used to feel all the time with Ninjago. And I *cannot* figure out why, and it’s also been driving me slightly up the wall. It’s maybe because I genuinely try to give media the best chance when I interact with it, but despite multiple DR rewatches I don’t see what everyone else sees. And the disconnect is a sad, like you mention — I joined the community here because I was so glad to have people who loved this show in the same ways I did, and now it’s like they’re all on a different wavelength and I want to be there but I’m not. It’s definitely strange for sure, made worse I think by the fact that DR isn’t like horrifically bad or anything, I just feel… okay, when watching it, and can’t even explain why.

I don’t know how much sense this makes, but I thought it might be something for you to think about if you’d like. I’ve been tossing around the idea that I don’t love DR because it is… good. It’s good, but too neat — if that makes sense? The new characters — I love them all, but their personalities and backstories and situations they’re put in all remind me of several other stories. The subplots of the episodes always have an end goal in mind, often an emotional realisation, and whilst that’s a neat way to tell stories, it doesn’t feel like, to me, the way Ninjago used to tell stories. Like, the first thing that comes to mind is Sora feeling hopeless and that episode with the djin where she realises that it’s important to hope. And maybe this isn’t a great comparison (as I’m typing it out, I realise that it isn’t the best example oof), but I immediately thought of Zane after Seabound, when he’d turned off his emotions. Sora’s bad feelings, whilst not as ‘significant’ as Zane’s in that context, began just before and were wrapped up neatly in that episode and not brought up again. Zane acts detached from the start of S16 if I remember, and it’s only near the end of the season (I think! I know that it’s a few eps at least) when he meets Sally, talks to her, learns a little about her life, and is able to come to the realisation that he shouldn’t be repressing everything. I think DR, because of the amount of characters it has, especially those that are new, and the amount of new worldbuilding, plot stuff, etc that they have to add in, it being a reboot/sequel type of thing, leaves less time for the nuance and time devoted to the character arcs in the original show. Or maybe I’m just crazy, honestly idk.

Something else that stands out to me is the fact that DR has to establish so much about these new characters and their world that they… they do something that old Ninjago didn’t do, and whilst it’s maybe objectivity a better storytelling choice, I think it’s part of the reason I’m not really feeling it. What they do is that they have the characters act kind of realistic. Arin worries about his parents, often. Sora did too. Wyldfyre and Kai definitely have a few moments where it’s implied that they’re confused about what’s up with their powers. In Ninjago up to s16, because they wrote a lot of it without intending much or anything to come after it, I feel like they thought less about this than the DR writers, who know that they’ve got a few seasons lined up, do. For example — hands of time is when we find out about Ray and Maya, but it was never often addressed by Nya and Kai. It’s brought up in s4, of course, but if they were real kids whose parents had vanished one day they’d probably bring it up more often, like Arin did. But it’s often not done in the narrative because the writers gave them other things to focus on, because they’re storytelling devices and not real kids. There was no real buildup to Nya being the water ninja, for example, but Sora’s said to be good with tech a few moments after we meet her. This ain’t a critique of either show — just a different choice I sort of picked up on, if it even makes any sense. And as crazy as it may sound, I liked that about the old Ninjago — it saw the characters more as storytelling devices, I think, than relatable to the audience (Kai was the hothead, Jay the humour, etc — ofc they were more than that, but they retained that sort of vibe from S1 a little all throughout the show I think). DR, on the other hand, seems to want their characters to be more relatable, more multifaceted, make more sense — which, when coupled with the fact that they’re new characters and that the ninjago fandom has historically thrived on gaps in the show to enjoy it (we’re a very AU, OC, heavy fandom, etc), I think DR attempting to flesh out their characters in the way that we’re often used to doing with the old characters in fic, art, etc means that I like DR a little less because there’s less to ‘work with’, and less that inspires thinking of the characters in different situations — bc whilst relating is nice, it is also enjoyable when the characters are written with some core characteristics in mind and you explore other parts of them or those characteristics in different contexts. I don’t think makes much sense, but I hope that it maybe gives you something to think about — as you can probably see, I’ve been going a little crazy over not liking it and not knowing why, so I know that the feeling isn’t great.

I'm picking up what you're putting down here. My next video has a bit about getting disillusioned with a fandom, and it sucks. It always does. It's heartbreaking when you feel like that special bond between you and your show was somehow broken. I empathies, and it's important to feel it out.

Now, I don't think ninjago was better at character arcs, i don't think having a character arc be longer is better, or even really a characteristic of classic ninjago, but I do think the DR character arcs feel very by the book. They're following the screenwriting 101 guide perfectly, but it ends up feeling a bit lacking because of it? If that makes sense? Now, ninjago was historically very bad at character arcs, but when they got it right, they always had a bit of a spin on things, and interesting visual payoff, whatever. I think the zane's emotions arc isn't particularly great (and the sally piece is sort of at the end of the first half of the season ;) I would argue sora's arc in season 1 about finding confidence is better, but that doesn't mean I find it much more enjoyable.

I will agree that that the characters in ninjago definitely feel more like characters, while the DR cast (old cast included) feel more like people. Neither are a bad thing, but I think it definitely has an effect on the tone. Characters allow for a more lighthearted goofy vibe, because the show is operating on a higher suspension of disbelief most of the time. DR on the other hand, does want a little more vulnerability from its audience on a regular basis.

Lastly, I do think you're onto something with DR being fully planned. The two seasons we have so far feel very indistinct. There is less of a defining singular "adventure" in each season. And again, that's not a good thing or a bad thing, but it ends up making things feel different. Ninjago is an episodic series of adventures. DR is a continual evolving set of circumstances. Those are just going to feel different.