#what people write is FICTION

[bi-writes]

i see people on here getting angry because of how cod writers can make cod men angry, toxic, mean, etc, and idk how to tell people this but…they’re not real

[lazylittledragon]

ok someone please correct me if i'm wrong but am i weird for thinking those 'audiobooks don't count as reading' posts are ableist as fuck????

[doverstar]

can't express accurately how happy it makes me that c.s. lewis did not leave room for many interpretations in narnia. it's christian and you can't get around it. susan chose to care more about worldly things than what matters and he said what he said. the lion is Jesus. evil is evil and good is good and people have to choose. and that makes some readers angry because it's nearly impossible to ignore and they want to ignore it. they want it to be something else and they can't make it something else without making it not narnia. love that. that is doing it right

[tea-cat-arts]

Shen Yuan getting transported into pidw isn't "the system punishing him for being a lazy internet hater," but instead representative of "step 1 of the creative process: getting so mad at something you decide to go write your own fucking book" in this essay I will

[science-lings]

God, I love it when people who clearly have personal experience or expert knowledge on certain things write obscure AUs that incorporate those things so hyperspecifically that I feel like I'm learning something.

I love nurses who write hospital AUs that have accurate medical knowledge just thrown in there because they went to medical school and when people who clearly had a phase where they obsessed over a certain time period write an AU set in that time period or location it's just so fun.

Tell me about the 1950s Chicago culture and history and how the characters are interracial and how that affects their life, I love when the money is accurately converted and the personal histories of the characters are thoughtfully woven to incorporate the new setting they're put in, I love it when people care so much about making something and use their own expertise to aide them.

[fantasticgothicpeachsludge]

“he's like a brother to me”...”he's my best friend”....

[theotherbuckley]

Just a reminder that people can write whatever they like! If you don’t like it don’t read it! It’s so simple. It doesn’t matter if you think it’s bad. It’s fanFICTION. Which people do for free. If you don’t like it don’t interact. You can ever block or mute them!! But that doesn’t mean it’s wrong. As long as they’re tagged correctly they’re giving you the tag you need to decide if you don’t want to read it.

[fabled-lady-twilla]

How it feels being a ShigaDeku shipper in this fandom. Why is everyone so mean? 😭😭😭😭😭😭😭😭😭😭😭😭😭😭

[chocolatepot]

(This has been in my drafts for over a month [<- written in the summer of 2022 lol], let's just finish chewing this thing ...)

Part of the reason I'm obsessed with Our Flag Means Death is the magic of hyperfixation, but there's also something about it that just ... certain scenes, certain gifs, I see them and I absolutely melt. And I'm no stranger to romantic media, especially historical romance, so I had to ask myself why this, so much?

And I think the thing that really gets me about the romance in OFMD is that it's so entirely different from mainstream het romance (and again, especially historical romance) and that mainstream het romance is so often lazily written.

How often do you go to read/watch something where the protagonist and love interest immediately have a positive rapport, understand each other, smile at each other, admire each other, have fun together? And in contrast, how often is the love interest marked out by having immediate hostility with the protagonist, sniping, irrational disagreement, disapproval?

I watch Sanditon and Bridgerton mainly just to be aware of what's going on in them, because like it or not I'm kind of a Regency historian of sorts, but I can't really stand them. In the first season of Sanditon, the heroine, Charlotte was presented with two potential love interests, Sidney Parker and James Stringer. The former was the classic "we act like we hate each other because of our sexual tension," the latter was really adorable and full of smiles and care for each other. And ... Charlotte barely seemed to realize that Stringer was a real possibility, all narrative heft was given to her plotline with Sidney and of course they turned out to be in love. Then the second season rolled this back and brought in two new love interests, again with one having a positive relationship with her and the other constantly arguing and criticizing; the apparently positive one turns out to be a creepy Wickham while the one she initially dislikes turns out to be a good Darcy with manpain to deal with. (Same thing with her sister's love triangle.)

And there are loads of other examples where a potential love interest who is immediately pleasant turns out to be deceptive/meh while a potential love interest who spurs fights is endgame. Basically, this is because you need some kind of obstacle to stop the characters from getting together immediately. In historical romance written in the present day, social class and money aren't acceptable obstacles unless there's a pressing need for them written in (hence the prevalence of "father gambled away our fortune and you must marry well, my dear, to save us from the poorhouse" plots), and "we met in an awkward way and will not get over it" works, narratively, as an obstacle.

In contrast, what goes on in OFMD s1 is so much more complex - the characters liking each other but having internal reasons not to recognize their feelings or act on them gives more room for showing why they actually are good together.

[hunnyy-bunnyyy]

The dissonance between era inspiration in ACoTaR is one of the more brushed over flaws in the book series. Looking at the Inner Circle's fashion alone, we jump between "literal scraps of fabric" (Under the Mountain, Court of Nightmares) to "orientalist painter's imaginings of the Ottoman Harem" (clothing described during Feyre's first few visits to the Night Court) to "modern 'corset' dress" (Feyre's Starfall dress, majority of Mor's clothing, most of the clothes drawn in fan art) to "modern -- almost sci-fi style -- skin-tight leather armor" to "sweater and leggings combo".

Then, between courts, we have Helion wearing Spirit Halloween's take on the ancient Grecian tunic; Feyre's Spring Court wedding dress looking like an 1830s fashion plate; and Dawn heavily implied to have traditional East Asain clothing (e.g. kimono, hanfu, hanbok).

On top of all of that, some of the Dawn Court's small cities ". . . specialized in tinkering and clockwork and clever things. . ." which -- combined with Lucien's metal eye and Nuan's mechanical hand -- implies a sort of post-industrial revolution time period. However, a decent chunk of the fandom says that ACoTaR is medieval; which, yeah, it's medieval themed in the first book -- sans the "dress" Rhysand forces Feyre to wear UTM.

The wild inconsistencies in ACoTaR's inspiration leads, not to a rich and diverse world, but a world that seems ramshackle and haphazard -- like it's creator simply threw together a board on Pinterest and called it a day. This is a major part of why the world building is so abysmal, it relies on convenience to the plot and whatever pleases the aesthetic whims of the author. Cultures deemed "pretty" or "badass" are thrown together, irregardless of how far apart they actually are. This is not only disrespectful to the narrative, but to the readers and the cultures used as inspiration.

All of this to say: Sarah J Maas is a bad author, not just because of the way she handles serious topics like power dynamics and abuse, but also because she cannot put together a world that is even the slightest bit cohesive.

[canisalbus]

Hi, hi! I just came by to say hi and just say I absolutely love love love your art and art style! It is absolutely ethereal! I don't know how to describe it but it genuinely feels like I'm standing outside on a hill during a warm day and a nice breeze just happens to blow by as a sun beam hits me. That's the best possible way I can think to describe your art and artstyle. It just fills me with so much joy!

(on a side note, I tried looking and I couldn't find anything, I was just wondering if you had commissions?)

That's such a poetic way to say it ;_; Thank you!

It's genuinely such a massive compliment to tell an artist you like their specific style, since for many it's a deeply personal part of their identity, how they see the world and what they find visually appealing.

When it comes to commissions, I'm afraid I've never been a very commission-oriented artist ´v`' The short reason for that is that they stress me out disproportionately. I get immense performance anxiety. I'm not totally opposed to the idea, I just don't think I have what it takes right now. Maybe in the future.

[bi-writes]

STFU about how people write their readers. damsels in distresses, hardasses, fighters, lovers, scaredy-cats—if you don’t like it, write it yourself, i’m sick of people getting angry about how a writer purposefully writes something.

[fishofthewoods]

Oh my god I woke up this morning and my Stardew Valley meta post had almost 150 notes????? Hello?????????? Anyways I started writing this last night because @moon-is-pretty-tonight left nice tags on the original so thank you so much!!

We know from the starting scenes of the game that the farmer's grandfather loved Stardew Valley. So why did he leave? Pelican Town is a good place to grow old; George and Evelyn are just fine. It's a fine place to raise a kid, but maybe he just wanted to raise his child closer to real schools and other children.

Or maybe, just maybe, he understood.

Was there a day when he was in his thirties where he looked at his friends and realized they weren't like him? That he could run faster than them, work longer, explore deeper into the hidden places of the valley?

Was there a day when he went to the wizard to ask him for help, for knowledge if nothing else? Did he learn then that his family was different? Special? Chosen? And how did he react? He couldn't possibly raise a child in the valley if they would be as strange and fey as him. He had to leave. There was no other way.

But years later, on his deathbed, did he regret that choice?

Is that why he gave the farmer the letter?

Is that why they went back home?

When the farmer steps off the bus that first day, the valley is still on the cusp of winter, just barely tipping over into spring. The flowers are starting to bloom, but a chill still hangs in the air. As soon as the farmer's boots touch the soil there's a change. The air gets warmer. The trees get greener. Not by too much, not all at once, but it changes.

The junimos watch the farmer as they do their work. They're new to farming, but take to it with frightening speed; their first batch of crops is perfect. None of the townsfolk tell them that parsnips don't normally grow in less than a week, that cauliflowers don't grow to be ten feet tall, that fairies don't visit when the sun goes down and grow potatoes and beans and tulips overnight. The junimos talk amongst themselves in their strange, wild language, and agree: this is the one. They're back. The valley recognizes its own, even when they've left for a generation. The farmers have come home.

Things change fast in the valley. The community center, empty and decrepit for so many years, is rejuvenated. (Lewis says it was abandoned only a few weeks after the farmer's grandfather left. Strange coincidence, he says, that it both came and went with the farmer's family.) The mines and the quarry, similarly abandoned, are explored for the first time in ages. The town becomes cleaner, brighter, more vibrant, happier.

And it is happier. Not just the environment, but the people. It's the talk of the town for weeks when Haley does her first closet purge. Leah's art show in the town square is a huge success. Shane's smiling for the first time since he moved to the valley. All of them, when asked, say it's all thanks to the farmer.

People love to ask why Lewis didn't fix the community center on his own. Why Willy never repaired the boat to ginger island. Why Abigail or Marlon never went down to fix the elevator in the mines, or why Clint didn't fix the minecarts.

But isn't it so much more interesting to ask how those things were there in the first place? How they got so broken down? If the stories the townspeople tell are true, the valley was once a beautiful place, flourishing and full of life; why did that change? When did it change?

Was it when the farmer's grandfather, the locus of the valley, its chosen representative, left town?

And if so, what happens when the farmer comes back?

[karliahs]

I tried to give myself a little break from writing because I thought that's what I needed, but turns out the writing is load-bearing at this point. what I really needed was a break from writing stuff that I ever intend to polish up and show anyone. tapping out random comfort daydreams full of square brackets and 0 context is vitally necessary in fact

[ghostofsnails]

so did you guys know theres this character called tristan vik disventure camp and

[atalienart]

Someone says oh I love men in books because they're so amazing to the woman they love, all the things they say are so romantic and they would burn the world for her, they respect her and all, men written by women>>>>>>. And then someone in the comments says yes! like in Haunting Adeline, Xane the love of my life! -_- ...