#what writers can learn from

[waterlinkedgirl]

Musical Touken Ranbu: Michinooku ~ Hitotsu Hachisu (Michinooku ~ A Single Lotus)

Here we go! Only a few days after the archive release and toumyu's ninth anniversary (congratulations!)

Michioku, or Michihasu, is a myu I have many conflicting feelings about, both positive and negative. However, I do believe that with the right amount of care in the next Mika-related story myu, the negative can still be cleared. Plus, I'm glad about a lot of things being re-established. The writer does need to step up her game a little on the plot-writing side of things, as well as the understanding-and-respecting-past-myu side of things, but as long as she does, this can still be given a proper place within what was already established.

Keep in mind that these are only the subtitle files, timed and tled to the DMM senshuuraku and the bluray respectively. The archive version will have a talk at the start, so the starting times of the subs will have to be delayed accordingly.

You can find the subtitles and my TL notes document here!

[thefirstknife]

Hi Bel,

I keep seeing comments about people complaining about the quality of destiny’s writing and story in the last few weeks. I haven’t really engaged with destiny since season of defiance, what’s currently gotten everyone so riled up? I thought that people were enjoying Season of the Deep/Witch in terms of narrative, why is Season of the Wish causing people to deride the destiny writing staff again?

I don't know!

Deep and Witch have been absolute bangers in every aspect to me. I've been enjoying all interactions and lore tabs we've received. A lot of them are stuff that we've never had before, a lot of reunions and closures, a lot of development and interactions between characters who you wouldn't really think would have much in common.

Sloane's return and healing from what she's been through has been fantastic, Drifter opening up with her to help her because he also got help from others was fantastic, Sloane reuniting with Aisha and Shayura brought me to tears (Shayura's descent into madness was triggered by immense trauma of Sloane staying on Titan and Titan disappearing), everything with Sloane and Zavala...

Witch was just incredible in every single way; the focus on Eris, the amount of Eris and Ikora content!!!!! Everything about Xivu and Savathun and their interactions together!! Eris finally fulfilling her goal she promised Savathun YEARS ago, getting that closure.

Wish so far has been equally great to me. All the new stuff about Ahamkara is amazing, finally giving us proof for long-standing speculation about Ahamkara and how they aren't universally evil creatures and expanding on them as a species. I love all interactions we've had so far; finally we have Petra back, Mara's singleminded focus on figuring out how to defeat the Witness and her continuous work to improve as a person, ALL SJUR MENTIONS!!!!! I won't talk about the "leak" because we have no context for it so I will wait for the full story to be revealed before I can pass judgment; something that I think should be a lesson to learn from this entire year. Maybe wait for the story to finish before judging the story.

Literally everything this past year that involves Osiris, but especially this season now that he's back in his element with the Vex. And of course every little detail we get of him and Saint. Osiris honestly shaped this year for me with everything that he's done to uncover the biggest mysteries. I think a big reason is that a lot of people just don't like Osiris, which I consider a massive skill issue.

Other than that, I don't know what are the issues people have besides just not being interested in any of these storylines and attributing it to a nebulous "bad writing" claim. I also genuinely believe that way too many people get wrapped up too much in fandom, imagine storylines they want to see and then get disappointed when the actual story doesn't go there. Almost like people forget that this isn't their story and these aren't their characters. A lot of it is also fandom completely warping characters into not what they actually are and then feeling like the canon story is the one that's wrong.

Whatever is the reason, I guess everyone is entitled to their perspective of the story and everyone is free to explore the story in different ways through fanfics and AUs and whatever. I do that too!

But I would definitely ask people to be normal with how they engage in criticism, especially in the current state of affairs. Writers are developers; they experience a ton of harassment and negativity from the community and also from inside the company. And they are online: they can see what we're saying. It's been documented that community commentary has been used to harass writers:

Imprint this into your brain and never forget what these people had to go through. Let's not forget also the way people treated Seth Dickinson on social media when he was active with Destiny fans. "Fans" were actively arguing with him about his own work (telling him that HE is wrong) and were utterly disgusting towards him when he tried explaining what he wrote. His works are now hailed as the best writing in Destiny and people want him back. If I were him, I wouldn't want to come back ngl, not with how he was treated and not with how fans are still treating writers (and hey, Seth wrote LF Collector's Edition! So he was back, technically, this year!). Let's not forget that a lot of writers are members of various marginalised groups. And I'd definitely not want to go back with zero support from leadership.

Which is also an important aspect for all developers, including writers: sometimes they have orders they may not like, but can't argue against. They do the best they can with what they're given, the time they have and directions they receive. And with that in mind, I am enjoying everything we've gotten this year, obviously with some specific complaints about things I didn't particularly enjoy (like the universally mid reception of Defiance; I've spoken about my gripes with it before, a big one being the shafting of Suraya who should've at least been mentioned in a lore tab).

I can tell that there is passion in their work, even if maybe they would prefer to do more with it, but can't. Maybe even if they want to take different routes, but can't. But from what we got, I can feel that they care about this world and these characters. I can tell that someone lovingly wrote about Sloane and her friendships with two grieving women. I can tell that they deeply cared about Sloane's friendship with Zavala and that they loved showing us Saint and Drifter caring about a fellow trauma survivor.

I can tell that the writers are immensely careful and loving towards Eris; everything she went through was crafted with love and passion from both writers and her VA. Eris' story is such a fundamental aspect of Destiny and I can tell that this was important to the writing team and that they gave her everything they could to do justice to her character and her arc and her healing and her release from the cycle she was trapped in for so long.

I can tell that there are writers who care a lot about Osiris and Saint and their relationship. I can tell that someone cared a lot about expanding on Ahamkara and giving them more personalities. I can tell that someone cared DEEPLY about Sjur and Mara and that her repeated mentions are the passionate work of writers who want us to remember her.

I could go on. And I know that not everyone sees it this way, which is fine; we all have different ways of perceiving stories. I enjoy discussing things we in the fandom disagree on and I enjoy hearing different perspectives! Unfortunately, this has recently become rarer and rarer. And for the love of god, please try and treat writers with some respect, especially now, especially those who are still working and doing their best with the shitty situation they're in. None of the cries of "poor devs" ring true to me unless the same is given to writers, instead of treating them like punching bags.

[thewhizzyhead]

if I said eisa davis' influence in making lmm actually write something rather radically progressive has subsequently inspired me to return to my roots of actually fucking thinking of making radically progressive musicals after a 3-year long hiatus in doing so, then what-

[deoidesign]

Can you make a tutorial on how you world build and make ocs? I can't seem to make any people in my brain, but then when I try to come up with environments jobs, beliefs and little details to slowly come up with someone, I think: well I don't really know how people have influenced the world- it's a weird loop

To be honest, I don't think I can! Writing is an extremely personal process. The way I write is directly related to how I process things, what I find important in stories, years of my own analysis of my and other's writing, etc... The way you write will be unique to you, as well. But I can explain how I personally think of it.

The short answer:

Write. Write anything and everything, it's a tool to explore your ideas. Analyze your own writing, and write more. Then, as you discover which ideas you want to develop, write more to explore them more. You won't know what you want otherwise!

The long answer:

I think this kind of loop is common. It's easy to feel like everything needs to be done "at once," because our job as writers is to make elements logically fit with each other for our readers. But as you've discovered, developing multiple elements simultaneously isn't really possible, or at least is extremely difficult.

Personally, when I think of writing, I break it into three major elements; characters, world, and plot. As much as possible every scene explores one or more of these, and as much as possible these three things tie back into what I personally consider most important: theme.

Everything I do is in service of the themes I want to present. Without them my events feel aimless. It can take a while to discover them, but they're the core of my work. You will have to discover what you feel is the core of yours. Analyzing other media helps with this too.

Concepts in your brain exist in a state of infinite potential. But when you start writing you have to start making choices, which removes potential as you move forward... But you have to move forward anyways. If there's ideas you want to explore later, you can always explore them later.

What this ends up meaning, to answer your question, is that I don't think of my characters as "people in my brain" or my worlds as something people have influenced... Not at their core, at least. They are tools that I use to represent specific ideas. Obviously they're also my blorbos, but mostly they're serving a specific narrative purpose.

So above all else... Write. Write, and discover what you're writing about, and then start over and write with that in mind. Keep doing this. But you have to write!

[constantvariations]

Tripping on "the goal of a savior is not to be lionized" again and I can't help but think of that one jewish story

Compare Adam and the wealthy man to those with Hero Syndrome: all are (supposedly, in Adam's case) attempting to gain attention and public affection by doing good deeds, but opposing systemic oppression or building an orphanage are acts that benefit large swathes of people as opposed to an individual resolving a purposefully contained conflict. There's reason to condemn the latter, especially when it's done by those with authority over life and death, but the only grievance to the former is thought crime

Which is, like much of this show, a very Christian thing. Having selfish motivations behind actions do not cancel out the good those actions cause yet thoughts are also subjected to the judgement of god with equal weight

I haven't the slightest idea as to the writers' personal beliefs, but seeing as how Texas is 77% christian and christianity dominates American culture as a whole, it's impossible to argue that it hasn't influenced their writing. The theology I believe rwby echoes the most is Calvinism, the most rotten of the bunch. It holds the belief that humanity is so thoroughly stained by the original sin that they are incapable of saving themselves, that only god's grace can bring them salvation

But grace is in short supply

Thus, god decides apropos of naught but ☆~vibes~☆ who gets salvation and who gets eternal damnation. This choice cannot and does not change no matter how much good or evil a person puts into the world

This is why Emerald and Ilia's redemption arcs fall short, why Adam was never even considered for it, why our protagonists will never need it despite their own multitude of sins: redemption is not a thing earned, it is a thing bestowed. Those who have it are Good, now and forever, and those who don't are Bad, now and forever

[awkward-teabag]

I have to wonder how many people celebrating AI translation also complain about "broken English" and how obvious it is something was Google translated from another language without a fluent English speaker involved to properly clean up the translation/grammar.

Because I bet it's a lot.

I know why execs are all for it—AI is the new buzzword and it lets them cut jobs thus "save" money and not have to worry about pesky labour laws when one employs humans—but everyone else?

There was some outcry when Crunchyroll fired many of their translators in favour of AI translation (with some people to "clean up the AI's work") but I can't help but think that was in part because it was Japanese-to-English and personally affected them. Same when Duolingo fired many of their translators in favour of LLM translation. Meanwhile companies are firing staff when it's English to another language and there's this idea that that's fine or not as big a deal because English is "easy" to translate and/or because people don't think of how it will impact people in non-English countries.

Also it doesn't affect native English speakers so it doesn't get much headway in the news cycle or online anyway because so much of the dominant media is from English-speaking countries and English-speakers dominate social media.

But different languages have different grammar structures that LLMs don't do, and I grew up on "jokes" about people speaking in "broken English" and mocking people who use the wrong word when it was clearly a literal translation but the meaning was obvious long before LLMs were a thing, too. In fact, the specific way a character spoke broken English has been a way to denote their native tongue for decades, usually in a racist way.

Then Google translate came out and "Google-translated English" became an insult for people and criticism of companies because it was clearly wonky to native speakers. Even now, LLMs—which are heavily trained on English compared to other languages—don't have a natural output so native English speakers can clock LLM-generated text if it's longer than a sentence or two.

But, for whatever reason, it's not seen as a problem when it goes the other way because fuck non-English readers or people who want to read in their native tongue I guess.

[daisybell-on-a-carousel]

Currently thinking about kid Jason trying to look like his dad (willis)

[pebblezone]

Thinking so hard about sertegra dancing fic that has not yet been created

[hadesknockedupintheunderworld]

You know, I'm glad that some of us take the step to embrace things that we like even if they're "cringe" or "objectively bad"

But perhaps we could take the next step forward and embrace the idea of reading into books/shows/movies/etc even if they don't seem deep. Perhaps we could understand that the two kinds of media aren't either "shallow and meaningless so you're weird and brainrotted to read into it" or "incredibly and profoundly deep in every way so if you don't analyze every single angle of the thing then you're brainrotted". Some media is deeper than others, but all I propose is that no matter how deep it seems it's acceptable to dig into the thing and take the media seriously instead of just assuming that because of ____ thing (such as target audience or how cringe it is) the media not deep and will never be deep and everything good about it happened on accident.

[alicefromwhichplanet]

THIS.

(Been trying to find the original post but failed on tumblr. But I want to repost this so much. Tell me if the author thinks it’s a violation of their copyright. I’ll delete it.)

[babycupart]

i can just imagine a horror/comedy montage of dracula training renfield like how in the pink panther inspector clouseau has that manservant that he orders to attack him unawares, but it’s dracula doing the sneaking and sudden attacks from nowhere so that renfield is always ready for anything. home alone style traps, knives flying everywhere, limbs getting torn and disembowelments, outlandish solutions to unsolvable problems, fucking halberds being launched from places they shouldn’t even fit in, classic looney toons anvils being dropped, the most insane obstacle courses known to man etc etc

[nyxofdemons]

i think the best way i can articulate why this episode is my favorite of the whole show so far is that it was so emotionally gratifying i don't even care about the pacing issues

[starredforlife]

If you fucking morons cared one ounce as much for palestine as you do for this horrid little show.

[fictionadventurer]

wowww I just watched Love Strikes Twice and it was actually wonderful! It was sweet and funny and I could really see the couple’s teamliness and what Maggie’s mom told her about finding “the one” (or there not being a One) was kind of just what I needed to hear right now. I’m so glad you told me about it <3

I'm so thrilled you loved it! Recommending Hallmark movies is dangerous because low expectations can skew my idea of what's "good", so it's a relief to know my instincts weren't totally off.

I actually rewatched this movie about a week before you sent this, and I was thrilled to find that it held up. It's so sweet and funny, and yes, the teamliness! They felt like a real couple! I realized that the reason this feels more real than most Hallmark romances is that they let the guy be dorky. There's a scene where she tells him, "I know you have a thing [edit: she means a phobia/disgust] about wearing other people's clothes", and it's just a funny little detail that you'd see in a real person, not in a wish-fulfillment Hallmark guy. That kind of thing informs all the characters, and it's great.

And yes! The speech about "the one" was one of my favorite moments on rewatch. It's exactly what I think about the subject--"true love" is about choosing to love the person you've made a commitment to--and I wish more romance films in general (not just Hallmark ones) would recognize this.

[curator-on-ao3]

Do you write multi-chapter fics in order or do you jump around? And if you do go in order, do you go back to revise earlier chapters as you go or are they pretty much ready to post once you move on to the next chapter?

I love this question, anon, thank you! ❤️

I write multi-chaps in order — which I don’t necessarily recommend because a scene I may be three chapters away from writing will sing and dance in my mind and we’re not there yet. So I will add key elements of that scene to my outline, which actually can be good in the long run because by the time I finally write the scene, the words can flow fairly easily because the scene has been in my mind for so long (with outline memory aids for specifics).

I know some people write out of order, and I’m glad that method works for them. For me, I need the linear nature in which the story will (presumably) be read to inform the writing. As always, though, the best way to write is the way that works for the writer.

In terms of revision, I revise constantly. Little stuff, big stuff. I need the whole story written and edited before posting even the first chapter (with one exception because I knew exactly where I was going and felt like I was going to explode if I didn’t start posting). For me, the revision process can help sharpen things like foreshadowing and key themes. I find revision deeply rewarding. It’s like — I built a home and now I get to buff the floors and straighten the address numbers and make sure the cookies in the oven are done just in time to invite in anyone who wants to share the home I built for whomever might want to be there.

[mariocki]

New Scotland Yard: A Case of Prejudice (2.2, LWT, 1972)

"Now, what about this audience - do you know any of them?"

"A lot of them, some of them are friends of mine, they live in the street."

"Black and white or... all black?"

"Both, black and white. That's what this is all about, right?"

"That's what what's all about?"

"This place, this street, this district, this killing."

"Tell me what you mean by that, please."

"This was a community venture; I spent ten years in this district trying to get people together: black and white, together. That's what my play's all about, right? Simple people power. Look, my play says that white power is finished, but there is always a chance that -"

"I don't think we want to go into politics, Mr. Buckingham."

"No, go on, please."

"You don't want to go into it? But that is why Charlie was killed!"