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fazedlight · 4 months

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20 Questions More

A deeper and more detailed version of the 20 questions for AO3 fanfic writers. Thanks @eqt-95 and @inkedroplets for the tag!!

1) How do you keep getting ideas for your ship/fandom?

Daydreaming. Writing fanfic is secondary to that. It was only in the past couple of years that it occurred to me that I could write some of it down and see what happens.

2) Which authors inspire you in your fandom, and why are they so freakishly good?

@searidings is my absolute favorite, the way she unravels the characters' emotions and angst is absolutely superb.

3) Aside from the characters of your main ship, who are the characters you love to write?

Ohhh I really love this question:

Cat in Inauthentic, as well as this ficlet and this one. I love her sense of humor.

Lillian in Darkness in All Things. For the same reason as Cat, I just love her snark.

Zor-El in Even Though You're Kryptonian. He kind of surprised me when I started writing him, and to this day I don't know if some of his lines are driven by genuine confusion or if he's just trolling.

4) Are there pairings or tropes you know for sure you'd never write about? Which ones?

I'm a never-say-never kind of person. There's a lot that I don't think I would ever write, but I've been surprised on where stories have taken me before, and may be surprised again.

5) What is your writing process and why is it cursed?

"Process" might be an overstatement...

I have a "scribbles" doc where I keep my ideas. I cull ideas often (though ideas often make their way back anyway). As I write more into the doc, a certain idea may get too big for it, so I spin it out into its own doc.

From there, I kind of go back and forward between outlining and writing. I write completely out of order. Which is why, so often, my multichaps are almost fully drafted by the time I publish chapter 1. I've usually already made it to the resolution point of the plot (meaning, no one's in danger anymore, the bad guy is gone, etc), though the final chapter often doesn't get written until later.

6) What is your favorite part of your writing process?

I love when I've finished the first pass of a chapter/one-shot, and I'm in the editing stage. The story really feels like it's coming together at that point, and it's before all the self-doubt starts bubbling up (that hits hard just before posting).

7) What’s the weirdest thing you’ve had to research for a fic?

A friend of mine is a professor in astroparticle physics, so I spent a couple of hours asking him about quantum mechanics stuff. But only a small portion of that ended up being relevant to the fic and the rest was just for fun.

8) Is there a particular writing rule you struggle with (grammar, spelling, tense, reality in general)?

When I'm first sketching out a scene, about half the time I write in present tense (it feels more like I'm writing a play at that point sometimes), but I publish in past tense. So I end up needing to do a bunch of revisions 😭

Also TYPOS.

9) What was your hardest scene to write so far and why?

Fight scenes are ROUGH, man.

This is probably one of those answers I'll change every time depending what's at the top of my mind. But writing out a fight scene - like in Even Though You're Kryptonian, Darkness in All Things, or It's a Metallo Life - gets surprisingly difficult if there are more than 2 people.

I know exactly how I'd shoot those scenes if I had a camera crew, special effects, etc. But it's hard making sure the audience is aware of where everyone is positioned, why they can/can't act in the moment, etc.

10) Have your characters ever done something you didn’t expect, changing your plot completely?

All the fucking time, man. From the very beginning, even. I was trying to have Lena still be angry by the DEO scene in So I Kept Pretending, but that didn't make sense anymore.

I actually recently had a fic idea dissolve because it wasn't vibing with the characters. Which is fine, it became a ficlet instead!

11) If you could converse with any of the characters, who would it be and why?

Absolutely Kara. I have so many questions about kryptonian culture and how it drives her character.

12) What are some of the tropes or themes that you find yourself returning to in your writing?

Trope-wise, I definitely return to the Rift again and again. I find themes around forgiveness and understanding to be really interesting. Can two good-hearted people with conflicting needs hurt each other while still loving each other? How? What does that mean for the aftermath?

I think that's part of what draws me to supercorp - the complexity of their relationship. How they can both be right, and both be wrong, and love each other enough to rebuild from the ashes.

13) What's your most important resource as a writer?

Coffeeshops and libraries. Getting into slightly busy, cozy environments, out of the house, really helps shake loose the stuff in my head.

14) Can you share some of your strategies for editing and revising your work?

Especially for longer works, I tend to put the work down (and circle to other works, or go outside, or whatever) before coming back to it. It helps to step away for a bit - it's easier to pick up on repetitiveness or unclear passages when coming back.

Though I always find mistakes in my stories much later, so I'm not sure I'm one to give advice on this anyway 🤣

15) Which is worse: making the summary, picking the tags, or the anxiety when you post your fic?

Posting anxiety is the absolute worst. If I leave myself in front of my computer I'll end up refreshing constantly waiting for the first kudos (if it's a one-shot or first chapter) or the first comment (if it's a later chapter) to figure out if I've accidentally pissed off everyone in the fandom somehow.

Luckily, my partner will usually pull me away to go on a walk or grab lunch or do something else to take my mind off it 💗

16) How do you define success for your fanfic - hits? Kudos? Comments? Bookmarks? Or just if you like it?

I only publish what I like. Sometimes I'm nervous that other people won't like it, but I will always like it. Stories that aren't going a way I like - even if I think the idea is cool! - will dissolve. Just recently I dissolved one that felt like it was a cool idea, but it didn't make enough sense for the characters.

Kudos and comments always make me feel appreciated as an author!! Sometimes I'll get a user subscriber out of it, too, and it feels like an honor that someone would want to hear from me more than once.

The thing that feels most precious, though, is when someone comments on how something made them feel (I love making people laugh at my dumb jokes, or cry when a story is supposed to hit emotionally), or when they pick up on something that I wasn't sure would get picked up on.

I tend to lean towards understatement in my stories. For me, the biggest success is knowing that someone recognized what I was going for, without me being overt.

17) Do you have a playlist for your favorite character/ship?

Alas, I don't. But given that Kara is canonically a Britney Spears fan and musicals nerd, I feel like my default playlist works 🤣

18) If fan art was going to be made from your work, which fic would you pick and which fan artist would you like to create it?

Oh gosh, I don't want to pick someone and create pressure, or not pick someone and make them feel bad. This fandom has so many great artists!

That said, some of my favorites do commissions, you can see everything I've commission here.

19) How many WIPs do you currently have?

1 supercorp & 1 rojarias (for @supergirlmayhem)

For me, 2-3 is my happy number, so I'm relieved to be down to this after being so high (I think up to 11?) for so long.

20) What's your advice to new fanfic writers?

If you're wondering why you can't find that story you want, it might mean that you're the one to write it 💗

- - - - -

Tagging (respectfully and without pressure) @rustingcat @luthordamnvers @sssammich @tinyvariations @thatonebirdwrites @theredcapeofk @sideguitars @luthordamnvers @mycatismyeditor @inkedroplets @nottawriter @snowydragonscave @jetgirl1832 if you want some rapid-fire q's thrown your way. But also anyone who'd like to do this!

#I'm not sure who has been tagged already so sorry for additional tags!!#mel stuff #ask game

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ursafootprints · 2 years

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6, 7, 10, 15 c;

Thank you for playing, these questions were super fun to think on and answer 💖💖💖

6. what’s the hardest part of the writing process for you?

Transitions/flow! Historically I have mostly written one-shots or fics like Naturally where yes, it's multichap, but it revolves around only a few scenes where the chapter breaks themselves double as scene breaks, so for YNYD and some of my lengthier WIPs it's been difficult to translate my bulletpoints-in-an-outline into something that feels cohesive and organic. This was my major struggle with the most recent chapter of YNYD, because the main thing that chapter was For was exploring the development of Tony and Peter's intimate life, and I had a hard time beating it into a shape that felt cohesive instead of like a collection of random gently-escalating makeout/smut scenes.

For one-shots, though, it's just Doing The Damn Thing, since one-shots are usually pretty fully-formed in my head and I don't have to worry about actual ideas or flow. I've gotten much better at giving myself permission to just write a sloppy rough draft and clean it up in the aftermath since I started using 4thewords (SUPER fun, but it is a subscription,) but getting stuck on not being able to immediately come up with The Exact Wording I'm Going To Use In The Final Draft was my biggest struggle prior to that. (Genuinely, until I started using 4thewords my "editing" for my chapters was 95% just fixing typos, because I just straight-up wouldn't write a line down until I had it absolutely perfect in my head, haha. Now I have to edit a lot more, but it's still more efficient than THAT!)

7. how does receiving or not receiving feedback/support impact you?

Hmm! This is a really interesting question– on the scale of “writing for engagement” to “writing for myself” I’m definitely much moreso on the “writing for myself” side of things and I’m influenced very little by “is this what other people in fandom want to read” when it comes to deciding what fic ideas I’m actually going to pick up and follow through on. I have noooo idea if this is something common for writers or if this is an ADHD thing or if this is a just-me thing, but for me, the urge to write something is driven by “I have this idea and I just have to see what it looks like fully-formed,” and if I don’t write out those ideas then I’ll sit there and imagine and reimagine and reimagine the same scenes over and over and over again until I finally actually write them and get them out of my head. (This has been a great motivation for YNYD, because there are still scenes to come that are in this stage for me, so I’m stuck in imagine-reimagine mode with them until I actually get there!) So even if something is unlikely to get engagement, I’ll still write it, because I’ve got to get it out of my head For Me.

But! Of course I LOVE engagement, I love my readers, I find comments incredibly motivating and particularly when people get into genuine analysis of what the characters are going through or relationship dynamics or what the themes of the work are– that really excites me and often inspires me to go and make new notes on my outlines/behind the scenes documents or open up my docs to finally make myself edit That Bitch Of A Scene etc. etc. And then… as much as I am more of a write-for-myself type, it is hard to say, like… idk, would I have written 100k+ words of YNYD if I was getting zero engagement? I don’t know! I’ve never been put in that position– Starker fandom is by far the most active fandom I’ve ever written for, but I’ve always gotten at least some engagement on my writing even for smaller fandoms where a Highly Successful fic means that you get 4 comments instead of, like, 40. I do think I still would have written it due to the aforementioned “gotta get these scenes out of my head” thing, but maybe more slowly/not making it as much of a priority, idk.

I will say that because Starker fandom is so much more active/enthusiastic than other fandoms I’ve been in, the initial reception to my fics was a little overwhelming (though wonderful, obviously!!) to where I did backslide a little bit into like, “oh no, what if people don’t like that I did [XYZ] in this chapter” and was feeling more pressure about my writing, until eventually things evened out and I was able to get back in my zen place of focusing on how I felt about the fic/chapter/whatever instead of thinking about audience reception. (And to be clear, I’m DELIGHTED to be a part of such a wonderful, supportive community– it was just a big adjustment coming from fandoms where having a runaway smash-hit fic meant getting a fourth of the engagement, haha.)

10. how has writing positively impacted your mental health or overall mood?

It’s been soooo nice. I wrote consistently as a preteen/early teen, which I loved and was wonderful and I had so many positive experiences in fandom back then, but then for about a decade starting in my midteens my primary fandom outlet became text-based RP and I stopped reading/writing much fic at the time! And that was also wonderful and I made so many long-term friendships during that time, but eventually my energy for RP kind of dwindled, I found myself coming back to writing, and it’s been a blast. Having a source of regular creative engagement (that doesn’t rely on others the way RP does) has been so lovely and has given me so much energy during times that were otherwise pretty stressful.

15. how do you think your writing has improved over time?

Oooh, this is such a tough question. Both because the tone in my recent works and my only-semi-recent works are so different– like, I don’t know if I’ve actually gotten better at conveying mood and depth of emotion, or if I just didn’t have as much opportunity to do that for my fluffier, more romcomesque fandoms– and because I don’t… ffffocus on the technical skills of writing, much?

Obviously I have improved at writing since I wrote my first fic at the tender age of 8, but I don’t really edit with an eye towards overuse of words, avoiding “””bad””” words like ‘very’ or whatever, efficiency/redundancy, balance of sensory vs environmental vs emotional detail, varying sentence length to improve rhythm, blah blah all that stuff you’re “supposed” to do if improving your writing skill is your goal, because for me it’s really not!

I want to tell my stories how I want to tell them, with the exact amount of effort that I want to expend towards that, and not a single drop more, haha. My goal when I’m writing is to convey the emotion/dynamic I’m trying to express as thoroughly and accurately as possible, so all of my editing is geared towards that vs the more technical aspects of writing– so yes, obviously achieving that goal often means modifying for awkward phrasing or changing up the pacing or varying sentence structure, but I’m not approaching every scene with the Goal of having perfect phrasing and perfect pacing and perfect sentence structure, if that makes sense? I don’t hunt for things that are off; I just highlight the spots that immediately feel iffy as I’m writing them, and I come back to them later to tidy up. And honestly, I feel like a major trademark of my style is the deliberate use of run-ons and embedded clauses and sentences that are Way Too Fucking Long in a way that I’m sure any editor-minded readers would LOVE to get their hands on and tear apart and shuffle around and rearrange and make more cohesive/coherent, but I like writing that way!

To be clear, I think it’s awesome and incredible when people approach fic-writing with the intention to actually improve their writing itself, but that’s just really not how I approach it. I don’t have a goal of being professionally published someday, and I don’t want to dig into the guts of my fics to think about what flaws they have and how I could have made them better by honing XYZ skill– that’s not fun to me, and to me fic is for fun! It’s about making myself sad or happy or angry or horny over my blorbos, so when I edit or I’m happy/unhappy with a scene it’s alllll about how well I feel like I’ve accomplished that goal, so it’s really hard for me to judge improvement in my writing based on any other metric. Sometimes I nail it, sometimes it feels off, and that has been the case for as long as I have been writing, haha.

#ask games #ynyd

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kd-holloman · 1 year

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Tips and Tricks Tuesday: Drafting

Sometimes I struggle to come up with what to talk about on Tuesdays because as a new self-published author, I feel like I’m not “qualified” to talk about the trials and tribulations that come with being an author. I am still figuring this whole thing out, after all.

However, I don't need to talk about being an author. I can talk about being a writer, because being a writer is something I know very well.

So, without further ado, welcome to …

Tips and Tricks Tuesday!

Today I want to talk about my drafting process. Please note that I say my drafting process, because all writers are unique and although their process may be very similar, I doubt no two are exactly the same. What works for me may not be what works for you.

In order to make a draft, I have to have something to write about. So, by this point in my process I’ve already nailed down the who, what, when, where, and why of my story. I’ve determined the character(s), which I want to be my narrator(s), if I’m writing in first or third person, and past or present tense. I’ve determined how I want my readers to feel about my story as a whole (and at major plot points) and I’m ready to start drafting.

1. I use my outline as a guide to nail down the major events of the story, but it is not set in stone.

I’m currently working on the first draft of book three in the MaM Trilogy and have a rough outline. In my head I have somewhat of an idea of where the story is going (major plot points have been set – albeit not in stone) and am ready to roll. Do I love all of the scenes in my outline?

No, but that’s okay. If I can come up with a better idea that fits and makes more sense, I’ll use that instead of what I have in my outline, but unless I can come up with something that I truly like more than what I have on the page, I’m just going to move forward with it. I can always make changes in my next draft.

2. I write my first draft and try not to dwell on the little things.

It’s a first draft. It’s never ever going to be the shiny polished product I want others to read. I don’t dwell on the typos or get choosy about word-choice because the sentence, paragraph, chapter may not even make it into the next draft.

My main focus is getting the story down and expanding on it from there.

3. Leave it alone.

Once my first draft is written I give myself a few days (I try to hold out for two weeks, but it’s pretty tough since I’m not good at letting my mind roam) before looking at it again.

4. Read through, be unbiased but fair, and make comments to myself as I go.

This is the part that might be hard for a lot of writers. Remember when I said I don’t do any sort of revisions when writing my first draft? That’s because it takes the focus away from just getting the story on the page, but all of those typos? They’re going to be staring right at you. Now, for the sake of time and my own ego, I indulge myself in running the spellchecker before I start my read through. However, if it doesn’t catch it, I don’t take the time to fix it because I’m going to rewrite the whole thing no matter what.

5. Rewrite it

Aka: The Second Draft

Seriously, I write it again. I’m sure you think I’m nuts when there is a feature to literally move one chunk of text to another document, but hear me out. If there are scenes I like and want to fit into my next draft, I pull each document up in a split screen on my laptop and type it. While I do, that is when I screen for typos, select better words, and rearrange paragraphs and sentences.

6. Leave it alone...again.

Trust me, I know how exciting it is to finish a draft. It’s so easy to want to scroll right to the top of your document and start reading over.

Trust me, give it 2-4 weeks. During this time, I start the plotting stages of another project I want to work on. It’s enough to fill my time doing writer-related tasks to keep me from feeling guilty for not writing, but also keeps my hands out of my draft.

7. Read it again.

This time I’m scanning for any mistakes, but also focusing on the major parts of my story. I want to start hammering in ways to convey emotions so the reader really feels things how I want them to feel. I make note of this for my next draft. I also address what parts need to be moved, re-worked, or tossed out completely.

8. Write it again!

Same deal as before: two tabs, I read in one scroll in the other.

9. Let it sit...but this time, find beta readers.

While I let your third draft marinate, I like to interact with other writers and search for beta readers. I find that offering to swap stories with someone is the most effective way to get beta readers. I’m just careful making sure I don’t overwhelm myself with too many swaps.

10. Revise

I run through my manuscript (run the spell checker, pick better words, make sure there are no glaring inconsistencies) and once it has my final seal of approval send it to your beta readers.

11. Repeat as necessary.

I repeat steps 8, 9, and 10 as many times as needed until I feel my story is as perfect as it’s going to get. Then, find myself an editor.

#tips and tricks tuesday #writerblr #writeblr #writers of tumblr #writing

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slippingbetweenthestars · 2 years

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How goes writing on your fanfic? How goes next chapter? How do you come up with stuff? Writing process?

Wow! My first unsolicited fic ask! I'm going to assume that this is in reference to Growing Where Planted, as Black and White are Also Colors is a fairly niche story and hasn't been updated for a while.

It goeth fairly well! I've been busy with a lot of life stuff lately but I have a chapter almost drafted (mostly finished, really—I just need to add a bit to the conversation).

After that it gets slightly trickier because I'm having a hard time balancing different characters' perspectives. Specifically, whose perspective is relevant enough to show and how much should be shown? I get easily bogged down in tiny details, so it's hard to move the plot forward when I'm tempted to show each scene in its entirety from 2-4 perspectives. When I focus on one character, inevitably I ask myself what another character is doing during that time period, and the problem compounds.

Related to that challenge is the fact that this story is a bit of a grab bag of different tropes that I enjoy, but when you come at a story with "I want to include almost everything I like," scope creep becomes a problem. That this fic is so self-indulgent is hard because it means I'm tempted to just include everything, and not just tropes, but each of the 4 perspectives on one scene, etc.

I've also been toying with adding yet another subplot (*sigh*). Yes, I know that's a bad idea, given the challenges I've laid out. The problem is that I included a never-shown-on-camera four-year-old child by fandom default, and it's been a long time since I was regularly around kids of that age so I have no idea what to do. I can't even watch him to imitate a kid actor's mannerisms, because he exists in dialogue references only. No matter WHAT I do with Tony, I'm going to have to do a lot of research, unless I just decide to ignore him (hard to do—four year olds are not potted plants) or vamoose him away somehow. So I'm currently dealing with some mental resistance on that front, and since anything I do with Jackie or Pete involves Tony and the subplot would need setting up soon, I need to make a decision quickly.

Re: How I come up with stuff/writing process

While I do have a rough outline of major milestones in the story, I tend to be more of a discovery writer when it comes to characters, and a plot-hole filler when it comes to everything else. When the story was very young, I did a fair amount of brainstorming and wrote that down, so I have many pages of worldbuilding/plot bunnies to mine. At the brainstorming stage (though it still happens occasionally), the show's dialogue provided many odd little inconsistencies and unusual details that served as a jumping off point.

So, for example, how on earth did alternate earth circa 2006/7 get technologically advanced enough to produce direct-to-brain streaming? Forget airships (though that does give me some suggestions about how far back in the timeline changes extend to), wearable tech that interfaces directly with the brain suggests a massively different 20th century.

How did earth get advanced enough to create cybermen? To have an existing Geneva Bio-convention governing the creation of new life forms?? AKA a presumably internationally ratified agreement governing new life forms? That suggests cybermen have precedent.

From a Doylist perspective, Pete's world just had to sound right enough for the show, so when plot demands a reason that Cybermen aren't permitted, a big authority is needed, and so Geneva conventions are referenced but now with reference to bio-conventions. But from a Watsonian perspective...FOR THE LOVE OF SUSPENSION OF DISBELIEF, HOW???

Because the Geneva Convention isn't just a name for "high-falutin' government rules" that you can just swap around and have nothing change. It's a specific agreement made in the aftermath of a truly awful war (much like the earlier Geneva Conventions and the Hague Conventions), and they exist in the form that they do because of the specific horrors of the second World War. It's like "war crimes"—it's not just a name for 'bad things,' it means something specific, including conscripting children, using poison weapons, and torture (among other things).

So, if a bio-convention exists, when was it made? Why was it made? What does it contain? How does it fall short? What ramifications does that have? How does it affect my characters? How does it affect the sociopolitical landscape of Pete's world in the wake of the cyber crisis? Those are the kind of questions that prompted the plot of Planted.

So this particular fic was a whole lot of "how can I fill these worldbuilding holes?" combined with some favorite tropes, "huh, Rose looks a lot harder than we last left her," and some extrapolation from her s4 cameos, then working from there. It's a lot of silly things treated seriously :)

#personal #fic stuff #fyi it's gen con 7 because what we call the geneva convention is technically the fourth geneva convention #and i'm including the protocols in the count number and altering the content therein slightly #look there are also some way more involved alternate histories i could have looked at #but...uh...look those are really serious things to deal with and it's already enough of a headache working with what i've got #before i go and decide to do the following:#change the ending of wwi / change the history of the weimar republic / unwrite the second world war / unwrite the holocaust #unwrite every single convention that came out of that / rewrite the entire history of europe #re-write ever single country that gained independence from colonial/imperial occupation because of the events of wwii #(oh and that's not to mention the fact that one silly little webcast apparently decided that all of south america IS A SINGLE COUNTRY??)#(i am ignoring that because i cannot afford to take that seriously. i cannot afford the landmines waiting for me #heck i haven't even decided whether or not whales scotland and ireland are part of the not-UK #(it's not the uk because it's canonically not a kingdom but a people's republic)#there are so so so many ways to offensively and ignorantly unwrite everyone's history)#and in the most loving way possible RTD absolutely did not understand things like nuclear weapons #despite using them for several plotlines #yes they can destroy life on earth as we know it #no they cannot destroy earth-the-planet as in the giant gravity rock #so i think i'm in a good place to decide to ignore details that are objectively ridiculous

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rumblelibrary · 3 years

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The Diary of Doctor Laszlo Kreizler

Chapter 1

Synopsis: Alienist’s notes are private, sometimes gruesome, secrets of others and of himself.Those pages belongs to secrecy and decadence, have a glimpse to this world made of drafts, notes, accidents and reflections. Or maybe it is you the only person that should ever reach for it.

While you read this imagine Laszlo mostly at the end of his day, scraping the ideas and the thoughts, adjusting previous notes with additions, closing the day behind himself with a couple of sentences while sitting in his evening robe, a good glass of whiskey and his glasses bridged almost at the tip of his nose. Or maybe imagine yourself, you sneaky thing, reach for it from a far shelf.

Word count: 3k

Warnings: listen, this is the set of ideas and confessions of a man living in the 1890’s. Most of them will be outdated, rough, even deprecating in some analysis of the roles of men, women and social status, religion, etc.So be prepared, my point is to make Laszlo reflect upon those topics, but to be as faithful as I can to his time. Mention of death, mutilation, self harm and a minor depiction of a fight. Psychologically troubled young children ahead! Author’s note: I am a nerd for a good Victorian novel and a sexy Alienist.I have always been charmed by Laszlo’s mind and inner conflicts. So I took the chance and tried to have a run into that rollercoaster. The story is placed between season 1 and season 2.

Diary belonging to Dr. Laszlo Kreizler. This is a professional book of annotations over medical treatments of an alienist toward his patients. Do not disclose and send it back to the address if found: Kreizler’s Institute, xxxxxx, New York City (NY) L.K.

Samuel Griswold Goodrich, Illustrated Natural History of the Animal Kingdom (c1859). Contributed for digitization by University Library, University of Illinois Urbana-Champaign.

Schiller in his “Die Weltweisen” wrote: So long as philosophy keeps together the structure of the Universe so long does it maintain the world’s machinery by hunger and love. From the philosopher point of view sexual life takes a subordinate position in human’s life, from recent studies pushed by European philosophers, everything is about sexuality and its development. I like to think of the experience of being an alienist as the process of Queen Penelope that, while waiting for her husband Ulysses return, undoes her craftwork every night. I undo the fabulous constructs of people’s beliefs to go back to the rough sketch that stands at the beginning of their loss, their complex, their pain. Maybe that’s why working with children is so motivating and fascinating. They can be saved and yet, I am well aware, some of those sketches already traced in their young lives equal to scars that not even the most advanced theories could cure. But I can sooth them. I can prevent them the torment, the anguish, the recollection at night of those monsters. I feel like a poet would be a better alienist than a philosopher, but I have got no poetry nor philosophy in my veins, but the cold experience of the razor blade judgment of Life itself.

Today I observed a fight among the children at the Institute. Age range between 10 and 12. Boys. The fight was over the possession of a side of the playground, the territory of a pack of youngsters formed under the name of Steven. Peculiar lad, coming from a military background finds comfort in replicating the schemes he lived in his family. He takes the role of the Father/Captain of the team and subjects children that come from a similar background story, but do not posses his same attitude to the command. All quiet on the front, until the space he declared is own spot got affected by the presence of others. Intruders. I knowingly let the events unfold to see how Steven would react to his challenged authority. His reaction was, at first, worded, a sketch, a stage-play of an action he witnessed over and over, and he knew the part so well that some of the contending kids lowered their stance against him. Among considering to mildly intervene into this pyramid scheme of authority, another boy, Jan, calls himself on the role of the educator and hero of the masses and proceeds to unfold a wild and well assessed punch on the newly declared dictator face. Balance is established again. No need for me to arbitrate, once more the laws of nature seem to apply to children as in a state of nature.

Meet John Moore over lunch. His job at the newspaper is picking up, he is charmed by the spirits and the wits that he finds in his shared office with all the other writers. He mentions many, goes on and on over qualities and troubles, gossips and tendencies, and even little scandals here and there. To be aware of all those details gives me no interest, but to see a dear friend so invested clearly gives me something to pick up. To consider also the amount of details and the way he describes this or that member of the journal, I can do a small exercise of analysis. It is almost too easy because John is painfully genuine, even some of the kids at the institute would beat him hands down in a battle of lies. The more he likes somebody, the more he goes on about all the details and the characteristics, often letting aside the physical appearance. When he doesn’t like somebody he has a couple of adjectives for the wits and around four or five for the physical aspects that usually indulge on some repulsive idiosyncrasies. John is a man that painfully fits in the storyline of The Picture of Dorian Gray: to him physical beauty is spiritual beauty and, of course, the other way around. This part of him surely intrigues me, makes me want to tease more from him. But, as a friend, it concerns me as John is way too prone to purposelessly decide that somebody with good eyes is also a good human being, which is a very romantic and admirably naive way of judging matters. I noticed some names that keep repeating in his narration. I dread that it is synonymous of a soon encounter from my side with the objects of his admiration. Fetiches, I dare to say, that I will have to annihilate before they sediment into his mind, perpetuating a narration that soon sees John being mislead by others.

Reserved: Tickets for the Eroica, Symphony n. 3 by Ludwig van Beethoven. Thursday evening.

Note on the show: the first movement lacked the pathos needed to begin with, I am not sure that the guest orchestra really managed to portray the wider emotional ground needed to withstand the whole representation. As the evening progressed there were some outstanding performances by the cellists. Still not approving the choice of reprising the early quick finale movement against the lengthy set of variations and fugue that we are used to in presence of the Eroica. Underwhelming the performance of the horn and oboe, vital in the comprehension of the genius of Beethoven.

Niki is a new addition of the Institute, quite old for the standards. He is already 16, he will leave when summer ends to some expensive college his family meant him to stay. His parents expect me to make him “normal” in the time we are allowed together. He is Austrian and I let him act it out like I don’t understand German for the first week of hist stay until today. I believe I hit his pride, which is good, in the moment I answered back to one of his sneaky comments. Now he knows. He is not safe from me, he doesn’t like it. The young man has a tendency to danger, risky tasks and edgy situations. In his mother’s own words “Niki is not afraid of anything”. The phrase didn’t raise any excitement in the father, rather some sort of painful acceptance that is role as the alpha male of the house is probably not only being challenged, but already diminished, if not abolished. I have taken in consideration that Niki will break himself a bone or two in the process of the therapy, probably out of the spite of boredom or rebellion. It took him less than few days to turn himself into an outcast among the outcasts, which only drives me closer to analyse the complexity of his narcissistic wall of self defence. I gave him a physical challenge to lift a certain weight, he is a pretty skinny one, he didn’t like the challenge, but I am sure he will take it. He is a brainy guy, he hates to be questioned on unfamiliar ground. He won’t sleep at night thinking about it. A challenge, in this first phase, can only bring me closer to the ease of his pains. To continue the observation.

It is a sad privilege of medicine, in particular the one I practice, to be able to witness the weaknesses of the human nature and the reverse side of life. Nevertheless, I oblige this same privilege of the study as life moves into shades of darkness. To be aware of it gives more solace to my soul than to be victim of patiently waiting for the inevitable unfolding of the events. To be able to understand more about psychology would bring more comfort and elevation to any human being, the times might not be there yet, but eventually something will move into the direction of a more wholesome approach.

Dinner meeting with Sara Howard, at the restaurant Jardin Des Cygnes, 7 pm sharp. Do not expect to reach the dessert. Do not know if John will be participating due to undeniable tension among the two and the fatal despise of John over French cuisine.

The case that Sara unfolded tonight to my ears feels more and more like pulled out from some gothic book or from the mind of a Roman historian that needed to justify the godly origins of an Emperor. One killing, apparently random, a very constructed iconography over the body. Signs and insults, shapes and drawings. Is this a work of art? Does the killer wants his victim to be his Mona Lisa? His David? I am charmed and destabilised. If this was a murder like any other, then why to spend so much time into it? Based on the description the act of killing itself was quick: a sharp cut over the throat, almost like not wanting to ruin too much the surface to use as base for, what? I keep rerunning those symbols over and over as Sara described them to me, my mind is flooded with the designs of greek philosophers that needed to explain themselves why the sky is above our head and never collapses on us. Hilarious how, no matter the science advancement, in the mind of many the sky stands inevitably overt their shoulders, suffocates them, brings them to a death of the soul and not of the body. Is all this graphic charade indeed only a form to scream for attention? To stress the eyes of an unaware viewer? It seems ridiculously elaborate, a scream for attention would be quick, it would be like guided by instinct, not reasoning, craftwork. Any man with a knife can paint in blood red the walls of a room and that’s asking for attention. That is the primal howl: look at me! I am here! But this one. I don’t know yet.

Spent the early morning reading anew my copy of The Metamorphosis by Ovid. Didn’t touch it in a long time and I got bedazzled by the world of terrible sensuality, anger and selfishness of those gods and mortals. I think back at all the deviances and weaknesses of human kind and I try to relate it to all of those humanoid figures. Niki would be a minotaur, the lonesome son left in the labyrinth and his strive for success is his bull’s head. Or maybe a centaur, because of his wits and strategic thinking. I might keep up the process, maybe this is the way to understand my patients better, to understand the killer better. Must remember not to romanticise it. Greek gods were probably the first form of self indulging of a society that needed gods to be forgiving and allowing favours and punishments, but only in exchange of sacrifices. But the sacrifice never comes from the God’s will, but from the will of the man that perpetuates the act of killing. To sacrifice someone or something is the sadistic response to a lack of love deeply inherited in human mind that becomes neurotic. Is the killer giving the God of his own neurosis a body to feast upon?

I talked with Jan this morning. The young boy is about 10, but he acts like a full grown adult. I could easily asses that’s the reason why he could challenge Steven in that fight. Two children mimicking adults situations they know too well. Jan is son of an industrial man, but he is also son of the dialectics of the industrial revolution. He sounds like he swallowed some of those books about working class rights and communism, probably pushed by a resentful surrounding (mother?uncle? the midwife?) over the social role of his father. As much as incredibly smart and lectured, Jan lost most of his early occasions in life by spending a considerable amount of time using his fists. The anger ever present in the young boy always surprises me, he seems to be holding a power, a strength of a full grown man in those tiny arms. Nevertheless, he is already the tallest of the group. He is surely an idealist, which makes him also tragically fragile. His strength mixed with his heart of gold can make him the best of the heroes or the worst of the villains. He apologised for the fight, he specified how he didn’t like the sound of Steven’s voice, more than the sound, the level of pitch. I can’t stand somebody shouting orders, I just don’t listen anymore. He is so mature even about his own feelings, almost a gentleman in his chivalry toward the weaker children, honest with his open heart and resentful against any form of injustice. I am not spared by his ways, he would come at me whenever he feels like I was being partial over some of the kids, his sense of justice blinds him and transform a perfectly balanced boy into a ranging animal.

Ordered book, to be delivered around tomorrow evening: Introduction à la méthode de Léonard de Vinci by Paul Valéry. Suddenly feeling myself as a gross ignorant in art themes. I always regarded myself aware of the artistic personalities and tendencies of present and past, but this new amount of perceptions over the human figure and the human body leads me to document myself more. I could ask John for advice, but he wouldn’t take things at matter that seriously. I can almost hear him say how I can make gruesome a pleasant topic such as art. I should probably wait to see the body to push any further aesthetic study, but I find myself not being able to stop. I reckon, I can allow myself a vice or two.

Today I saw the body of the killed man, courtesy of the Isaacson's. To be fair, I had underestimated it. In Sara’s descriptions, probably due to her more analytic mind, all the charm of the representation got lost in favour of a less cryptic and reasonable understanding of the act. Sara got what some alienists will call a masculine mind, which I don’t perfectly agree on. If I apply that same approach John would be a very feminine mind, all wrapped up in romanticising even the ugliest. I guess that dividing the world in “fragile and gentle” and “strong and powerful” is just easier to explain the fluctuation of something that doesn’t need a real name or a category like human inclinations on thoughts. I got a feverish sense of patience by looking at the body. Each symbol traced with sapient slowness, dense of the time that the killer spent with the body. That is a work of hours, he had time and meaning. He had resources and was able to spend not less than the time he needed to reach, a vision? An ideal? A message? Is it the message meant to be understood? Am I supposed to unravel it or it is maybe just the way the killer communicates within himself? And if I do decifrate the code, will that bring me closer to him? Or to his next victim?

Reminder: ask John to replicate all the symbols on the bodies in the correct measure and order. It might be needed some hard convincing. Addition: scheduled meeting, his house, 3 pm.

It wasn’t a day like any other when I met you. Or maybe it was, and that’s why I got so struck by it and now I am here playing it over and over through what my memory clung on so desperately. In my own experience, life was often similar to swimming in a lake. Those rich, dense lakes in the north of (illegible cancelled word) were my father used to bring us during summer. I still feel the pull, the draw down toward the abyss. It ashamed me, in a way, the fear that such a simple feeling aroused in my young mind, unaware nevertheless, that such a feeling would follow me through all my existence. It was a prophecy and, like most of the prophecies, was a riddle. I cradle in my heart the charm of those days, the mindless happiness. The foolish feeling of freedom. Little I knew that freedom would be taken away from me that soon, that the body that used to navigate me over the dense waters, helping me to fight the haul toward the unknown, would become my own cage. That day. Today. The day where I met you, the day I was afloat. The child gasping for air felt the wrench become a gentle push and now he is floating on his back over the scary waters of reality and malice. It gave me relief and it gave me terror, because since that very moment I knew that I would never be able to move on from the sight of you. From the feeling of your eyes lingering on me. From the smile you so easily shone upon me. From the whiff of imported perfume that hit me when you turned on side exploding that swan like neck. And nothing, not even my stern look, could dim that wave of hope that your sole presence washed over me. The abyss roars, calls me to a home of damnation and terror and curses my name and yet you repeated that hell-bound name of mine after me and I felt safe.

John told me so much about you, it feels like I have always known you.

The rope is gone from my neck, the guillotine won’t fall on me, I am spared, I am free.

I have read your latest article, I am thrilled to help with the case.

I am in disbelief.

Your voice.

Dr. Kreizler

How dare you? How dare you to come into my life, to appear, like a vision, mystical, in a way I despised at University when all those theology students talked about the divine. In this very moment I can’t recollect much of what you said, something about the case, about going with John at the obituary. It feels confusing, I feel overstimulated, my memory fails me, I am not sure anymore. I write these few lines and it is passed the hour of the witches and I wish, I demand, to never see you again, because life should never grant hope to a condemned man.

#dr laszlo kreizler #dr laszlo kreizler imagine #dr laszlo kreizler x reader #dr laszlo kreizler x you #laszlo kreizler #laszlo kreizler headcanons #laszlo kreizler x reader #the alienist fanfic #victorian age #v writes #the diary of doctor laszlo kreizler

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cg29fics · 2 years

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Works in Progress

All my Fics (completed & in progress) can be found via Ao3 and FF.Net. Username: CreativeGirl29

List updated: 10/01/2023

Posted Fics:

1. Pick and Mix: A collection of short stories. Chapter 48 posted. Chapter 49 which is a short scene is written needs checking before posting.

2. Bring on the Fluff: 3 posted. Several others in various stages.

3. Avalanche: Chapter 17 posted. Further chapters in progress. No idea on how many more updates as yet.

4. Virgil Drabbles: 52 chapters all at 100 words each posted. Plan complete for the rest of the fic just need to write. Not sure on how many more chapters as yet.

5. Lucille: 4 chapters posted. Basic plan complete for the rest of part 1 of this fic, need to flesh it out and then write - No idea on how many more chapters as yet.

6. Bad Things Happen Bingo: Need to go though basic notes I have and come up with some ideas/plots for each prompt. *Still 2 prompts available for anyone who’s not made a request: Amputation & Playing With Puppets*

7. The Games: 1 chapter posted. 1st draft of 2nd chapter done. Very basic plot notes for rest of the story done.

WIPS Not Posted:

All are working titles

1. Coffee Shot: 2 chapters written. Planed the rest of the fic. Not sure on how many chapters.

2. Jeff: Beginning written need to finish the rest. A one-shot.

3. Love and Heartbreak: 1st very rough draft complete. Possibly a one-shot.

4. Ransom: 2 chapters written. Basic plot done, just needs fleshing out before writing anymore.

5. Virgil’s Really Awful Day: 3 chapters written. Roughly 3/5 chapters left to do. Gift fic, shared snippets previously but won’t begin posting until complete.

6. Virgil Whump: No title. 2 parts written, basic plot done just needs fleshing out and then written. Not sure how many chapters.

7. Shattered Hope: A multi-chapter fic. Plot being fleshed out. This needs a lot of planning before I even think about posting.

#cg29fics #thunderbirds #thunderbirds works in progress #thunderbirds fanfiction #thunderbirds are go #thunderbirds fandom

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cg29 · 3 years

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This is what happens when I’m not in the right mind frame to write my next chapter for my WIP but I still want to be productive:

A detailed list of all the Fics/Ideas I’m working on and the stage they are at which will hopefully help me focus 😅 when I fire up my laptop tomorrow. (Not working through these in any particular order, just going for which ever one grabs my attention most - Currently that fic is Reflections)

Posting here because I’ve written this on my phone and don’t want to lose it - Also opening up my inbox for anyone who wants to ask questions about any of these Fics - won’t give too much away but will answer what I can. (Sorry no links as Tumblr tend to eat my posts when I try to link anything. Can find any ones that are posted on AO3/FFNet with same UN)

• Works In Progress: Earlier chapters already posted to A03/FFNet.

1. Avalanche: Chapters 1-15 posted: About 3 chapters left.

2. Lucille: Chapters 1-4 posted. Further chapters planned out and ready to write.

3. Reflections: Chapter 1-4 posted. Final 2 Chapters in 1st draft stage.

4. The Bad Things Happen Train. For Bad Things Happen Bingo: Chapter 1 posted. Need to plan others.

5. The Games: Chapter 1 posted. Basic plot ideas for further chapters written.

6. Virgil Drabbles: Chapters 1-52 posted. Plotted all further chapters. Just need to write it.

• Works in Progress: Not started posting.

1. Coffee Shot: Chapters 1 & 2 written and shared on Tumblr. Part 3 onwards - plotted.

2. Not yet titled - Fluffy stories collection from my own prompts list: 4 possible prompts in 1st draft stage.

3. Not yet titled - Jeff Fic: First couple of paragraphs written, a very basic plot planned out for the rest.

4. Not yet titled - Virgil whump fic: Chapter 1 shared on Tumblr. A very basic plot for further parts done.

5. Ransom: Part 1 written and shared on Tumblr only. A very basic plot for further parts done.

6. Working Title. ‘Heartbreak’: A story featuring Scayo and a broken hearted Alan: First (very rough draft) written.

7. Working Title. ‘Shattered Hope.’: Detailed plot in progress - Some short scenes shared on Tumblr.

8. Working Title. ‘Virgil’s goddamn awful day’: The story is filled with prompts from various challenges: First part in early stages (with snippets shared on Tumblr) All further parts planned out.

• Fic Ideas: A very basic plot idea written down but nothing else as yet - Some or all of these maybe scrapped.

1. Gone: Sequel.

2. The Tracy's: Rewrite and/or a Continuation story.

3. Scott gets the ‘Scrooge 3 ghosts’ treatment.

4. Short stories based on Jeff’s brothers and link to Conrad: Shared Head-Canon/ backstory idea on Tumblr.

#thunderbirds works in progress #thunderbirds are go fanfiction #creative girl 29 #All my WIPS #thunderbirds are go #thunderfam #thunderbirds #thunderbirds 2015 #thunderbirds fanfition #thunderbirds fandom

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writing-with-olive · 4 years

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A starting place for self-editing your novel

I wrote this in a reblog to one of @boy-who-can-fly‘s posts, but as I couldn’t add any tags to that that would make it findable to more than just my followers, I figured I’d make the same content in an original post because YAY TAGS!

Without further ado...

1) Take a break.

Some authors have suggested taking a break for six or so weeks, but I find anything longer than three makes me too distanced from my story, and I have to work a lot harder to get back into my protagonist’s head. During this break, don’t so much as look at your story. Instead, focus on something else. Maybe growing your author platform, planning or developing another wip, or researching the publishing industry if publishing is the end goal for your book (this goes for both traditional and self pub). The point of this is that without some distance, it’s going to be a lot harder to see larger developmental flaws.

(this is a very long post, so the rest of the steps are below the break)

2) The first read-through.

After your break has ended, and you’ve got to be a little stern with yourself not to extend it farther than what you set, or else you’ll never return to it, do a readthrough. This means either just reading it off you’re computer or kindle, or going to somewhere like staples and getting it printed and spiral bound (this costs money, but I found it helpful down the line). Two rules: 1) no editing. 2) look at the first rule. This read-through is going to help give you a general sense of what is and isn’t working in your book; the problems you notice here are likely going to be the biggest ones. (if you want, you can combine this step with step three, but I found it more helpful to keep them seperate)

3) Outline.

It doesn’t matter whether you outlined before, or whether you decided to pants it. By the time you get to editing, you need to have an outline that’s reflective of what you actually put on the page. Go through your story, chapter by chapter, and for each new scene write down

what is your character’s goal in this scene

what is standing in their way

what is the outcome of the scene.

This list should not go into depth; one short sentece per point, MAX. That being said, make sure to keep things specific, so “MC wants to convice X to go with them to Y.” is going to be a lot more useful to you later on than “MC tries to convince them to go.” This outline is going to help you objectively look at your story structure, as you can see a lot more of what’s happening at once, without being quite so overwhelmed by the sheer mass of the words you wrote. Yes, this step can be a bit tedious, but it is so, so worth it.

4) Sort out what you need to fix, aka start making a game plan for your edits.

Now that you’ve read through your wip at least once through, and probably twice, you probably have a pretty good idea of what you need to fix. The key here is that right now, you want to be fixing on the global edits - the things that span beyond just a single scene or chapter. The reason why is that you don’t want to be spending hours perfecting a scene that you’re just going to need to cut later because it doesn’t advance the plot.

In a new document or spreadsheet (whatever you think will work better for you, I liked using a google doc), write issues you see with:

Each of your main cast (regarding character development, motivations voice, etc)

Setting/s (consistancy, realism for your world)

General worldbuilding (consistancy, things poorly explained/set up)

Main plot (following a given plot structure, building tension, etc)

Each subplot (how it intertwines with the main plot, plot structure, building tension, etc)

Other major things you noticed during your readthroughs

These things tend to be larger scope, and generally are worth addressing first.

5) Picking your edit.

Look at the list of edits, and see which one is going to cause the most ripples through your story. This is going to be the first thing you look at to fix. If there are more than one edits that will all have major impacts on the story, think about which edit would make the other ones easier.

For example, in my wip, Project Toxin, my plot was, well, a trainwreck and a dumpster fire’s love child. But my characterization for my MC was also a wreck. Still, getting the overall plot more in order would make it easier for me to edit my MC, so I chose plot first.

6) Make a game plan for your edit.

Before diving in and ripping through your first draft, come up with a game plan. Brainstorm possible solutions to the edit you’ve chosen, and look at what ripples it would cause. You want to make sure that what route you take isn’t going to upset something major or crucial to your story. Most likely whatever solution you choose will cause some other upsets, so just make sure to think through what makes most sense for your story.

For example, when working on my story, I was fixing plot first. Figuring out my game plan meant looking at my scene list and moving things around/adding/cutting content until I had a plot that was much more satisfactory, and that was, in my mind, not a wreck.

Possible game plans for different types of edits:

1. Plot:

Look at your scene list. What helps to advance the plot? What is dragging the pacing. Are there any elements that you are adding or cutting in your overall story that need to be accounted for? With this in mind, cross out scenes that you want to cut, move scenes around that need to come in a different order, add scenes that need to be added, and mark scenes that need to be combined into one.

2. Characters:

For each of your characters, look at their character development. It’s going to be hard to make them come to life better on the page unless you’ve got a grasp of who they are, even if you didn’t plan them out originally. If you have not, consider listing in a spreadsheet or google doc what their backstory is, what their goals are, why they want those goals, and what a few of their strengths and weaknesses are. Also think about their voice: what words do they use more often? Sentence structures? What do they sound like when they’re talking? Stuff like that. If your character is inconsistant, pick one version of them that you want to follow (knowing that they will likely change over the course of the story), and look at what parts of them you will need to change to accomodate that.

3. Setting/Worldbuilding:

I’ve put these together here as they’re somewhat similar. For poorly explained aspects of worldbuilding, look at where you might add in little details so you can better set that foundation (this is not usually a global edit). If things are inconsistant, look at what makes the most sense for your story, and like what we talked about with characters, alter the rest to accomodate that.

7) Making edits.

This is where you really get to dig in and really move things around. Using the edit you’ve picked and the game plan you’ve developed, go through scene by scene and make the changes. I strongly recommend having a seperate doc from your rough draft to store your second draft in. Currently, my process is to have both open at the same time, and if a scene is already fine, I’ll just copy/paste it over. At least for me, however, it’s usually not, and I’ll either make tweaks to fix it up, or, more often at this early stage, I’ll rewrite it. As an added bonus, I also find that rewriting it makes my prose a lot stronger, since I’ve grown so much as a writer since I originally wrote the scene.

Since you know your story better, you may find other elements that you want to change are improving as you edit. If not though, don’t worry - they’ll get their own editing pass.

8) Repeat steps 5-7

You made a list of edits you needed to make back in step four. Now, follow steps 5-7 to make all of those edits and changes.

9) Repeat steps 2-8

Two steps telling you to repeat in a row? Yes. The deal now is that you want to make sure you’ve cleaned up any global edits before moving on to anything smaller. If you’ve been thourough thus far, this will be a very fast step. If not, think of this step as a safety net. There may have been ripples that you didn’t notice earlier on, and it’s a good thing you’re catching them now.

10) Chapter edits

At this point, we’ve cleaned up all the big edits. Now we’re going to look at each chapter. Within each chapter, there needs to be a mini-arc. A beginning, middle, and end. This is the time to really focus on that. Also focus on things like tightening up prose, combining or compressing paragraphs, making sure you’ve adequately set the scene, etc. If you’re over the word count limit regarding your genre, also focus on cutting a certain number of words from each chapter to put your story back within those limits.

11) The little things

This is about combing through your wip to find all of the little errors that have made their way through edits. Typos, weird or incorrect grammar, useless adverbs, things like that. At this point, everything is on a more superficial level.

Beta Readers

Given that this has gotten quite long, I’m not going to go in depth about beta readers here, but around step 10/11, you’re going to start recruiting beta readers (you’re going to want to try and have multiple rounds of somewhere around 10 betas each, which is why having a good author platform is useful: recruiting is easier). Between each round, you’re going to look at their feedback and make the necessary edits. After several rounds of beta readers, you’re going to look it over a few more times, and then if you’re going the traditional publishing route, you’re going to query agents. If you’re going the self-pub route you’re going to look to hire a professional editor. If you’re not looking to publish, this may be the end of the line.

Good luck editing!

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solacefruit · 3 years

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For the ask meme, 3) and 17), please? And maybe 25) if you're up to it? Irrelevant but I'm the Tormentil- missing/Harrierpaw ruddles from Ailuronymy – I love your writing too, it's amazing! (I'm very excited for a potential Riverclan full-length story, like MAMS, at some point – even if I have to wait quite a while)

Hello there! Thank you so much for saying so, that’s lovely to hear. Please don’t hold your breath for a Riverclan novel, though! It’s not even on my concept list at this point and there’s a lot of other stories, including full-length ones, I’m going to be attempting first. So it’s not impossible for me to write a Riverclan one--it would be pretty neat to have a novel for each clan--but I can’t promise it’ll ever happen at this stage. Maybe! But also maybe not. It’s a mystery for me too.

Now on to your questions!

Send an ask: get to know the author.

3. What order do you write in? Front of book to back? Chronological? Favourite scenes first? Something else?

For all my Warriors work so far, I’ve written from beginning to end. In part that’s just because of the episodic nature of chapters, but also I’d say that’s my default approach for all my writing. When I get into original fiction--and especially big original fiction, novel-length work--I expect I’ll be taking a much more flexible approach, probably jumping around based on the vibe sometimes, but I like linearity because the first draft is really just getting the building blocks on the page. After that point, then you start really sculpting and being clever with it and moving bits around once you have a sense of the whole.

But for me, I think that first stage is more about getting a clarity of purpose and a rough outline--and that can be done pretty well with front-to-back writing.

17. If you could give your fledgling author self any advice, what would it be?

Don’t sweat it. That stuff you think is important is completely not important at all. You’re doing all this nitty-gritty obsessive researching and “world-building” pointless, mundane aspects of the world because you: 1. are procrastinating actually writing; 2. have been tricked into thinking that’s what the “good” “serious” fantasy writers do, because that’s what a lot of boring old guys you don’t even like to read do and brag about, and you’re still believing can’t be a good fantasy writer without that, because that’s the popular image of a fantasy writer; & 3. are scared if you’re not perfect and exact in every detail, people are going to tear your writing apart for being “inaccurate” or making a mistake.

That’s no way to live. You don’t like doing it, really. You’re trying to preempt criticism from people who weren’t ever going to like your writing anyway, and I think you know that. You’re trying to imitate authors you don’t even want to write like, because you think what they write is kind of boring and flat and it’s really straight and you sort of hate it, but you feel you should since it’s what’s “right”.

But you’re not being authentic to yourself, or your vision, or your talent, or what you want to write, and you should be.

It’s really not your fault you feel this way, but you’re going to be so much happier when you realise this version of a fantasy writer is all total hokum and not your style and instead start writing what you want to, the way you want to. People are really going to like what you’re bringing to the table. It’s going to set you apart and you’re going to love writing fantasy that’s a bit weird and kooky and self-indulgent and fun and queer and all the things those old books just aren’t.

I can’t stress how liberating it will be to put on heart-shaped pink sunglasses and decide that the most important thing your writing has to be is genuine and fun for you. You never wanted to write realist fiction anyway. Secondary worlds forever.

25. Copy-paste a few sentences or a short paragraph that you’re particularly proud of.

I thought about it for a bit because something I never do here is share any poetry I write, despite writing a decent amount of it. Partly that’s just not this blog’s audience, but also a lot of it I hope one day to put into publication, if only in a little chapbook. That said, I wrote this a while back on commission for someone’s character who was deathly ill and his lovers left behind, so I don’t mind sharing it now. It’s a tanka set (5-7-5-7-7, a bit like a haiku).

summer has four hands, he remembers, and twenty loving fingertips-- and it doesn't end, ever; it lasts a lifetime--at least, in his heart--even as his own fingertips grew slow and cold, his hands too weak to return a touch, to reach out and hold on, to find comfort in their warm skin and promise them that he would be okay: each new winter weighed him down with the too-familiar tiredness of a body with not quite enough life in it, like a garden under the frost, cold and withdrawn at the edges of the leaves, waiting for a sunrise that isn't coming. The ground, he remembers, was solid as stone under the snow that last winter, a final cruel laugh from the world, as though giving him to the earth--as though burying a lover--was not hard enough for them already-- but it was a pain that time alone could heal; so he waited, in the place so near and so far away, until the seasons moved once more and time brought them to his open hands, ten fingertips made of light, never to let go again. when he remembers the living world, he thinks of it better than it was and forgives it for the brevity and falling snow.

#reply #also re: future warriors stories: i'm having a good time writing all of these and i'll keep going while i'm having fun/have the time #but i'm working a lot now (full-time + my extracurricular work) and also starting to ramp up with original writing.#at some point my priorities are going to switch from this to original work. i'd like to continue both ideally but that's just how it is.#anyway just want to be transparent with all this because i'd hate for people to be hanging out for something that isn't guaranteed.

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sheliesshattered · 4 years

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This Isn’t A Ghost Story extras for Chapter 6: The Future

Chapter 6 of This Isn’t A Ghost Story has been posted! You can find it here on Tumblr, or here on AO3. Spoiler-ish extras under the cut!

With chapter 6 under our belts, we’ve made it through the main portion of this fic! The next two chapters will wrap up a few loose ends -- and possibly create a couple more, of the open-ended variety -- and if I hadn’t gotten quite so deep into the world-building for this, I might have actually ended the story here. All the research I did for the world-building directly inspired the next two chapters, which were both written and finished before I had anything more than a basic sketch in place for chapter 6.

Egyptology in the 1920s has clearly been a huge part of the world-building for this story from the beginning, and we get a bit more of it in chapter 6. The Doctor mentioned Howard Carter briefly in chapter 5, and here we loop back around to that and find out that Clara and the Doctor knew Carter well. I didn’t want to derail the chapter too much with talking about their friendship in any detail, but large portions of the timeline of when they were in Egypt in the 1920s was built around the historical events of the discovery and documentation of Tutankhamun’s tomb, and there are a few passing allusions to it in the journal entries in chapter 3 as well.

Howard Carter (pictured above in 1924) and his team of excavators found the entrance to Tutankhamun’s tomb in November of 1922, which would have been during the phase when Clara and the Doctor are exchanging letters and falling in love. One little historical detail that I sadly couldn’t quite use was that 23 November 1922 was actually a date of minor significance in the discovery of the tomb. It was the day that Carter’s financier, Lord Carnarvon, arrived at the dig site to witness the opening of the tomb, along with his daughter Lady Evelyn Herbert, who would have been about a year and a half younger than Clara. This picture of the three of them was taken at the entrance of the tomb in late 1922, and is similar to how I imagine Clara and the Doctor’s picture with Carter would have looked:

As the tomb was being excavated, Carter and Carnarvon assembled a team of experts to help with the huge task of cataloging, preserving, and translating all the many items found in the tomb, and though I never called it out specifically in This Isn’t A Ghost Story, I figure the Doctor was part of that team, probably specifically focused on translation work. In late February 1923, there was a short halt in the excavation that lasted a few weeks, which was what led, in our fictionalized version of events, to the Doctor briefly returning to Glasgow, and Clara’s impulsive decision to follow him there. After their wedding in May of ‘23, Clara and the Doctor went directly to Egypt, and the Doctor returned to work on Carter’s team.

Family members, tourists, and the press were all known to visit the dig site during that first year of excavation and the resulting media craze:

Given that, and Clara and the Doctor being ‘disgustingly in love newlyweds’ it seemed reasonable that Clara would have visited the site at least a few times, and been on good terms with Howard Carter. Carter actually got his start in Egyptology when he was hired as a young man to paint reproductions of ancient temple walls and other Egyptian artifacts:

During the excavation of Tutankhamun’s tomb, he made detailed sketches, including careful measurements, of every item removed from the tomb and where it had originally be found in the tomb. Much of what we know about King Tut’s tomb now is down to how methodical Carter was in documenting the original untouched state of the tomb, both with measurements, drawings, and photography. These are both drawings Carter did of the tomb during that period:

Chapter 3 mentions that Clara decided to learn to draw in the summer of 1923, so I liked the little detail that it was Howard Carter, with his meticulous and beautiful art, that suggested she take up the hobby. Modern Clara also notes in passing that she drew all throughout her childhood, particularly her ghost, which all connects back to those early days of their marriage in 1923.

I’ve got more up my sleeve about the world-building elements for the next two chapters, but since chapter 6 was the last chapter I finished, long after chapters 7 and 8 were done, I thought I’d talk a bit about the writing process as well. The final scenes I wrote for the entire story were near the end of chapter 6, and despite knowing what I needed this chapter to do, what needed to be in place to set up chapters 7 and 8, chapter 6 gave me a bit of trouble along the way.

I imagined this chapter in a lot of different ways as the story was evolving, but I always knew I wanted to emphasize the possibility of future travels for Clara and the Doctor. The theme of ‘101 Places To See’ is so strong in canon that echoing it for 1920s Clara was a big part of my world-building from the beginning, and I felt like any version of a happy ending for Clara and the Doctor had to include travel. An early draft of this chapter ended on Clara’s final line from Mummy On The Orient Express, ‘Then what are you waiting for? Let's go.’ to help emphasize that travel theme -- and because I can never resist borrowing a line from canon whenever I can find an excuse.

Another early sketch for this chapter had Clara and the Doctor venturing out for grocery shopping, with the Doctor complaining up a storm while Clara tried to carry on a conversation with him without any strangers taking note of it. Originally I had planned to include more of Clara’s work week, and had scenes roughed in where her friend and fellow teacher Amy Pond found out that Clara had gotten “engaged” over the weekend, leading Clara to have to make up something on the spot about how she’d been in a long-distance relationship that had only recently turned serious, which was why Amy had never met him. There was a whole thing about how Clara and Amy (who taught ancient world history) were co-directing Coal Hill’s production of Antony And Cleopatra, and Amy wanting to make sure that Clara wasn’t going to run off to see the world with her new fiance before the night of the play. Eventually that all got boiled down to just a single exchange between Clara and the Doctor, as I decided to keep the focus tight in on the two of them and their relationship, and not even include dialogue from any other characters.

One thing that comes up again and again in my writing projects is that when I’m imagining the plotline early in the process, it always takes up a lot more calendar days than the final product does. I imagine events taking place over the course of weeks, but then find that the emotional flow works much better condensed down to a handful of days instead. Despite my stories following that same pattern in development for more than a decade now, it somehow always seems to surprise me, lol.

Really early on in working on Ghost Story, I knew I wanted to keep Clara’s canonical birthdate of 23 November 1986 and build the rest of the timeline around that, and I picked out November 2014 as the time period for the main part of the story because it corresponds roughly to when the end of s8 of the show originally aired. But in a very early outline of events, Clara didn’t have the nightmare that led to her memories coming back until the night of her birthday, a full week later from what ended up happening in this final version.

Even as recently as a few weeks ago, I was still planning on ending this chapter on her birthday, and it wasn’t until I started digging into the scene by scene and line by line breakdown of the chapter that I realized that it really wasn’t necessary. And leaving her birthday as an upcoming event folded in nicely with the ‘Future’ theme I wanted for this chapter, so again I decided to keep the focus tight on Clara and the Doctor’s relationship as they unravel the mystery and deal with the fallout of what happened in 1927.

Figuring out what I actually wanted to happen this chapter versus what could be left on the cutting-room floor, as they say, was a huge part of the final phase of writing This Isn’t A Ghost Story. Once I had cut out extraneous scenes and meandering plot tangents (and poor Amy Pond), I was left with a very specific list of scenes and conversations, and I wrote them much the same way I write everything, jumping around to a given scene as dialogue or internal monologue occurs to me. To me it always feels like putting together a large jigsaw puzzle, filling in holes and connecting up pieces as the puzzle comes together.

I find that technique works really well for me when I’m in early and mid development of a story, but once I was down to just a couple of scenes that still needed written, progress slowed way down. I got to the point where I knew the emotional content of a scene and even most of the dialogue, and needed just a little bit of stage direction to stitch the whole thing together. Those of you who have been following along with my #process thoughts posts here may remember me posting about working on that last scene just a couple of weeks ago, trying to wrestle it into shape.

@tounknowndestinations, @praetyger, and a few others of you have asked about it, and I can now reveal that the very last bit to get written was the sequence with Clara preparing for bed and then the two of them getting into bed. I had the awkward sex conversation and the final scene the next morning already written, I just had to connect the first part of the chapter up with those last scenes. I’m happy with how it eventually came together -- and very curious to hear if any of you could pick out that that was the last bit written? -- but not having the option to work on anything else, just those specific words in that specific place, made it more of a struggle for me than writing most of the rest of Ghost Story.

My husband and beta reader Jack was more involved with the editing of this chapter than he was with any of the other chapters, and in several places helped me rewrite individual lines or conversation beats until we were both happy with how they read. @praetyger asked how I know when writing is ‘done’, and I have to admit it’s mostly a process of reading it over and over again, and then getting Jack to read it and taking his feedback seriously. I tend towards overly long run-on sentences, so if Jack gets lost while reading a sentence, that’s one he’ll call out as needing to be reworded for clarity.

There’s one sentence in this chapter that we went back and forth over quite a lot: ‘The feeling of what might have been that seeing their wedding photo had elicited in her wasn’t some strange, misplaced jealousy, but rather the knowledge she carried deep in her soul, buried in her subconscious, that their story wasn’t over yet.’ It was originally even more wordy, and Jack would have preferred the final version be a lot more simple, but it just didn’t read right to me without ‘elicited’ so I stuck to my guns on that bit, even as I filed down some of the wordiness in other parts of the sentence.

Both for reworking a sentence and for writing big sections in the first place, my method is generally to write it and edit a little as I go, trying to get the word choice and pacing as close to what I want as I can on a first pass. Then I’ll let it sit, at the very least overnight but often for days or longer at a time, then come back and reread it when it isn’t so fresh in my mind. At that point, sometimes a phrase will jump at me as awkward or something I used just a paragraph or two earlier, so I’ll rewrite it, let it sit, come back and edit it all over again. Sometimes what seemed like plenty of room for an emotional beat when I was writing it will go by way too fast when I reread it, so I’ll add to it, give it space to breathe. Rinse and repeat.

For the record, Jack’s favorite line from this chapter is this bit of dialogue for the Doctor: ‘“Yes,” he allowed warily, clearly not sure where she was going with this.’ I imagine it’s probably for similar reasons as why he liked the ‘she didn’t add again but knew they were both thinking it’ bit from chapter 5. I try not to put my own marriage into my writing too much, but there are some experiences of being married that I think are probably pretty universal.

@ephemeralhologram asked about my writing inspiration, and for me my writing is always driven by a kernel of a what-if idea and a desire to convey a certain emotion. I almost always start out with a ‘plotbunny’ idea, some tiny thing that I daydream about and consider from multiple angles until a plot and emotional tone starts coming into focus.

For Ghost Story, it was actually a shitpost here on Tumblr about a real estate agent having a conversation with the ghost who haunts the house they’re trying to sell, along with wanting to try telling a Twelve/Clara story in an alternate universe completely separate from the show canon, which I had never done before Ghost Story. The emotional tone started out much sillier, more in line with that Tumblr post, but as I got into the world-building and decided I wanted to have a mystery and mutual pining at the center of this story, the tone shifted quite a lot.

The other major drivers of writing inspiration for me are that I enjoy putting words together into interesting and emotionally evocative combinations, and I enjoy conveying character emotion and eliciting emotion in the reader. No matter what fandom I’m writing in, no matter how close to canon or how AU, how short or long the story is, those two things are always at the center of my writing.

I walk around the house or do chores that I don’t have to focus on too much (dishes are excellent for this) just tossing around bits of dialogue in my head until I find an emotional beat that grabs me or a bit of phrasing that I really like. I jot those down into a googledoc -- most of my DW stories start out in a doc called “Doctor Who Bits” that is in fact just fragments of multiple stories, and then eventually a story will graduate into having its own dedicated googledoc. Figuring out the plot is just as much about deciding on the emotional journey I want to take the characters and/or the readers on as it is deciding on an order of events.

Thank you to @tounknowndestinations, @ephemeralhologram, and @praetyger for the questions! I am more than happy to answer any questions about my writing process or details about this story, or anything really, so feel free to hit me up in my ask, or in the comments on this post, or in a comment over on AO3. Thank you to everyone who has followed along with this story, and for all the support and encouragement you’ve offered along the way, I couldn’t have written this story without this wonderful little corner of the Whouffaldi fandom! ❤️

Extras for Chapter 7: The Museum

#This Isn't A Ghost Story #This Isn't A Ghost Story extras #process thoughts #my writing #Doctor Who #Doctor Who fanfic #Clara and the Doctor

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tired-enjolras · 3 years

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Capable of Being Terrible. Enjolras/Grantaire.

Read on AO3

NEXT CHAPTER HERE

Warnings: alcoholism, smoking, addiction/recovery arc.

Genre: Angst-Hurt/Comfort.

Words: 1297.

Summary: It’s a hard semester for everyone, Combeferre and Joly are working an internship, Éponine works two jobs and somehow gets it all done, and Grantaire drinks himself an inch from incoherent every night. Enjolras doesn’t have it worse than anyone - better than most, actually. But this year keeps knocking Enjolras down and, for the first time, cannot figure how to get back up again.

CHAPTER ONE.

It was Friday night. Every other student in the city was off doing something fun and frivolous. Enjolras was not. He was not one for fun until work was complete. The blonde man could laugh louder and harder than all of his friends and co-workers combined, but he’d simply have to party on Saturday instead. He was only days out from the start of exams week. Desires could wait. His computer was open on the bed, resting on a red pillowcase and gray sheets. It was playing a documentary film about the Paris Climate Accords that was required for a biology class - his lowest grade this semester was this class. He cared about science and certainly about climate change, but he was just fundamentally bad at the subject. There were others who could handle it. Enjolras could be the change in other areas.

Enjolras did not focus on the monitor, but instead his hand scrawled ferociously in a yellow spiral-bound notebook. One could hardly blame him for his excitement. Not only had he prepared a new pamphlet for his student political organization - which he would need to remember to copy at the library the next day - but he had discovered this American politician called Harvey Milk. He was working on final stage research and outlining for a research project on him for his World LGBT Advocacy class. That remained one of about two classes that were worth him expending a fuck on during this particular semester.

The number of credits he had chosen was much too high. 7 classes (one having a lab) was an irrational choice. It was Enjolras’ first year funding half of his own housing off-campus. He worked a real job. As real as scanning books and accepting payment could be. This, really, was the first year Enjolras had learned that everyone was correct in telling him that he was incapable of doing everything he assumed he could.

He did not live alone, but it felt like he did. The other half of the rent was supposed to be paid by Combeferre, who had been gracious and helpful and always so willing to do his part. Until he wasn’t and moved out. Combeferre had moved in with a very tall and very stupid man that Enjolras sincerely enjoyed named Courfeyrac. The two men cared terribly for each other, so Enjolras was happy to see them be able to make a sort of home together. Combeferre’s replacement was not gracious or helpful and almost never willing to do his part. René Grantaire had crashed into the apartment like a car fire. Enjolras was decently sure he would not enjoy his time with Grantaire whatsoever; that they would be professional and nothing more to each other. That never happened. Initially, he was very pleased that Grantaire never imposed an organizational system for Enjolras because everything he had sat in stacks, falling off of shelves and spread across each open surface. Grantaire picked up on this philosophy and effortless operated within it. For a while, they seemed to make perfect sense to each other.

In mornings, Grantaire would get coffee brewing, immediately being able to remember how Enjolras took it. In exchange, Enjolras would sit in destroyed stack of leaflet rough drafts and crack an egg and a shot of hot sauce into a glass for Grantaire. They moved in perfect sync like Aristophanes four-limbed love people. Before too long, they stopped being roommates and started being bedmates. Their relationship lacked definition, but both miraculously kept their affections exclusive and they liked this way.

Then Grantaire’s drinking, once consisting of some wine, a few beers and maybe one or two of something a little stiffer over the course of an entire week turned into several bottles of wine, a case of beer and empty liquor bottles collecting in the trashbagless bin in front of the kitchen sink. So Enjolras tried to take some actions.

The bedroom door swung open.

“Good evening, mon Ange,” Grantaire often called him this. My Angel. Grantaire thought was funny because he may as well have been saying Mon Enj. My Enjolras. “All work and no play makes Jack a dull boy...”

Grantaire stood, leading against the doorframe. Whether for physical support or confident swagger was still unclear. He looked bad. Enjolras felt sick to his stomach to consider saying that about this person he cared for, Grantaire could never really look bad to him, but he was glassy eyed and sallow. Grantaire pushed himself off of the door, and walked to the side of the bed, crouching to his knees to throw an arm around Enjolras flat to the bed body.

“You smell like alcohol.” Enjolras stared plainly.

Grantaire scoffed. “Good nose you’ve got there,” he reached out and gently flicked Enjolras across the nose. “I was, in fact, drinking.”

Enjolras sighed, refusing to look over at his... whatever they were. If he looked at him now, he would get emotional. Hysterical or angry, it wasn’t yet clear which. “We talked about this.”

“I know, but look at me—“

“Hey, how much did you drink?”

“Oh, am I being cross-examined now?”

Enjolras sat up on his knees in bed, Grantaire’s arm sliding away. He was looking at the darker haired man now. His blue-green eyes burned. “No, but I can call a witness, if you’d like...” he extended his fingers to the other side of the bed for his phone. Marius would know. Éponine perhaps was there. Bahoral, or Courf, maybe. Wouldn’t take too many calls to figure it out.

“Lord God Almighty, Enj... Fine. A lot. Lost count after a couple rounds. But it’s Friday. I’m...” Grantaire cleared his throat, trying to sober his voice up some. “I’m not working tomorrow. Big deal. Don’t you ever get tired of talking about ol’ me?”

“Friday’s fantastic, but what about every other day that isn’t Friday?”

“It’s social. I’m social.”

“Grantaire.”

Fuck. “Mhmm?”

Enjolras’ jaw was tight. He was not going to yell. It was after midnight and the neighbors would call their pig of a landlord again. “Couch tonight.”

“It’s Friday!”

“René,” Enjolras had said this in the voice that mothers use when their child doesn’t understand why they can’t keep sticking their hand in the cookie jar. It was not mean, it was firm. Final. Grantaire sat up a little straighter. “Couch. Please. I love you to pieces, but this is getting fucking ridiculous. Sleep it off.”

Slowly, Grantaire raised himself to his full height. “You win. You always win. Happy?” He braced an arm on the bed and leaned down to plant a kiss on the top of Enjoras’ curls. The brunette swiped a discarded blanket off of this ugly leopard print chair that sat in the corner. Grantaire walked through the door, not bothering with a change of clothes for bed and shut it quietly behind him.

Enjolras was far from happy. It had been so truly okay and it’s not anymore. Everything was too much. Homework, organizing that protest, holding the pieces together for Grantaire when there’s clearly more going on than what he wants to share. Grantaire was Enjolras’ most important person and he was going to watch him finish his degree if it killed them both. Dear Reader, do not think for a second that Enjolras believed Grantaire was some kind of burden. He wasn’t. Enjolras loved him too much to ever consider him to be one, he just was unsure of how best to be supportive. No one ever supported Grantaire so Enjolras would simply have to be that person. There were too many things to care about in Enjolras’ life, too many problems. But that had historically been where he thrived. And Enjolras would find the time to fix them all. He always did.

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terramythos · 4 years

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TerraMythos' 2020 Reading Challenge - Book 3 of 26

Title: Shriek: An Afterword (Ambergris #2) (2006)

Author: Jeff VanderMeer

Genre/Tags: Weird, Memoir, Historical (like... in a fictional world lol), Horror, Fantasy, War, Mushroompunk (yeah), Postmodern, Female Protagonist, Disabled Protagonist, First Person, Unreliable Narrator.

Rating: 7/10

Date Began: 1/19/2020

Date Finished: 1/29/2020

Shriek: An Afterword is a pseudo-memoir by a woman named Janice Shriek about the troubled lives and relationships of her and her brother Duncan Shriek in the strange, fungus-riddled city of Ambergris. While Janice believes Duncan is dead, he's apparently found her manuscript and makes extensive edits and commentary throughout the story. (This is indicated in parenthetical sentences, like this one.)

The closer I get to the end, the closer I get to the beginning. Memories waft up out of the ether, out of nothing. They attach themselves to me like the green light, like the fungi that continue to colonize my typewriter. I had to stop for a while -- my fingers ached and, even after all that I have seen, the fungi unnerved me. I spent the time flexing and unflexing my fingers, pacing back and forth. I also spent it going through a box of my father’s old papers -- nothing I haven’t read through a hundred times before... On top, Duncan had placed the dried-up starfish, its skeleton brittle with age. (I kept it there as a reminder to myself. After your letter to me -- which, while reading this account, I sometimes think was written by an entirely different side of your personality -- I wanted to remember that no matter how isolated I might feel, separated from others by secret knowledge, I was still connected. It didn’t help much, though -- it reminded me of how different I had become.)

To qualify my rating, I have to be honest. This book is officially separated into two parts, and I found Part I -- which makes up about 60% of the novel -- pretty boring. On the other hand, Part II is brilliant, and everything coalesces beautifully in this second act. Is it worth it? I thought it was, but I understand anyone who tries and gives up.

Even though Shriek is technically a standalone, I would strongly recommend you read City of Saints and Madmen (#1) first. Both Duncan and Janice are key characters in two of those stories (The Hoegbotton Guide to the Early History of Ambergris and The Transformation of Martin Lake, respectively), and there are references and connections all over the place. I’m not sure if Shriek does a great job introducing Ambergris to new readers, so people starting here will be pretty lost without reading the first book.

Just to clear the air, I really liked this book... overall. As I said, the first half-or-so of the book was pretty rough, but the second half redeems it in a lot of ways, even justifying certain writing/plot decisions that didn’t gel with me at first. However “it gets good eventually” is not really an excuse for the rough first half. Hence the mediocre rating. I was close to giving this book a 6/10, but I found that I appreciated the first half much more by the time I got to the ending, so that bumped it up a little. Maybe I’ll enjoy this book more on a reread when I can see the patterns and know where they’re leading ahead of time.

Before I dive into my issues with it, I’d like to discuss the strong points of this novel.

At a base level, VanderMeer is a great writer. He has a mastery of the English language that always delights me when I read his stuff. So even when I struggled to like this story in the first half, his wordplay and prose were entertaining and thought-provoking.

I loved the format. The story basically has two protagonists, since you see things from Janice’s point of view and then Duncan’s interpretations-- but it’s in a very postmodern way, not just a perspective switch like most novels do. Duncan’s commentary often brings much needed humor or heartbreak, depending on the situation.

In particular, any scene in which Janice and Duncan interact directly is brilliant. Janice recalls a scene, but her memory is faulty (like anyone’s), so sometimes she forgets what they talked about, or interpreted an interaction in a certain way. Then Duncan dives in with his own commentary, supplying information Janice didn’t include or forgot, or correcting something she said, or offering an alternate interpretation... these scenes were fascinating to read and some of my favorite parts of the novel.

There’s a lot of fun revelations and Easter eggs for people who read City of Saints and Madmen. In particular:

My favorite story in the first book was The Cage, which is a work of fiction within the universe of Ambergris by a man named Sirin. In particular there is a very creepy and distinct monster that plays a pivotal role in the story. However, since it’s technically fiction within fiction, that monster and the events didn’t really happen in canon... right? Imagine my surprise in this book when Janice encounters and describes a very similar monster. This struck me as odd, until I got to epilogue/afterword at the end... written by Sirin, and everything clicked. He got the idea for his “fictional” monster from Janice’s account in this story. He doesn’t state this outright, but it’s the only explanation that makes sense. I loved that. It was like putting a puzzle together and it would have been so easy to miss. And there’s the extra horror that something like that really exists in this world. There was other stuff like this but this one stood out to me, and I’m sure there’s other things I missed.

This mostly concerns the second half, but the war sequences and memories are horrific and brilliant. It's very World War II-esque with a unique twist to it (the awful fungal bio weapons one of the sides uses). In particular, the war is introduced with a chapter about a ceasefire opera staged in the broken city... without spoiling it, it’s an excellent and intriguing self-contained story.

And the horror chapter about the Festival, which is conspicuously absent in the rest of the story? Just so goddamn good. VanderMeer strikes just the right chord with me when it comes to horror. It’s always fresh and intensely creepy.

If you told me this during the first half, I wouldn’t believe you -- but I ended up loving the characters and finding most of their relationships fascinating. This is a heartbreaking story and it really hit home by the end.

With that lofty praise, what’s my issue with Part I? The simplest way I can put it is that the struggles Duncan and Janice face are so mundane. They would maybe be interesting in a generic work of fiction, but here they felt out of place. For example, Janice’s arc concerns her rise to fame, which leads to success, which leads to lavish parties and orgies, which leads to excesses and a drug addiction, which leads to a suicide attempt, which leads to rehab, which leads to a diminished life of poverty. Yes, these can be interesting and harrowing problems in the right context, but the strongest point of these books is the setting, and there was nothing that tied these events to Ambergris. You could easily go through and change the character/place names and it wouldn’t seem off.

Duncan is a little more interesting in this regard, because his is a story of obsession. In particular, he’s obsessed with the gray caps (strange humanoid mushroom creatures that haunt the pages of these books), and it takes over his life until he becomes totally discredited as a historian. But even he falls into this trap when he becomes a college professor and has an affair with one of his much younger students (Yikes! Though it is treated as creepy within the story, at least). That takes over most of his character’s emotional core from that point.

Said student -- Mary Sabon -- is a core antagonist in the story. Janice in particular obsesses over her and her personal vendetta against her, and honestly even with the second part I was never really sold on this or cared about it all that much, so I was disappointed it took up so much of the story.

All of this would be one thing, but there’s all sorts of tantalizing hints about more interesting things. The gray caps probably have some ulterior motive that no one knows! There’s this crazy eldritch Machine hidden underground! Duncan is sort of turning into a mushroom! But these are only teased before the story pivots back to something comparatively uninteresting. Rather than encouraging me with the cool foreshadowing, it just got grating because it meant there were more interesting events and stories going on that I didn’t get to see for some arbitrary reason. Janice also rambles and goes back and forth quite a bit. This is clearly intentional (after all, you learn in the end this is a mostly unedited draft -- at least in the fiction of the story), but even so, it can be hard to follow at times.

Part II justifies a lot of this because these hints do pay off. You DO get to see a lot of the interesting stuff in detail at this later point of the story, and it’s not always what you expect. There’s overt and subtle dramatic irony and contrast between what characters go through in the first half versus the stranger, more profound traumas of the second half. You learn Janice is suffering from some severe PTSD and it explains a lot of the manic style in the first half. But again, is it worth 245-ish mediocre (to me) pages? I think that probably depends on the reader. I had a problem with it-- but clearly a lot of people don’t, based on reviews I’ve skimmed. Many put the book down and don’t finish it, but that’s true for any book. Hell, lots of people preferred the first half, so who knows.

Ultimately, I’m glad I read this book. For me it really does come together in an amazing way toward the end, and I found myself really caring about Janice and Duncan. If you read City of Saints and Madmen and want more of the characters and the world, then definitely give this a try. But it is a pretty niche book as these things go, so I can’t recommend it to everyone.

Anyway, I’ve come this far -- so I’m going to read Finch, the final (for now?) installment in this universe.

#taylor reads #7/10 #2020 reading challenge

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brynwrites · 5 years

Link

Last week I posted about @byjillianmaria’s new book, The Songbird’s Refrain.

Click the link or read below!

Last Tuesday was the book birthday of Jillian Maria’s debut, the stunning supernatural suspense The Songbird’s Refrain!

I had the privilege of reading this story while it was still in its earlier beta stages, and it’s been a joy to watch it grow from a not-so-shitty rough draft to an absolute piece of art.

So if you’re looking for an awesome, creepy YA with some good old fashion gal pals growing magical life-stealing feathers, you’re in for a treat!

PURCHASE THE SONGBIRD’S REFRAIN

ADD THE SONGBIRD’S REFRAIN ON GOODREADS

ABOUT THE BOOK

When a mysterious show arrives in town, seventeen-year-old Elizabeth Brighton is both intrigued and unsettled. But none of the acts capture her attention quite like the blue-eyed woman. Locked in a birdcage and covered in feathers, the anguish in her voice sounds just a little too real to be an act—because it isn’t. The show’s owner, a sadistic witch known only as the Mistress, is holding her captive.

And she’s chosen Elizabeth as her next victim.

After watching the blue-eyed woman die, Elizabeth is placed under the same curse. She clings to what little hope she can find in the words of a fortune teller and in her own strange dreams. The more she learns, the more she suspects that the Mistress isn’t as invulnerable as she appears. But time is against her, and every feather that sprouts brings her closer to meeting the blue-eyed woman’s fate. Can Elizabeth unlock the secret to flying free, or will the Mistress’s curse kill her and cage its next victim?

MY PERSONAL REVIEW

This book is a blast, with a hint of creepy, a dose of suspense, and a nice dollop of fluffy wlw.

Despite nearly the entire story taking place in the same basic location, the plot never feels slow or aimless. The mystery is engaging, constantly pulling the reader forward with new hints. The MC goes through a wonderful character arc and is very easy to root for, the villain is just as easy to love to hate, and all the side characters have interesting personalities and impact the plot. The prose is generally simplistic, with some minor disruptions like repeated words, but holds great, impactful lines as well.

Overall, a wonderful fall read, with a heavy focus on healthy relationships, believing in one’s self, and choosing love.

INTERVIEW WITH THE AUTHOR

Jillian was awesome enough to answer a few questions for me…

Where did you first get the idea or inspiration for this novel?

The earliest version of this novel was actually a fanfiction! But it’s changed a lot since then–the entire bird/feather motif didn’t exist, there were a lot more characters who didn’t really contribute anything, the love stories were less fleshed out. I think the biggest changes happened from around the 70% mark onward, but everything’s changed a little bit.

Where and when do you typically write? Do you have any pre-writing exercises or habits that help you get into the mood?

I tend to write after dinner, but lately I’ve been sneaking in more writing on my lunch break, too. I don’t really have any habits or exercises, but I do tend to schedule my day in advance, so I always know exactly when I’m writing. Generally I dedicate the 7:30-8:30 block to writing, although sometimes it gets moved around. And on weekends, I’ll schedule more writing time.

Who was your favorite side character to write in The Songbird’s Refrain?

It’s really hard to pick a favorite! They were all super fun in their own way. Maybe Violet, though. She probably had the easiest voice out all of them to write, and required very little editing. Just deleting an f-word here and there when she decided she needed to use three in one sentence.

If you had to set The Songbird’s Refrain in a popular alternate universe (like the world of Harry Potter, Lord of the Rings, the Hunger Games, etc), which would you choose and how would your characters fit in there?

Oh, gosh, what a great question! I definitely know my character’s Hogwarts Houses, so… let’s go with that. Elizabeth is a tiny shy hufflepuff with a crush on the cute Ravenclaw girl who is always reading romance novels and doting on her cat, but doesn’t get the courage to talk to her until a mysterious threat arrives, wearing a dark mark and a red dress… I don’t know, something like that!

What’s something (or multiple somethings) you wish you’d known about writing before you’d started The Songbird’s Refrain?

You’re going to wind up changing lots of things during the drafting process, so don’t worry so much about sentence structure until you’re relatively certain you’re going to keep that chapter the way that it is! Seriously, I could have saved so much time..

Do you have a new project you’re working on now that The Songbird’s Refrain is approaching publication?

There is, but I’m not sure if I’m going to publish it under the Jillian Maria name, so I’m keeping it a secret 😉 But my next big Jillian Maria project is going to be another f/f YA novel about two girls hunting treasure in a small town forest! Technically this is a second draft, but I’m changing some pretty major plot elements and it’s got me really excited. I’ve got it outlined and about one-and-a-half chapters properly drafted right now, and am hoping it’ll be ready for its first round of beta readers after that!

What are you most proud of in regards to The Songbird’s Refrain, whether that be a skill you picked up while writing it or a scene you didn’t think you could conquer, etc?

I think that the themes of the book are really solid. I’m really proud of how everything sort of ties together in the end, because that’s something I really admire in other writers but always have a hard time replicating. It took several drafts, but I think it got there! Also, Chapter 28 always makes me cry. I think that’s a pretty big accomplishment.

While The Songbird’s Refrain is an amazing book, there’s always more to be learned as a writer! Is there something you’re working on improving in your writing right now?

Pacing is always a struggle of mine, so that’s something I think I’ll be working on indefinitely, from now until the end of time. I’d also like to make my writing process a little shorter–it took many, many drafts to get The Songbird’s Refrain to where it is now, and I’d like to improve as a writer so that I can get more polished drafts on the first or second try.

Can we get a picture of you and your writing buddy Sadie? 🙂

Of course! As you can see, she is very helpful.

Jillian Maria enjoys tea, pretty dresses, and ripping out pieces of herself to put in her novels. She writes the books she wants to read, prominently featuring women who are like her in some way or another. A great lover of horror, thriller and mystery novels, most of her stories have some of her own fears lurking in the margins. When she isn’t willing imaginary people into existence, she’s pursuing a career in public relations and content marketing. A Michigan native, Jillian spends what little free time she has hanging out with her friends, reading too much, singing along to musical numbers, and doting on her cat.

You can find her on goodreads and her website.

#the songbird's refrain #new books #ya fantasy #Book Recommendations #author interview #book review

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ka-du-trur · 4 years

Text

WIP introductions/summaries

Since 2019 is almost over, and since I want ot use 2020 to get back into writing for fun, I figured it might be a nice idea to make a summary of the wips that I still consider alive/active. Maybe that will help reignite some ideas/inspiration, or at least give my brain a better overview of what we’re working with.

I saw someone else do something like this, but I don’t remember the username and I can’t find the original post.

Here they are:

Title: Ånden i Glasset

Genre: MG, horror/supernatural

Summary: A group of friends have a sleepover on halloween and play with a spirit board. They accidentaly invite a demon into the home of the MC who needs to find a way to get rid of it.

Current Word Count: 24052

POV: 3rd person limited, past tense

Writing Experience: This was the first really ‘long’ story I wrote after deciding I wanted to try writing books for real. (I challenged myself to write at leats 50 pages.)

I loved writing this! I had som much fun and have never felt this inspired before or after.

When I finished the first draft I sent it in to a few publishers, and after a few rejections and edits I got a deal with one that if I could make it into a series they would publish it (sammarbeidskontrakt). About a year later they dropped the contract and that kind of killed my writing joy. I haven’t really written anything in the 3-4 years since.

It is currently a complete 4th draft, but the ending sucks and the story is disjointed and lacking something. I thought I was done with this story, and shelfed it, but now I really want to fix it and try to make it good.

Title: Bergtatt

Genre: MG, fantasy/supernatural

Summary: A girl and her two best friends go off to find her twin sister who has been sprited away by the fae, but they become separated and trapped in the underworld themselves.

Word Count: 7654

POV: 3rd person limited, past tense

Writing Experience: This story is completely plotted out, and I’ve drafted the first 4,5 chapters, but then I just dind’t feel like writing any more.

Plotting it was a lot of fun, though, and I really like the story, so I want to finish it.

This is supposed to be the first part of a trillogy. I’ve already got a rough idea of the plots of the other two books, but feel like I should get a firmer grasp of them before I continue with this part.

Title: O Jul Med Din Vrede

Genre: MG, horror/supernatural, short stories

Summary: A collection of Christmas themed horror stories.

Word Count: 9367

POV: Varies

Writing Experience: This one is so much fun to write!

My goal is to get 24 short, Christmas themed horror stories. So far I’ve drafted 7, but I keep a list of ideas, which is now 37 points long.

Title: MaRe

Genre: YA, magical realism, thriller

Summary: The story of a young woman who moves out of her parents’ house to go to university, and start her own life as an adult.

There is a strange, new illness going around and she finds out that one of her new housmates is infected, while another one has been dead in his room since the day she moved in.

Word Count: 1166

POV: 3rd person limited, past tense

Writing Experience: So far this story consists of some ideas and a few wirtten out scenes.

I’ve got a rough idea of the main plot and one of the side plots, but I still haven’t got the full shape of this story.

Writing magical realism is a lot of fun, though.

Title: Tingen i Veggen

Genre: MG, horror/supernatural

Summary: A girl suspects her new home is haunted, and sets out to document it and collect proof.

Word Count: 13

POV: 1st person limited, past tense

Writing Experience: This story is still very much at the planning/idea dumping stage, but I’m really looking forward to working on it.

#writeblr #writblr #writers on tumblr #wip #wip intro #long post #wip summary

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love-takes-work · 5 years

Text

Steven Universe: Art and Origins (Outline & Review)

Steven Universe: Art and Origins is not just an art book--it's also a collection of early material, a reveal of many initial concepts, and an amazing experience to sort through.

Finally getting around to importing my review to Tumblr. I wrote this on the release day.

In my review I'll give you a description of the structure and overview, while also collecting notable information for fans. Obviously just about everything is "notable" with a book of this magnitude, so this may get long, but I'll try to include anecdotes that have some unique insight or perspective on the main source material--with as little of "OMG this was the original idea for this!" as possible.

This is illustrated with some low-quality pictures of the book and it gets super long, so I have to cut. But please read. :)

The overview:

After a foreword from Rebecca Sugar and an introduction from Genndy Tartakovsky, we get:

Part 1: Origins. This contains some narratives about Rebecca Sugar's early life as an artist--inspiration, family, college projects--all illustrated, of course, with childhood photos and early art. Rebecca mentions having wanted to bury her femininity for a while, but coming back to draw female forms and include dancing after she learned to sort through her issues using art.

Her college education and connections with other artists are discussed--some in interview format, some in narrative--and there is some background regarding her time on Adventure Time. The story moves on to talking about developing the pilot and what went into her character and plot ideas. Character design is discussed in depth, with Rebecca giving initial sketches to a design team and developing the characters' initial pilot look.

Some really slick promo art is shared--posters, sketches, great concepts that were designed to bring in new viewers and make them curious about the show. The pilot succeeded in getting the green light to develop it into a TV series.

Part 2 discusses the show's Green Light and Development. Rebecca and some of the other crew, in interview format, talk about getting the team together and allowing for both nailed-down character essentials and flexibility for the writers to explore and collaborate. Developing the setting was also a big part of the to-do list; coming up with Beach City itself, its businesses, its residents, and also the creatures the Gems would fight.

Some cute stories are shared about the early Crewniverse hanging out at a cabin and talking about the show all the time, hashing it out. There are some great, loose character model sheets for early versions of Greg, Connie, Sadie and Lars, and the four main characters.

Part 3 is about Character Design. They discuss how the pilot got released and fans grew attached to what they initially looked like, only to be "outraged" by the changes, making tons of assumptions about who was controlling the process.

Rebecca shares some thoughts on her development process and her philosophy on letting different artists draw the characters differently while gripping onto specifics she set. Main, palette, and distance models are discussed, with some technical details of what different artists do on the team and how they handle props or special poses.

There are many sheets of how to draw the Gems on model (with pointers on what NOT to do), and then there are some Homeworld Gem ideas that didn't get used, and finally, some sketches and concept art for Lapis Lazuli, Peridot, Jasper, and Bismuth.

Part 4 is on Writing and Storyboarding. More Crewniverse interviews provide insight into the process, including how much is revised from the early days and how collaborative everything is. Some specific episodes, like "Ocean Gem," "Monster Buddies," and "Island Adventure" are put into perspective with how they were written by the group.

There's heavy discussion of how the process works and why processes that work on other shows wouldn't work here, and what "rules" are firm and what's just a suggestion, and what's changed as the show's plot became more complex and important. Steven still having access to the "side" stories, the ones that involve Beach City humans and non-world-shaking stakes, is still very important to the story that the original Crew wants to tell. Cute images from the Crew's thumbnail storyboards, Gem designing, and technology designing workshops are shared too.

There's some good continued discussion of concepts in Part 4, especially about fusion and relationships and the larger message the show is sending. How do you tell a story and why? There are many answers to that, and sometimes it's about fun and sometimes it's about a message and sometimes it's about wanting to make an episode about something you've never seen a cartoon do before--something specific to you that other people can suddenly see represented.

One of my favorite parts of it is when they discuss Steven discovering the Gems' weaknesses over time and having that NOT make him think less of them--more like he admires them for being strong enough to shoulder the burdens he didn't know they were carrying before. Storyboarder Lamar Abrams talks about the importance of growing up not just being about becoming bitter, and I really like that.

Part 5 is on Sound and Vision. There's some history of how they found the voice actors for the major roles, and some of the actors give perspectives on their relationship and experience on the show.

Aivi and Surasshu, as the composers, discuss their process as well, with some anecdotes and discussions of why musical palettes work better for characters instead of assigning them themes. Places and objects have their own sounds too.

Part 6 covers Background Design and Painting. Steven Sugar takes the stage and explains general background thoughts as well as specifics for certain settings. His focus on detail is really fascinating to read about--it's really him who nails down the locations in Beach City and where an outlet is in a house on the wall.

The directors and other Crewniverse folks discuss the use of color and background items in the show, and how they use it to create mood or feel changeable enough to be real.

Part 7 discusses Animation and Post, with a spotlight on the work they do in Korea at animation studios Sunmin and Rough Draft. The process is described--how and when the material is transformed from animatics to animated cartoons.

Nick DeMayo discusses timing and adding the sound effects and whatnot. There's also some design instruction that's provided to the animators in Korea.

Some special highlighted drawings and pieces, like the "C.L.O.D.S." zine or some keys for Ruby and Sapphire, are included.

Even the bumpers and end tag animations are discussed here. And of course they had to mention a couple very special episodes, such as when Takafumi Hori from Studio Trigger came in to do "Mindful Education," or when they did the musical episode, "Mr. Greg."

And Part 8 is called "Onward." The intention of the section is unclear at first based on the title of the chapter, but you can quickly see they're discussing the forward-thinking message the show has--how its representation of its creators' experiences has also struck a chord with people who wanted and NEEDED its diversity.

Zuke says a very wise thing when they state that they want the show to provide "insight . . . not a solution." That's one thing this show does well; it spotlights problems and situations and feelings, but only shows you how those things can be dealt with, not necessarily how they SHOULD, in all cases, be dealt with.

Representation matters, and seeing evidence that you are a part of this world when you're from a marginalized or underrepresented group is valuable in a way that you can only know if you DON'T have it.

The show's writers also weigh in on good vs. evil and how it's too black and white; that we needed a show with nuance, and has a message of love and tolerance. Kat Morris acknowledges that there are more important things than making a feelsy and entertaining piece of media, but as she says, the point is to let people see themselves in something and be challenged.

And the creators are able to see at conventions and online that people are responding emotionally, viscerally, to their work. It puts a lot of pressure on an artist to do it right, but in the words of Dogcopter, "Just be true to yourself and people will appreciate your honesty."

The book closes with some photos of the Crew and a few more pages of art. And it kinda leaves you with a squishy feeling. :D

Notable:

1. I was relieved to see Rebecca state it plainly in the foreword: the items you see from the development phases of this show are not to be taken as canon or as "real" insights into how you should interpret it now. She specifically mentioned that she does not consider the Gems "girls" or "goddesses," and that was particularly important to me.

Throughout, you're supposed to see the contributed bits and in-development pieces in the context of what they were: early drafts, embryonic. We all become different from what we were even though we grew from it and may have roots in it still, but that doesn't mean you can point at the seed and say its flower is meant to be understood surrounded by dirt.

2. The original designs for the Gems fluctuated a lot, and in a couple cases even names flopped around. An early name for Garnet was "Onyx," and if you've seen the pilot, you know Pearl got her signature nose later and Garnet's hair took a while to become the splendid square afro. Amethyst seems to have changed the least.

Themes were given to them initially (like Amethyst being "flora and fauna," which you can sort of see in her pilot intro with her lying on big cats). You can still see some of the original intentions in how the ideas manifested, but the first ideas do not gel particularly well with what the show became.

This is particularly interesting because non-creatives commonly think creative people simply receive inspiration and birth their creations into the world wholesale. Inspiration exists, but it's much more common to take an inspired idea and REALLY WORK ON IT. This book's origins section does a great job showing how that works.

3. Some early sketched-out ideas for episodes seem very far from what would fit into the show now (such as an idea for an episode where Pearl is obsessed with the pizza guy??), but one seems to be the roots of "Bubble Buddies," which implies that Steven's original crush was "Priyanka" instead of Connie. (That's now Connie's mother's name.)

4. The pilot's title was "The Time Thing."

5. Initial notes for Garnet say she should have the coolest shoes of the three, that she's commanding and outer-spacey and also weird, and that she's inspired by Grace Jones, boy Michael Jackson, and Estelle in "I Can Be a Freak."

Initial notes for Amethyst insist on the "fanny pack" pouch and suggest her clothes are cut, her hair is in chunks, and she should have an animal theme with a wild texture.

Initial notes for Pearl indicate a desire to have her opposite Amethyst in her formal way of dressing and needing to have an outfit that would allow her to be hung upside down, possibly with a pearl stone theme for baubles in her hair. (Rebecca indicated she needed the most help with Pearl.)

6. Early versions of the show included the idea that the Gems might be trying to hide being Gems in public, and that they kept magic away from Steven for the most part instead of encouraging him to use it.

A "lost" episode about Steven summoning his shield (later incorporated into the episode "Gem Glow") had him saving Greg with it and dreaming about his mother, and having Pearl drive a crappy old car (later incorporated into "Last One Out of Beach City"). Rebecca and Ian reveal that the dream Steven had in it was used a little in "Rose's Room," and that a song called "The Meatball Sub Song" was involved which could have contributed to the show getting picked up despite that we never got to hear it. (Imagine that, Steven singing about food!)

7. There's a note in the early character design section that says "the girls can all turn into Steven" with an accompanying illustration of Garnet, Amethyst, and Pearl shapeshifted as him.

Cute, because we actually got to see them do this in the episode "Keep Beach City Weird" with the exception of Pearl.

8. Rebecca Sugar shares an anecdote about thinking there was a "best" way to draw that was objectively correct (influenced by some art-school stuff), and through that she arrived at the idea that Pearl was a cone, Amethyst was a sphere, and Garnet was a cube, because all of those things say something about who they are (pointedness, fluidness, stability).

She evolved from that idea to a more flexibile idea of how drawing works for different artists, but that was part of what helped her nail the characters down. Steven, eventually, was fixed to having a heart-shaped face.

9. The Tiger Millionaire and Purple Puma flyer shown in the episode "Tiger Millionaire," presented as something Steven drew, was actually drawn by Lily DeMayo (daughter of Nick DeMayo, animation director) when she was seven.

10. Guides are made for the Crew to use featuring reminders on drawing the characters. It's kind of adorable to see common drawing errors or misconceptions or inconsistent details discussed in a how-to format for the people who actually work there.

11. A timeline exists for the show and it encompasses TWENTY THOUSAND YEARS of Gem and human history. It was too spoilery to be in the book, but there is a LOT of lore that is laid down, and this tool mentioned in Part 4 established that this document is referenced often to make events make sense in the timeline.

12. It's been established before, but Amethyst's origin in Earth's Prime Kindergarten was not initially known as part of her character when she was invented, and that was discussed in Part 4 of this book--how the writing retreats the Crew takes to discuss the story sometimes result in huge revelations like this. "Oh, that makes sense, that's why we wrote her like that" is one of those things I recognize as a writer--you know a character has a certain vibe, but you don't know what explains it. You just trust that something does. And eventually, sometimes you find out what it is and it all makes sense. Interesting to know they did this with Amethyst.

13. "Lars and Sadie make out even though they're not together" was the basic idea for making "Island Adventure." And the original idea for "Onion Friend" had a "Grandma Shallot" character.

The writers sometimes play writing games to brainstorm, and those were shared. Some ideas for a story which was later used in "Future Boy Zoltron," covering Mr. Smiley's romance/comedy partnership with an old flame, were shared with more emphasis on the characters being lovers.

Garnet's part in the story was more explicit too, with her giving people future predictions that are not at all nice or gently delivered, and they have to shut down the business in the wake of Garnet's badassery. Weird.

Other ideas were used but not as they're presented, like one where Greg learns about fusion from the Gems (but witnessed the fusion of Pearl and Amethyst, not Pearl and Rose), and a complicated one where cross-Gem fusion is a new idea in a flashback and Rose wants Garnet to fuse with her to teach her about it but she's too unsure of her own fusion relationship as such to risk it. The idea was that Pearl would be jealous and Pearl, Rose, and Garnet would actually fuse in the episode. This has not been done in the show.

14. Rebecca Sugar apparently just pops up with concepts she wants the writers to work in. Like "I want Steven to be in a mushroom forest" (which hasn't happened yet) or "I want Steven to have cats on his fingers" (which, obviously, happened early on). Rebecca gets little concepts that are sort of dreamlike, and they figure out which episode they can put them in. Working those things in sometimes seems like as much of a priority as getting plot elements in!

15. I like that they dish a bit about the fan reaction to Garnet's Fusion status. They thought they were being a little too obvious to not get caught, but Ian said the fans figured it out and then got bored of the idea and decided it must be even more complicated than that. People were apparently worried that Garnet would be replaced by her component Gems in the story if she were to unfuse, but obviously since Ruby and Sapphire want to be together, that doesn't happen.

16. Kat Morris's "rules" as discussed in Part 4 are "Garnet never asks questions" and "the story has to stay in Steven's perspective." I love how strict they are about Garnet not asking questions (except in the episode "The Answer," though there have been a couple ~technical~ questions from her; she usually just finds a way to ask a question with a statement, like "tell me what you saw").

17. A great quote from Zuke on the incidentally queer content of the Gems' relationships and gender: "Personally, I'm happy to not have to think, 'I'm writing a character based on my queer experiences.' That would be so hard! I'm just writing from my perspective, and I happen to be queer. I think that's what makes the show feel natural when it comes to that. It's a fine line between defining something so that people are aware it exists, which is so important, but also letting it breathe, so it's not forever contained in a box labeled 'queer media.'"

18. In Part 5, Michaela Dietz relates her experiences as an adoptee to relate to what Amethyst deals with as an "adoptee" into the Crystal Gem family without knowing where she really came from or what it means to be a part of that. She's said this before in some other interviews and panels, so it's not new in general, but it's probably new in print. Deedee Magno Hall, who plays Pearl, obviously relates to Pearl's maternal nature.

19. Tom Scharpling and Charlyne Yi were voice actors that Rebecca specifically had in mind for her characters (Greg and Ruby respectively). Rebecca's illustrated letter to Charlyne explaining Ruby and Sapphire's relationship and Ruby's role on the show is really adorable.

20. Music nerds like me will very much appreciate the photographed notes on music motifs--the Diamonds each have a solfège syllable and a chord (White is F#M7/Sol, Yellow is BM7/Fa, Blue is EM7/Fa, and Pink is AM7/Mi), and Steven's powers and modes are coded with instruments and styles.

21. Some world maps provide new possible insights. Greenland in our world is Blueland in theirs. South America is called Pangea. Aqua Mexico is labeled about where Mexico is in our world. India is the Indian Islands. There's an Australia and a New Australia. A big sea in the middle of Asia is called the Tunguska Sea. Rose's Fountain is in Spain or Portugal; the Sky Spire and Strawberry Battlefield are in Norway; the Shooting Star Shrine is in the middle of the drastically different Asian continent; the Galaxy Warp is in the Tunguska Sea; the Lunar Sea Spire is off the coast of Canada; Mask Island is in the Atlantic near Beach City; the Comm Relay is in the Western United States.

22. It was known from interviews that Shelby Rabara (voice of Peridot) is a dancer and provided the foot sounds and coaching to create the short tap number in the episode "Mr. Greg." But what's great is here, there's a visual reference included! Photos of Shelby doing the dance are lined up next to the drawings of Pearl and Steven in the "Mr. Greg" number doing the steps! She poses in dance moves with her husband for the Greg/Pearl dance for "Both of You" too.

23. There's a really cute story in the last section about Amber Cragg ascending from fan to Crewniverse member through posting Pearl art in response to the pilot and eventually getting contacted to take a board test. That is the kind of thing so many online artists dream of!

[SU Book and Comic Reviews]

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