For the love of god if your native language is different from the majority language of the country you’re living in don’t raise your baby speaking the local language. Either have each parent speak to them in a different language or only speak your native language at home. The kid will be okay. Get your native language in their head. You may think you’re helping them in the long term giving them the local language but no. When they’re an adult they’ll wonder why you never taught them your language. They can and will learn the local language in school. They’ll be okay. Produce more bilingual children. They are good for society.
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Unveiling the Narrative Dynamic: Characters at the Helm
Certainly, I'd be happy to help you rephrase that concept into an article!
Read more characters
Introduction
In the realm of storytelling, an intriguing analogy has emerged, one that paints a vivid picture of the creative process. A professor's words echo in our minds: "You aren't in the driver's or passenger's seat when you write a story. The characters are in the driver's seat, and they've locked you in the trunk." This metaphor encapsulates the captivating essence of storytelling, wherein characters become the driving force behind the narrative, leaving the storyteller confined to the sidelines, yet utterly compelled by the journey.
Characters as the Driving Force
At the heart of any narrative lies a cast of characters, each with their distinct personas, aspirations, and quirks. They are not merely ink on paper or pixels on a screen; they are the lifeblood that courses through the veins of a story. It's often said that characters take on a life of their own, steering the plot in unforeseen directions and revealing facets of the narrative that the author might not have initially envisaged.
When our professor likened the writer to someone locked in the trunk, it's a metaphor that carries profound insight. Authors may craft the initial contours of a storyline, but it's the characters who breathe life into it. They dictate their responses, their choices, and their growth, leading the narrative down uncharted roads. As creators, we find ourselves drawn into their world, spectators to their adventures, with each twist and turn of the plot surprising us as much as it does our readers.
The Intimate Dance of Creation
The process of writing, then, becomes an intimate dance between the writer and their characters. They whisper their desires, fears, and ambitions to the author, who in turn translates these revelations into words that captivate and enthrall. It's a delicate balance between steering the story and relinquishing control, allowing the characters to take the reins while the author becomes the conduit for their voices.
In the trunk, as our professor's metaphor suggests, writers may feel a mixture of anticipation and surrender. They are not captives of their creations; rather, they are humbled witnesses to the unpredictable trajectory of their own imaginings. It's this dynamic that often yields the most authentic and compelling narratives, where characters evolve organically, their decisions resonating with a genuineness that cannot be contrived.
Embracing the Unknown
The notion of being locked away in the trunk of the narrative vehicle doesn't evoke a sense of limitation, but rather an embrace of the unknown. It signifies a willingness to be surprised, to allow the story to unfold with a spontaneity that mirrors real life. In this sense, characters become more than the sum of their scripted parts – they become autonomous beings driving the narrative forward, revealing layers of depth that might otherwise remain hidden.
Conclusion
In the realm of storytelling, our professor's analogy paints a vivid and resonant image. Characters are indeed at the helm of the narrative journey, guiding us through uncharted territories of imagination. As writers, we find ourselves willingly locked in the trunk, awaiting the twists and turns that our characters unveil. It is a symbiotic relationship that encapsulates the beauty of creation – a dance between the crafted and the innate, the scripted and the authentic, ultimately leading to stories that resonate deeply with both their creators and their audiences.
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Then, on his arrival in Constantinople, after much counsel with himself, considering that he was already unequal to the amount of pressing business and believing that there was no room for delay, on the twenty-eighth of March he brought the aforesaid Valens into one of the suburbs and with the consent of all (for no one ventured to oppose) proclaimed him Augustus. Then he adorned him with the imperial insignia and put a diadem on his head, and brought him back in his own carriage, thus having indeed a lawful partner in his power, but, as the further course of our narrative will show, one who was as compliant as a subordinate.
No sooner were these arrangements perfected without disturbance than both emperors were seized with violent and lingering fevers--
AM 26.4.3-4
this was one of those illustrations that was originally supposed to be a 5 page comic until I realized I don't know anything about later roman empire architecture or visuals or art or anything, so we'll revisit that later. maybe
for right now though, these two are fascinating. we have two brothers acting as one body, even becoming ill in tandem with each other, it's giving This Throne Is Cursed. like, the last time I read about emperors coming down with life threatening illnesses, it was Caligula, and that moment in his biography marked a very specific tone shift. I spent the rest of the (first) time reading about Valens and Valentinian waiting for something comparable to Caligula's reign to happen lmao (Dio 59. 8. 1-2)
and since Caligula was already on the mind, I started thinking about Tiberius: I think he would've loved these two since he had a whole thing about twin-ification and brothers and etc etc etc. ofc, Rome is both a Mouth and a Tomb, so it's going to go badly for someone/everyone eventually, but honestly I think that Valentinian and Valens were the best we could've hoped for. like it could've been so much worse
Tiberius and the Heavenly Twins, Edward Champlin
Failure of Empire: Valens and the Roman State in the Fourth Century A.D, Noel Lenski
⭐ I have a tip jar (ko-fi)!
⭐ and other places I’m at! bsky / pixiv / pillowfort /cohost / cara.app
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One of my professors told me recently “You aren’t in the drivers or passengers seat when you write a story. The characters are in the drivers seat and they’ve locked you in the trunk” and I mean he’s not wrong.
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Cato the Younger, early days.
he is. a weird guy. I've always read about him in association to brutus, but ever since kicking it back a generation, I've been reading more about him and I gotta say: eerie! usually I'd go, oh necromancy. but this is more like sticking your tongue into the intercostal space of a thing that should've decayed a long time ago and wearing it's death mask. arguably worse, because doing that is like tapping open an entombed space that will never be closed.
eventually he'll look less like an old design I had for brutus (or. hghg. lucius junius brutus, because I realized after I finished this that this is a parallel composition to when I drew lucius, only no dead sons) as I draw him more, but. ehguh. had some thoughts! wanted to excise them from my mind so I can go to sleep!! what a guy!
Cato the Younger: Life and Death at the end of the Roman Republic, Fred K. Drogula
bsky ⭐ pixiv ⭐ pillowfort ⭐ cohost
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roman is free in the sense that he is free from waystar, but he is not free in the sense that he has 'escaped the cycle.' roman realized everything is bullshit and left, but that's not what actual meaningful freedom would be for roman. what rome needs is for business and family to finally make a clean separation, for him to be allowed to love his family without molding himself into an image of logan that he isn't. waystar has always been the only way the roys know how to interact with one another, and it still is. in that sense, nothing has changed. roman's declaration about the nothingness of waystar is not actually a change, because he still marries waystar to family, and thus believes family is nothingness as well -- functionally, there's little difference between that and the opposite belief that both waystar and family have meaning and are 'real.' what the roys need is to realize waystar is bullshit and family is real, but roman went from thinking both have meaning (family has meaning thus waystar has meaning) to thinking neither do (waystar is bullshit thus family is bullshit). nothing changes, the cycle keeps on cycling. finally family has been severed from waystar (what he's needed all along -- he's never really cared about the business, only his family, and the business was the only way he could be with his family, so he tried and failed time and time again to mold himself into the businessman his dad wanted him to be), and while this is a good thing, it's coupled with his realization of the hollowness of the family itself. in hindsight, this was inevitable, i think -- if waystar royco was the beating heart of the roy family (which it was), there's no conceivable severing of the two that would allow the family to maintain functionally intact.
i do think that roman will have relationships with his family after the finale (shiv is definite, con is likely, kendall is also likely because roman is incapable of not being around his family and can't imagine a world in which they don't return to each other somehow), but he's aware for the first time of the nothingness of their bonds, something that everyone has already known except for him -- something, i think, that isn't even entirely fair. they do love each other. there is something there. and now that waystar is no longer part of the equation, maybe there's hope for real relationships beyond transaction, beyond business, beyond logan. but none of them believe that to be possible. roman always used to, but for the first time, i think he's not sure. he's free of waystar, but the roys never managed to functionally healthily uncouple family and business, so being free of waystar also means being free of family -- it has to mean that. he's convincing himself it's all nothing and he doesn't care, and that won't last. but, in my opinion, neither will the distance between the siblings. i think it'll take time, but they'll come back together, albeit in varying degrees (i doubt shiv and ken will ever have quite the same relationship again, for instance). roman is free of waystar but not because he realized it's not necessary for family -- because he 'realized' family is not necessary, that family is nothing too, that everything is nothing. it's an empty sort of happiness, unsustainable and hollow. but i do think there is hope. i think it'll be okay for rome in the long run (family-wise, at least). i just don't think nihilism is a salve capable of healing deep cuts, only a bandage allowing them to stay hidden for a little while longer.
in life and in death, waystar royco and the roy family are eternal partners, inextricable from each other -- and so long as the two remain conceptually married, it'll be hard for roman to find legitimate happiness: if one is dead, then the other must be too. he ends the series the same as he started it, believing fully in logan's conception of family as a business unit (meaning now that both are bullshit), people as economic units (meaning now that both are bullshit), and roman himself as the son who couldn't be the heir and thus was never much of a son at all. logan dominates his worldview just as much as it always has. sure, roman acknowledges that everything is bullshit now, but that's even more logan than his previous viewpoint which was a naive sort of belief in family. now, it's all just bullshit. everything's bullshit. it's logan with nihilism as the dominant frame (rather than capitalism), but regardless of roman's thoughts on the meaning of things, the structure of the world is the same one that logan taught him. he is free from waystar, but he is haunted by its ghost and always will be.
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