My personal space on tumblr. Subject to geekouts, random obsessions, and sudden changes of fandom.

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Reblogged from marthawells  4,048 notes

Louisa May Alcott wrote Little Women for the money. And it made her miserable.

As a young writer, Alcott concentrated on lurid pulp stories of revenge, murder, and adultery–’blood and thunder’ literature, as she called it–and enjoyed writing very much. She was in her mid-30s when an editor suggested she try writing a book for girls. Alcott wasn’t very interested, but her father was a complete moron with money and had left the family in terrible financial trouble. Alcott wrote Little Women in hopes of some decent sales and a little breathing room and got way more than she asked for. The money in sequels was too good to turn down (and her father didn’t get any smarter with a dime), but Alcott hated writing what she called ‘moral pap for the young’ and longed to return to the smut and violence of her early endeavors. By Ten Things You Didn’t Know About Books and Authors You Had to Read in High School (via bookriot)

Reblogged from darkpuck  1,783 notes

Subplots bring realism to your main plot simply by existing – by interrupting the flow. Why is this? Because life doesn’t move forward all at once. Interruptions happen, change rushes in, we juggle three or ten balls at once. Readers don’t expect continuous narratives. By Elizabeth Sims (via writingquotes)

Whatever he sees in the heroine, he sees. He wants it. He does not care about her status harming his. He does not care how other people see her, because frankly, why the hell would he? He’s secure. He doesn’t want her because other people would, or do. He wants her, period. He is never, ever going to be the husband who tells his wife, “you better start working out, you need to lose some weight” because he’s self-conscious about how other people will judge him for having a chubby wife. He is never going to be concerned that her age is showing; he is never going to have an affair with a random, twenty-year old secretary, etc.

Readers give consent to the relationship not because the hero is an asshat, but because the hero is an idealized grown-up. His ego does not require bolstering: he could not care less what other people think of him. What he needs, undiluted, is the heroine.

By Michelle Sagara contemplates the Alpha Male | Dear Author

Reblogged from laleiragoblin  564 notes

When you get to a point where you’ve read an amazing number of books, you change. You’ve read so much that what may seem new or interesting to most (and even to the writer of the book you’re reading) is just a variation to you. Your expectations regarding the work change.

Due to subjectivity being what it is, many writers can mistake what’s happening and view it as the books getting worse, not their own aesthetic changing. Two things can happen. One, despair at what they perceive is the dying of quality. You see this a lot with people who hit a certain number of books read: they begin to rail against the dreadfulness of everything. It can lead to bitterness, cynicism, and outright hatred of something they previously loved.

Secondly, and you see this with a lot of artists, is that they begin to gravitate toward something that feels new to them. They seek out ‘artist’s artists’ and are not happy when those voices aren’t welcomed by the mainstream, because these are stories aimed at people who’ve simply consumed a terrific amount of fiction to be able to enjoy the work.

By

The fate of today’s book bloggers

I like this idea. It makes me wonder whether the same thing can be said not just for books and music (specifically, I’m thinking of the new Savages album), but film… food… everything. Are there certain high water-marks we reach and never really come back from as manic consumers of something?

(via eurekajunkyard)

Reblogged from darkpuck  10,326 notes

What is significant about fan fiction is that it often spins the kind of stories that showrunners wouldn’t think to tell, because fanficcers often come from a different demographic. The discomfort seems to be not that the shows are being reinterpreted by fans, but that they are being reinterpreted by the wrong sorts of fans - women, people of colour, queer kids, horny teenagers, people who are not professional writers, people who actually care about continuity (sorry). The proper way for cultural mythmaking to progress, it is implied, is for privileged men to recreate the works of privileged men from previous generations whilst everyone else listens quietly. By Sherlock and the Adventure of the Overzealous Fanbase by Laurie Penny  (via basilandtheblues)

Reblogged from thegirlwithgoldeyes  5,439 notes

alittleheadache:

ami-angelwings:

lightlybow:

itsvondell:

im really interested in zombie apocalypse media as a projection and extension of young american male craving for power-based survival-of-the-fittest type narratives that celebrate violence and dehumanization of the other

It makes sense: the first Godzilla craze in japan reflected the fear they felt about the danger of nuclear radiation.

I dislike how survival horror used to be a genre stocked with female heroes, where men who couldn’t get along with others died, and now has become the opposite and are fantasies of dudes who don’t like other people to pretend that in a just post-societal world their awesome individuality would be recognized.

#I also always analyzed it that women survived this genre so well #because women are used to being in a world with predators #and men aren’t

boom

Reblogged from ladybusinessplus  21 notes

Great stories […] make you want to tell your own stories that reach out and grab someone like the story you just experienced did to you. Or better yet, they make you want to tell your own stories even better. In that post-story moment you know for a fact you have a story in you somewhere that will make someone feel like you’re feeling, make them feel even more powerful than you feel. We’re all storytellers, after a fashion, even if the stories take their sweet time leaving our heads. Eventually we find the story that sends us careening past uncertainty and fear to tell our own, whatever form they may take.

That’s what this collection does for me. Reading Kameron Hurley’s writing makes me want to take on the world. Her words are like a direct challenge to write and write viciously and without apology: write hard things, write beautiful things, write things that make people happy or sad or that make them belly laugh. Write, even when you’re afraid of failure. Write especially when you’re afraid of failure.

Write.

By Women in Perpetual Motion; Thoughts on We Have Always Fought by Kameron HurleyRenay @ Lady Business (via ladybusinessplus)

Reblogged from jenfangirls  187 notes

Those writers you think are masters of the craft aren’t created that way. They aren’t supernaturally capable ninja writer-bots. When you read the work of a writer operating at the top of her game, you’re not seeing all the years of failed efforts, of work that wasn’t quite right, of work that was well-intentioned or built off of strong ideas but had slick and wobbly legs like a newborn fawn.

You see the author operating at a high level and you wonder: why am I not doing that?

The reality is:

You’re only seeing the island, not the heap of volcanic material that pushed it out of the sea.

By Chuck Wendig - "Polling Your Intestinal Flora: How A Writer Cultivates Instinct" (via likeatumbleweed)

Reblogged from writingsbycrscott  27 notes

Rants by Limyaael

writingsbycrscott:

If you’re a writer and you’ve never read a Limyaael rant, you have been depriving yourself of a great series of essays on various aspects of creative writing. 

The person known as “Limyaael” started writing “rants” back in 2003, when she was an English grad student studying for her PhD.  Since then, she’s written well over two hundred separate rants over the years.

Her rants are so epic, she’s even got her own article at tvtropes.org!

She hasn’t written any new rants in well over a year, but all her old ones have been archived both on LiveJournal and InsaneJournal.

Listed below are several of my favorite rants and short descriptions of what they are about:

Putting your characters through absolute hell
an essay describing seven different, but extremely effective, ways to make your characters SUFFER on massive emotional and psychological levels

Interesting villains
an essay describing seven ways to give your villains more depth in their stories by avoiding cliche villain tropes and trying new viewpoints

Unequal relationships
an essay not about love relationships, but about relationships where one party has significant power over the other (i.e. master-slave, king-servant, charge-bodyguard)

On consequences
an essay with six points about consequences and the characters who suffer from them and how far you should take it in your story

Avoiding deus ex machina
an essay with five points on how to avoid relying on “deus ex machina” to solve the conflicts and wrap plots in your stories