I keep seeing posts from writers saying they don’t like kudos and they only want comments. I thought kudos were a good thing?

ao3commentoftheday:

unforth-ninawaters:

flyingcatstiel:

ao3commentoftheday:

Kudos are a good thing. 

I get excited by my AO3 “You’ve got kudos!” just like I do for comments, and I know other writers do too. I think the issue stems from a difference in perspective between writers and their audiences. 

Writers see giving kudos as meaning, “This fic meets my minimum requirements for liking a thing. It’s not great, but it’s not that bad. I can give it a thumbs up, sure. Why not?”

On the other hand, readers often mean, “This was great! I really liked it! Good job, Author! Thumbs up for you!”

Because authors know how important feedback is to us, we tend to write comments for the good stories and kudos for the “okay” ones. If we don’t like it at all, we pretend we never read it by doing neither. 

Unfortunately, we assume readers approach things the same way. That’s why we can sometimes be dismissive of kudos. We’re looking at it from our perspective rather than from the reader’s.

This is also why we get discouraged if we have 1000 hits and 20 kudos. To us, that means that 980 people didn’t feel like our story met the bare minimum requirement to be considered “okay.”

This is such a fascinating discussion. As a redear/fic reccer I have never ever imagined that authors treat kudos as 
This fic meets my minimum requirements for liking a thing. It’s not great, but it’s not that bad. I can give it a thumbs up, sure. Why not?” This thought is an eye opener and a little bit of a bummer, tbh. 

I personally give kudo when I liked/ loved the fic and want to support the author. Maybe I’m spoiled because my OTP has too many fics on AO3 and I can easily ignore fics that meet my minimum requirement? Also, as a reader, I see kudos as a bat-signal to other readers – come here, read this fic!  A good amount of kudos tells that this fic is appreciated by many readers. I’m not saying that a lot of into kudos = good fic (or even the fic I will like), that is not the case. Still, a lot of readers pay attention to the amount of kudos, not comments, when deciding to read a fic. So, for me it boils down to comments are personal and emotional (and then the discussion about how authors respond to comments is important)  and kudos is my thank you to the author + me giving boost to the fic to get more readers. 

I’ve read some discussions on anon meme about kudo vs comments practices.. And yes, some readers will leave kudo if they simply managed to finish the fic, others treat kudos as a thumbs up, good job! button only when they liked the fic. And some folks said that they leave kudos if the fic was adequate and comment if they really loved the fic, but they don’t give kudos when they comment (since kudo is impersonal). I wonder how writers feel about getting a lovely comment but not kudo from the same reader? 

Nearly every writer I know, myself included, has said to me at one or another that we ourselves kudos as a “this fic meets minimum standards.” Basically any fic I finish, I kudos. I now try to comment also, and if it’s a friend I comment as much as I can (often every chapter).

Honestly I’ve never once checked to see if someone who left a comment also left kudos. A comment is enough for me, even if that happened I don’t think I’d mind. (But it’s impossible to tell especially if the comment is anon, they might have left guest kudos…)

But basically: as a writer the original reply completely reflects how I feel about it. Kudos are awesome, I do love them, but it’s not the same…

Thanks for your additions, and for answering the person above.

Comment on fanfics

ao3commentoftheday:

iusedteabag:

A few days back on AO3 I found an unfinished, two chapter spideypool fanfic that was cute and had lots of potential and was also last updated two years ago. Two whole years! And it had only three comments, all of which on chapter one, none on chapter two. I enjoyed the fanfic, despite it being far, FAR from being finished and the chance of it ever updating again anytime soon was just about zero. So you know what I did?

I wrote a damn comment. On chapter two.

And I made sure that fucker was long and had a small theory of where I think the author would take the fanfic in the future. I let the person behind the fic know that I friggin LOVED the two chapters I got to read! That I would LOVE to see more! That I’d jump out of my skin in happiness and virtually hug them half to death if I saw that they updated it.

Let me remind you this fic wasn’t updated in two YEARS! I was the first to comment on it in a year. And the first to comment on chapter two! And you know what happened today?

I got a reply.

From the author of the fanfic.
And the author said how I gave them life for a project they had loved (still did) and that they were now working on a third chapter.
After two YEARS of not updating. Of not writing. And it makes me so friggin happy seeing what I did. What I caused.

With a single. Damn. Comment.

All that it took for me was to think a bit about what I wanted to tell the author and the comment it. All it took was one comment. And suddenly this person was inspired to continue a fanfic they had abandoned for TWO YEARS!!

I couldn’t be happier. I couldn’t be more proud.

Comment on people’s fanfics. No matter how few chapters there are. No matter how many years have passed since their last update. Comment. You like a fanfic? Comment on it. It’s that easy.

#honestly this#i once remembered this author i used to love in a fandom that’s now dead#and when i looked up their fic i found that they had collected all of it on their own site–and there was tons of it i had never read!#so i read allllll of it#and even though the fandom was dead and the ship had been ruined in canon and the author hadn’t written more in years#i emailed them just to tell them how much joy i had gotten out of finding their fic again#how i had loved interacting with them on livejournal back in the day and how i’d spent my week reading every single story now#and…nothing#crickets.#and i didn’t actually expect a response#so i moved on#then MONTHS later#i got an email#and it was from them#and they were SO happy to have heard from me and to know that somebody out there was still enjoying all their hard work#and it was the best thing ever#…also i am the writer in this post too#i’ve been working on the same lizzington chapter fic for years#literally since before i gave up on the show#and i sometimes go a whole year between updates#but i get the nicest comments on it every once in a great while#from some new reader who just found it and wanted me to know that they love it#and that they understand why i might have abandoned it but hope i’ll come back someday#and LITERALLY guys literally that pretty much always results in an update#finding out that something that’s so far in the past for you matters to somebody right now is the best feeling#fanfic#also this blog is my new fave#happy things  (via @actuallylorelaigilmore)

dr-archeville:

caffeinewitchcraft:

dialogue-prompts:

hockeylvr42:

megan-cutler:

bead-bead:

lullabyknell:

Can I just… talk for a moment… about how much I love how, if you know them well, words don’t have synonyms?

English, for example, is a fantastic disaster. It has so many words for things that are basically the same, and I find there’s few joys in writing like finding the right word for a sentence. Hunting down that peculiar word with particular meaning that fits in seamlessly in a structure, so the story flows on by without any bumps or leaks.

Like how a shout is typically about volume, while a yell carries an angry edge and a holler carries a mocking one. A scream has shrillness, a roar has ferocity, and a screech has outrage. 

This is not to say that a yell cannot be happy or a holler cannot be complimentary, or that they cannot share these traits, but they are different words with different connotations. I love choosing the right one for a sentence, not only for its meanings but for how it sounds when read aloud. (Do I want sounds that slide together, peaceful and seamless, or something that jolts the reader with its contrast? Snap!)

I love how many words for human habitats there are. I love how cottage sounds quaint and cabin sounds rustic. I love steadiness of house, the elegance of residence, the stateliness of manor, and tired stubbornness of shack. I love how a dwelling is different to a den.

And I love how none of them can really touch the possessive warmness of all the connotations of home.

Words are great.

I did not expect to cry by the end of this, but I did.

Which proves the point, no?

“The difference between the right word and the almost right word is like the difference between a lightning bug and the lightning.” – Mark Twain (and one of my favorites, since I happen to agree with everything the OP said!)

^that is an incredible quote I’m upset I’ve never heard it before

❤️

When I’m editing a story, I read it aloud. Not only does reading it out loud bring my attention to little grammar mistakes or skipped words, but the wrong word stands out like a sore thumb.

If you read your work aloud and you come across a sentence that doesn’t feel right or isn’t exciting, stop. The sentence is wrong. There is a better word out there and it’s your job to find it.

Your story has to be good enough for you. Not anyone else or any perceived audience, just you. If even a sentence, just one sentence, doesn’t excite you , it needs editing because you deserve the best story you can tell. 

“cottage in the forest” vs. “cabin in the woods”

feynites:

beatrice-otter:

space-australians:

bemusedlybespectacled:

apprenticebard:

bemusedlybespectacled:

I always find it kind of weird that matriarchal cultures in fiction are always “women fight and hunt, men stay home and care for the babies” because world-building-wise, it makes no sense

think about it. like, assuming that gender even works the same in this fantasy culture as it does in ours, with gender conflated with sex (because let’s be real, all of these stories assume that), men wouldn’t be the ones to make the babies, so why would they be the ones to care for the babies? why is fighting and hunting necessary for leadership?

writing a matriarchy this way is just lazy, because you’re just taking the patriarchy and just swapping the people in it, rather than actually swapping the culture. especially when there are so many other cool things you could explore. like, what if it’s not a swap of roles but of what society deems important?

maybe a matriarchy would have hunting and fighting be part of the man’s job, but undervalued. like taking the trash out or cleaning toilets: necessary, but gross, and not noble or interesting. maybe farming is now the most important thing, and is given a lot of spiritual and cultural weight.

how would law work? what crimes would exist, and what things would be considered too trivial to make illegal? who gets what property? why?

how would religion work? how would you mark time or the passage into adulthood? what would marriage look like? if bloodlines are through the mother, bastardy wouldn’t even be a concept – how does that work?

what qualities would be most important in a person? how would you define strength or leadership? what knowledge would be the most coveted and protected? what acts or roles are considered useless or degrading?

like, you can’t just take our current society and say you’re turning it on its head when you’re just regurgitating it wholesale. you have to really think about why things are the way they are and change that

THIS IS SUCH A GOOD POST THOUGH.

I think what really bothers me about the whole “men take care of the children and tend house because they’re not in charge” thing is that it reinforces the idea that traditionally feminine work SHOULD be undervalued. That there’s no way anyone could see raising children and think, “wow, what a valuable contribution to society”. Even though families are what societies are MADE of, and if you ignore the welfare of your children the society falls apart in a generation or two.

Imagine if women were seen as the ideal political leaders BECAUSE they’re the ones best suited for raising young children. What if it was assumed that government positions were sort of scaled-up households, and that only a leader who saw their subjects as their children could be fair and compassionate enough to rule effectively? What is a village, or a country, but an extended family?

On the one hand, the ability to use physical force effectively is super important for a low-tech society, and there’s always the threat of hostile military takeover, either from outsiders or via internal revolt. On the other hand, a society where all the men want to rebel is probably not a society that’s being run at all effectively, and there are other ways of maintaining control (ie religion, cultural traditions, propaganda, etc). Women could be the more educated group–in some ways that’s even intuitive, since a non-magical preindustrial society is one with a high infant mortality rate, which means it has to have a high birth rate to compensate, which means women will be pregnant a lot. If they have trouble consistently working physically demanding trades, why not assign them to jobs that require more mental exertion? Why not a society where all the lawyers are female, all the doctors are female, all the historians and most respected poets are female? If you keep that up for long enough, eventually that gets seen as an inherent sex difference, and men don’t exert physical force because holy shit they’d have no idea what they were doing once they gained power.

It doesn’t have to be these specific differences, of course. But I think that’s the thought process that most of the best worldbuilding comes from–why are things this way? How have they stayed this way? Just saying “what if women could tell MEN what to do!” is so boring compared to asking why we value the things we value. Besides, fictional societies that are created without asking why things are the way they are are not going to stand up under close scrutiny, whether they play into or subvert our expectations.

This is such an excellent addition to my post, @apprenticebard, I am rubbing my hands together with glee.

(Not aliens, but goes along with some discussions on how cultures might differ.)

The thing about a gender hierarchy is that most gender-based “x gender is better at y task” is bullshit, and so is “all x gender have (or are supposed to have) z trait.”  You will find all kinds of people of all kinds of gender presentations with all kinds of skills and traits.  I mean, there is an after-the-fact correlation where girls are taught one set of things and boys are taught another, but it has zip zero zilch nada nothing to do with aptitudes and interest.

So if aptitudes and interest and the raw stuff of skills and traits is gender-neutral, how come we think some things belong to one gender or another?  The answer is quite simple.  Because any trait or skill that society values gets assigned to the highest gender in the hierarchy.

Let me repeat that for the folks in the back.   Any trait or skill that society values gets assigned to the highest gender in the hierarchy.  And you can see this because as values change, tasks and traits get passed between genders.

The best example of this that I know of is sexual appetite.  See, one thing that really boggles peoples minds when they read medieval literature is that their assumptions about sex are, to us, backwards.  Ask anybody today who has the greatest sexual appetite, and they’ll say it’s men!  Who has the least sexual appetite?  Women!  A great deal of research has shown that this is bullshit, that there is a wide range in both men and women and gender tells you exactly bupkiss about sex drive, but even people who know this are guided by unconscious assumptions that men are ravening sex fiends and women are only in it for the emotions.

Except in the middle ages, they thought the exact opposite.  Men were pure, in it for emotions and cerebral affection.  Women were the ravening sex monsters who couldn’t control their lusts.  Why?  Because celibacy and sexual innocence was the highest sexual virtue.  Therefore, men had it and women didn’t.

This changed in the Renaissence, when potency and virility (and hence, lots of sex) became the highest sexual virtue.  Therefore, men have high sex drives and women don’t.

When you look at occupations today, and which ones we value and which ones we don’t, especially as you track changes over time, you will also notice that when men enter a field in large numbers, its prestige and pay rises.  When women enter a field in large numbers, its prestige and pay fall.  It is not that some jobs are high-status and men gravitate to those jobs, and women gravitate to “lesser” jobs.  Instead, JOBS THAT MEN DO ARE VALUED, AND JOBS THAT WOMEN DO ARE NOT.

So for example, in the USSR there were a heck of a lot more female doctors than there were in the west at the time.  Since “doctor” was a high-status occupation in the West, the West assumed that women were more equal in that they had access to high-status jobs.  Not so; women were just as oppressed in the Soviet regime as they were in the West.  The difference was that in the USSR, being a doctor was a low-status job.  Therefore, it was open to women.

So if you are going to build a matriarchal society from scratch, your first question should not be “which genders do which jobs” but rather “which jobs are going to be high status in this society, and which are going to be low-status?” and then assign the high status jobs to the women.

This! ^^^

This post was insightful and interesting, but also rubbing me kinda the wrong way, and I couldn’t figure out entirely why until I saw @beatrice-otter’s addition.

The first thing you need to decide, when building any fictional society, is how it sustains itself. What does it run on? How does it gain power, gain security, manage labour, acquire resources? This doesn’t mean that you have to be an expert in economies or politics (although research helps). What it means is that you have to have some kind of an idea of what sort of civilization you’re looking at.

The concept of a ruler-as-parent is not inherently matriarchal (paternalism in violently bigoted societies is often a major thing, in fact, and lots of patriarchal civilzations have equated kings with fathers). The concept of a conquest-driven warrior society is not inherently patriarchal, either, we just associate parenting with women and violence with men because of our own socially-conditioned presumptions. And any civilization which heavily preferences one group of people over another is probably going to be exploitative, because that’s the main motivation for encouraging social inequity – it lets the people in power hold on to their power, and accumulate even more by increasing the disparity between their authority and other people’s. (Which isn’t to say that some of the above ideas aren’t still good ways to look at things, just that it’s kind of an incomplete perspective).

The ‘elite’ set the tone for what is valued or devalued, as it suits the climate of their society. When computers were a new and niche thing, and no one was quite sure how far they would take off, programming was considered a branch of secretary work – it was women’s work (and WoC’s work).  As computers became more influential, and men in the field became more frustrated with having their work ‘devalued’ by its association with women, a concerted effort was made to drive women away from computing and associate it with them, instead. And now the typical image of a computer expert is, of course, a dude with glasses. Image campaigns were launched, more men were recruited to the field and fast-tracked to promotions, women were discouraged and pushed out via harassment and reduced career mobility, and historical retcons were put forward to make it seem as if they’d never been there to begin with. The social equivalent of headbutting your partner out of the classroom window on Science Fair Day and telling the teacher you did all the work yourself.

Of course, there is a question of how one gender initially gains this kind of advantage over another, and then builds off of it in order to reach the level of privilege where this sort of shit can fly. We don’t honestly know for certain, but women are, of course, strongly associated with the ‘gives birth’ end of the reproductive equation. Pregnancy, labour, breastfeeding, these things can all disadvantage someone when it comes to doing other stuff – especially if you’re doing them routinely because infant mortality rates are high and birth control is less-than-reliable. Free time and mobility are significant factors in who can explore their interests or focus on learning new skills, travel to other places, or investigate untested concepts. 

So, provided the genders of this hypothetical matriarchy are still composed along our own lines of thinking*, that should probably be taken into account when considering what runs this civilization**. Either the people going through pregnancies need to have an easier time of it for some reason (i.e. magic makes it easier on them, society is comprised of immortals who can waste time on loads of stuff anyway, etc) or the people not having babies need to have a harder time of it for some reason (i.e. magic makes it rougher on them, pregnancy provides some kind of immune boost that makes people more resistant to some kind of plague, etc).

Because the unpaid/unacknowledged part of the equation is the most important. A matriarchy which is run by rule of violence still might not be all that interesting to read/write about in the end (at face value, it can look less like a meaningful social critique, and more just like ‘look how horrible the world would be if women were in charge! This is what feminists want!!!’ which is.. tiresome). But in order to switch that around, step one is figuring out where the power is, and how this one group of people got a hold of it. That will give you the best indicator for how they should go about keeping it, which will, in turn, tell you what social roles are probably going to be the most lauded and compensated.

*More works which change this up would be pretty cool, I think. And shine some light on the arbitrary nature of a lot of presumptions about gender. 

**Of course, that’s if you don’t just want to shrug and go ‘I dunno, something happened in the early days of the major society we’re focusing on, and the advantage tipped far enough the other way that women have been able to build up on it since’ – that’s also totally fair.

An Actual Writing Tip From An Actual Author

riptidepublishing:

waughinjarth:

xhalaxsun:

waughinjarth:

Wow holy shit I’m gonna actually give you guys an actual writing tip, being a published and award winning author and all.

Anyways, a great way to work in TOTALLY UNRELATED little details about your setting or what have you that may or may not be relevant later on is through the use of metaphors, euphemisms, etc. in character dialogue.

“This cold is terrible! I’m wearing more layers than an Aenirian bride!”

Congratulations, you now know something about Aenirian marriage customs. You might not even know what exactly an Aenirian is, but you know that their brides wear lots of layers.

See where I’m going with this?

also even though it seems like common sense little details add so much depth and flavour to a story even and maybe especially when those details aren’t plot relevant

not everything in the real world connects neatly and seamlessly with everything else; there are TONS of loose ends in real life because there’s an entire world that keeps going regardless of one particular person or group’s drama

having proof of a world outside of and utterly unconcerned with the main conflict is such a nice touch and a really quick way to breathe life into dialogue

Excellent addition!

There’s another really useful side to this too, which is to realize that all language is rooted in culture and experience, and if the world in your book is different from the world you live in, you can’t use all your own language convincingly. For instance, “damn you!” as an exclamation of anger or frustration makes exactly zero sense if your characters have no concept of religious damnation. But if the worst thing that can happen to them in their belief system is, say, to be spiritually isolated from their creator, then something that represents that–like “banish you!” or the like–becomes an effective replacement that both serves the purpose explained by the OP and eliminates anachronistic phrasing from your writing.

pilferingapples:

marauders4evr:

See, the problem with people who aren’t in wheelchairs writing about and/or drawing people who are in (manual) wheelchairs is that the people who aren’t in wheelchairs tend to think that there’s only like four movements that you do in a wheelchair. You can either push forward, push backwards, turn left, or turn right. And the characters do it all while sitting up straight or bending forward so that their noses touch their knees.

But the amount of motions that I go through on a daily basis are actually amazing. And the body language…you could write an entire book on the body language of someone in a wheelchair.

Like right now, I’m more relaxed, so I’m slouching slightly. I’ve got my right foot on its footrest and the left foot on the ground. Every so often, as I stop to think of something to say, I’ll push with my left foot to rock the chair slightly.

But usually, I sit mostly upright with my upper-half slightly leaned forward. When I’m wheeling across the campus, especially if I have somewhere that I need to be, I’ll lean and shift my weight in whichever direction it is that I’m going. It helps make the wheelchair glide that much more smoothly. How far/dramatically I lean depends on how fast I’m going, the terrain, if there’s a turn, etc.

Plus people who don’t use wheelchairs don’t understand the relationship between grabbing the wheels, pushing, and the chair moving. Like I’ve seen things written or have seen people try to use a chair where the character/that person grabs the wheel every single second and never lets go to save their lives. Which isn’t right. The key is to do long, strong, pushes that allow you to move several feet before repeating. I can usually get about ten feet in before I have to push again. It’s kind of like riding a scooter. You don’t always need to push. You push, then ride, then push, then ride, etc.

And because of this, despite what many people think, people in wheelchairs can actually multitask. I’ve carried Starbucks drinks across the campus without spilling a single drop. Because it’s possible to wheel one-handed (despite what most people think), especially when you shift your weight. And if I need to alternate between pushing both wheels, I’ll just swap hands during the ‘glide’ time.

I’ve also noticed that people who don’t use wheelchairs, for some reason, have no idea how to turn a wheelchair. It’s the funniest thing. Like I see it written or, again, have seen people ‘try’ a wheelchair where they’re reaching across their bodies to try to grab one wheel and push or they try to push both wheels at the same time and don’t understand. (For the record, you pull back a wheel and push a wheel. The direction that you’re going is the side that you pull back.)

Back to body language. Again, no idea why most people think that we always sit upright and nothing else. Maybe when I’m in meetings or other formal settings, but most of the time, I do slightly slouch/lean. As for the hands…A lot of writers put the wheelchair user’s hands on the armrests but the truth is, most armrests sit too far back to actually put your hands on. There are times when I’ll put my elbows on the edges of the armrests and will put my hands between my legs. Note: Not on my lap. That’s another thing that writers do but putting your hands in your lap is actually not a natural thing to do when you’re in a wheelchair, due to the angle that you’re sitting and the armrests. Most of the time, I’ll just sort of let my arms loosely fall on either side of the chair, so that my hands are next to my wheels but not grabbing them. That’s another form of body language. I’ve talked to a few people who have done it and I do it myself. If I’m ever anxious or in a situation where I want to leave for one reason or another, I will usually grip my handrims – one hand near the front , one hand near the back. And if I’m really nervous, you’ll find me leaning further and further into the chair, running my hands along the handrims.

Also, on a related subject – a character’s legs should usually be at 90 degree angles, the cushion should come to about their knees, and the armrests should come to about their elbows. You can always tell that an actor is not a wheelchair user when their wheelchair isn’t designed to their dimensions. (Their knees are usually inches away from the seats and are up at an angle, the armrests are too high, etc.) Plus they don’t know how to drive the chair.

Let’s see, what else? Only certain bags can go on the back of the chair without scraping against the wheels, so, no, your teenagers in wheelchairs can’t put their big, stylish, purses on the back. We don’t always use gloves since most gloves actually aren’t that helpful (as stated above, wheeling is a very fluid motion and gloves tend to constrict movements). Height differences are always a thing to remember. If you’re going for the “oh no, my wheelchair is broken” trope, nobody really has ‘flat’ tires anymore thanks to the new material for the wheels but it is possible to have things break off. We use the environment a lot. I always push off of walls or grab onto corners or kick off of the floor etc. Wheelchair parkour should really become a thing. 

This is all of the physical things to think about. I could write a thesis on the emotional treatment of your characters with disabilities. But for now, I think that I’ll stop here. For my followers in wheelchairs, is there anything that I left out?

Also why isn’t wheelchair parkour a thing? Somebody make wheelchair parkour a thing.

This is all REALLY GOOD and I wish something like this would be in more art guidebooks and classes. 

One thing I’d add is that some of the posture stuff here is specific to wheelchair users who have the right chair; a lot of people (hi, past me) have to use chairs that aren’t at all the correct size, and that’s going to change posture, ease of use, etc.  That’s such a broad variable that it’s probably useless to try and cover here, but it’s something to be aware of and research if it seems relevant to a character. 

caffeinewitchcraft:

sassy-un-classy:

lifeandlovesofemmalinethewriter:

kjsama:

thlayli-rah:

snapdreygon:

andercas:

I feel like when you’re writing, organizing chapters and dialogue is easy

but jfc, the amount of time it takes to constantly keep people moving and make sure they’re in the right spaces and trying to come up with wording for it is always such a shock. 

Like, fuck, I made you pick up a coffee cup, you need to put it down at some point. also I can’t remember what I dressed you in, can you push up your sleeves? I don’t remember if you even have your shirt on.

and YOU. YOU OVER THERE, you got out of your chair earlier, but did you come back yet? Are you coming back? Where did you even go and why’d you get up? Fuck, I can’t make you sit down again already, you just stood up, go…over there. go get more coffee. Did you bring your mug with you? fine. bring the pot to the table and—wait, wasn’t the coffee pot already over here? shit, hold on, I need to go back and re-read and re-write

this is the most relevant thing i have ever read.

I think one of the most wild things as a writer is the sensation that you’re not actually directing your characters– they’re sort of directing themselves, and you’re scrambling around attempting to copy down whatever it was that they just did, but they don’t wait for you to finish copying. They just keep walking and talking and moving around and existing of their own volition and at some point you look up and you’re like “WHOA OKAY EVERYBODY BACK THE FUCK UP WHERE ARE WE”

It’s kind of like trying to write sheet music for an orchestra while it’s playing

#thatwritinglife

@cats-galactic @kyleandthekids

It’s kind of like trying to write sheet music for an orchestra while it’s playing 

Oh my god its in words

“Listen,” my main character says reasonably, “I’m not just gonna sit still while he goes on spouting that nonsense.”

I, the writer, frantically scribble down a rough map and route. “No, obvious now, but I still have to write the part where he yells–”

“I’M BEING IGNORED,” the antagonist yells and begins to flap his arms. “LOOK I AM ALSO DYNAMIC.”

“Whoa there,” the main character says mildly and begins to do squats. They pull out a weapon. “Take a look at this escalation!”

“No!” I cry, “he took your gun, like, five minutes ago–”

“Second gun,” the main character says and cocks it. Pauses. “Was I on a low squat or a high one just now?”

“HOW LONG HAVE I BEEN BLOWING RASPBERRIES?” the antagonist wants to know, still spinning.

“When did you start spinning?” I ask in despair.

There is no escape.