#writing experimental essays

[steelycunt]

at the stage now where im not at all certain that what i handed in as my dissertation even fulfils the basic requirements to be classified as a dissertation and if it is then i fear its pushing the boundaries of what a dissertation can be

[chronosbled]

{ I noticed that lots of people tend to forget that Dickson is a mentally unstable individual who will do anything that he deems necessary to get what he wants all because he speaks to their muses and such with nothing but smiles and compliments.

Dickson is NOT a kind or compassionate person, nor does he care about those that he isn't actively pursuing for the sake of genuine friendship or genuine obsession (love in his eyes). Being kind and compassionate is nothing but another mask that he wears from his various collection when he deems it necessary. As an experiment, along with his condition that makes him unable to properly form and convey emotions (which was only worsened by the experimentation he underwent), Dickson is almost 100% incapable of feeling genuine emotions that belong to him and him alone. He has a habit of using the things he's learned from others by watching them when he's trying to portray his own "feelings" towards others and that's the main issue. Those feelings aren't his ACTUAL feelings, they're someone else's, how someone else he observed for years would react.

If someone were to somehow have the ability to strip him of his masks (his "emotions" and "feelings" if you would call them that), they would find nothing but an empty and broken shell of a person who doesn't know how to do anything but obey someone's orders or someone who completely disregards himself (as in his own well-being) when it comes to endlessly toiling away at his own experiments — and despite his experiments revolving around people who have been fucked over by life, making his own attempts to somehow benefit them — his motivation for said deed was not 100% done out of his own desire to do so, but done because (once he was finally able to recall more about his parents from his childhood) he remembered how the both of them desired to use their skills for good and to help those who cannot help themselves. Thus he applied his parents' feelings to himself and uses that core fundamental as the basis of his entire existence (after his grandfather is finally dead and he doesn't have an actual purpose anymore).

Another reason why Dickson shouldn't be underestimated (and simply chalked up to be the sweet, handsome gentleman) is because of the fact he isn't afraid to use and abuse people for his own gain. He will hurt people. He will manipulate people. He will blackmail them and torture them just like he was. And above all else, he WILL kill people. Dickson is not afraid of getting his hands dirty nor is he afraid to take people hostage and brainwash them to do his bidding if he finds it too much of a hassle for himself (or simply because he won't get caught this way if others are watching him). Before Dickson was able to take care of himself and do things for himself, his grandfather had him work as an assassin of sorts (or rather a mercenary if that's what you prefer to call it), granted he wasn't great at it in the beginning because he was very clumsy and wasn't quite sure of what he was doing, but in the end, he still killed people and usually in various creative and cruel ways too if the opportunity to do so provided itself. Additionally, Dickson will also go to any lengths he deems necessary to make sure his target doesn't come out alive, such as the time he chopped off his own hand in order to free himself so he could proceed to kill his client's target.

Sure Dickson may have been more hesitant to do terrible things when he was younger, like when his late fiancée, Janus, wanted him to help her murder various people simply because she felt like it and he didn't want to participate, but that's Dickson was a lot more weak-willed and timid during his childhood. Back then, he didn't have almost any drive to do anything because he wasn't conditioned to be subservient yet. Granted he still would listen to his grandfather's orders without question, but Janus hadn't fully established that kind of FULL control over him since he'd only known her for a few years, thus that lack of control over him is what ended up leading him to kill Janus when she finally got fed up with him enough to begin beating him (that day anyway, considering she was always abusive towards him). That fear he possessed from his childhood years (something I've already established in posts before) had changed into anger (another thing I've already established in past posts) before he finally ended up snapping all together and stabbing Janus to death, regretting what he had done for only a few moments until that dissipated as well because he simply couldn't bring himself to care. The fact that he stored her body in a freezer within the basement of the Simmons Estate only serves as a reminder of how he started in his mind.

One of the biggest reasons why people should remember that Dickson isn't just a pretty face is the HUGE fact that he basically has his own servant (more like mind slave) that both he and Janus shared together when she was still alive, that he ACTIVELY participated in breaking on the days he had suffered himself (granted he was made to believe it was alright by Janus, but that's besides the point). This point here is a perfect way to represent just how broken and unstable Dickson is as well because normally Dickson was the one who tried to keep Janus from tormenting Belphegor (the name Janus decided to give the boy despite him already having a name) and was often the one trying to tend to whatever wounds Janus had created, be them physical or mental ones (though Dickson was only good at mending physical wounds). In Belphegor's mind, Dickson was going to become his savior at some point due to the fact he showed more compassion towards him than Janus did, but this sentiment ended up proving false the day Dickson murdered Janus. Dickson's once gentle and caring demeanor towards Belphegor ended up changing into something more deranged and it only proceeded to get worse once Carla died as well — gentle gestures of affection soon became more aggressive and agitated, once soothing and comforting words became accusatory and possessive, promises of better treatment and freedom became guilt-tripping and manipulation — eventually leading for Belphegor's mental state to be completely broken down to the point he became a puppet for whatever Dickson desired.

Now, you're probably thinking "but hey, doesn't this contradict everything you've posted about Dickson before? You know, the stuff about him not wanting to be like his grandfather and such?" And in a sense, yes, I did contradict myself, but at the same time... I didn't. Why? Because Dickson didn't want to become like his grandfather or Janus or any of the people who tormented him for the entirety of his life, but when you are basically a prisoner within your own home and are subjected to abuse for so long, you generally end up developing Stockholm Syndrome and that's basically what happened to Dickson. The abuse and torment are what lead up to Dickson basically becoming his grandfather and Janus, but he only realizes this once he joins the BSAA and meets Chris and his team. Why does he realize this? Well, that's because of the simple fact that they all treat him like an ally and not a tool. They slowly begin to make him realize that he isn't just an object for someone's desires nor is he just a toy that will be endlessly used until it's broken and tossed away. They made him feel something that he's never felt before: human. They made him feel like he was an ACTUAL human being and not a monster, that he wasn't some kind of murderous and heartless creature, but instead was their close friend and even a part of their little family, which is something that Dickson has always wanted so desperately deep down inside of his very being. Not his grandfather. Not Janus. Not his mother or father. Not Carla. Dickson. Something that HE wanted. One of the very first and only things he's ever wanted in his life. Granted he still wears his various masks around them, but that's because he doesn't know how to stop nor does he want them to know just how inhuman he really is.

^^^ And this whole above paragraph really does help to show just how broken Dickson is and how even just a little bit of love and care towards him can make him into a completely different person, especially if we jump back to this line here in the first paragraph: "Dickson is NOT a kind or compassionate person, nor does he care about those that he isn't actively pursuing for the sake of genuine friendship or genuine obsession (love in his eyes)." The only reason he cares so much about Chris and his team is because of the simple fact they tried to develop genuine friendships with him to the point he had become obsessively in love with each and every one of them (some in platonic ways: Chris, Philis, Finn, Jill, Steve, and some in romantic ways: Victoria and Piers).

But back to the topic of the mind slave, due to the fact that Dickson had finally come into contact with people who... understood him in a sense for lack of a better word... he began to think that he could actually be something other than a tool and because of that, he also believed that maybe Belphegor could be more than a tool as well. Of course, due to being completely broken by Dickson, there wasn't much that could be done for him in the ways of... fixing him so in the end, Dickson simply continues to use Belphegor for whatever he deems necessary but instead of treating him as badly as he had before, he now somewhat treats him as he used to (though he can still be rather harsh when he isn't in the greatest of moods).

So with all that being said, I advise you all (especially those of you with muses that are seeking out romantic affairs with Dickson) to proceed with the utmost caution when doing so because there may come a point where Dickson doesn't care about your muse anymore and simply chooses to discard them (minus Crystal of course because that's his wifey). }

[ssspringroll]

If I release these poses I'm for sure going to have to make an addition to my TOU cuz i don't wanna see my poses getting used to advertise paywalled or early access content. Don't you dare wield the power of slut boys for evil.

[hellogirlslikegirlslikeboysdo]

And the lights are not fluorescent, and there are no words on the page. - Zuihitsu/Hybrid Essay

Author's Preface and Ch. 1, 2, 3, 4, 5, 6, and 7

Description: My final portfolio for one of the creative writing courses I took based around exploring the creative nonfiction essay in its many literary forms, with any and all identifying names or signifiers censored out.

This essay may not actually, in the most technical sense available, “pass” as a submission to the “Essay 3: Zuihitsu/ Hybrid” assignment.

If you are interested in financial compensation for your loss, feel free to contact us at 1-800-THIS-AUTHOR-IS-PHYSICALLY-ALLERGIC-TO-UNDERSTANDING-BASIC-DIRECTIONS. We are taking the time and liberty to inform you of this upcoming inconvenience not only as a hook for the first line of this essay, nor to plead “ignorance of the literary law” during its grading process, but rather to provide a reference point based in where said essay is coming from, and where it plans on going for the remainder of its duration.

As we’re sure you’ve found in your time as an academic instructor working at [REDACTED], [REDACTED]’s famous claim of a “gradeless” curriculum in the traditional sense (ie. a lack of letters or percentiles) may hold up in the previously mentioned technical sense (excluding the GPA our final evaluations get translated into during the grad school application process), however, most of the expectations and requirements professors hold in their classrooms act as a sort of “pass/fail” grading system anyway, though the unique teaching philosophy shared amongst them and facility tends to inspire only two genuine points of grading criteria: “Is the assignment complete in provable effort and its entirety?” and “Does it follow the awarded instructions?”

After countless scouring on the internet, our class notes, the description and examples left in the Canvas page, and our memory of class the day you explained it, we have come to the dreaded conclusion that this essay may not fit the second criterion.

Our continued rough drafting is committed, rather, to the hope that our confusion on the nature of the hybrid essay, the actual difference between Zuihitsu poetry vs Zuihitsu essay writing, the necessity of following a particular theme or idea throughout, the assigned process behind this essay, each supposed segment’s expected length or whether this portion’s subject matter qualifies it as an actual part of the essay, or even the correct way to separate each section, will somehow act in the spirit of Zuihitsu literature: Following the pen wherever it leads you.

Wish us luck, dear reader.

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I found the same kind of fun in the animal diary that I find in all our in-class hands-on work: Obvious, self-explanatory, and buried deep within the depths of the most artistic/freeform aspect of the activity. Like clockwork, it requires me to brush away the specks of uncertainty in the directions, my withered hands revealing the big, bright label plastered on top.

It reads exactly how you imagine it reads: “See!! See, look, I told you I was here! You were so focused on making sure this assignment helped you towards your next essay, you thought you wouldn’t have room for me, but here I am, idiot! You’re having a good goddamn time drawing a funky little platypus, and it’s all thanks to me! Leave your thank you on the way out, ya dumb bitch!”

Apart from the question of why this metaphor requires a labeling gun with such long stickers, one has to wonder what disgusting alleyway all that distracting stress crawled out of. The supposed safety net of my professors, generally speaking, knowing what exactly they’re doing (those PHDs don’t exactly just pop into existence one day) does quite little to sway this approach to learning in all its hypervigilance. I’ve posited many theories over the years, tangentially and never allowing myself the time for a full conclusion; It could be the looming threat of how little time I have to devote to brainstorming how to attack my assignments, maybe the unshakable internal insistence (blame capitalism or the public schooling for that, either’s a fine scapegoat and the “why” is too abstract to help me in the middle of class) that learning has to be productive towards a traceable later goal, instead of myself as a whole and an academic (if I have nothing tangible to show for my efforts, how can I be sure I even followed the directions correctly?).

The most troubling option, embarrassing as it is for someone who claims to prioritize her career as a writer above all else, is that I’m simply trying to justify using the skills and techniques as they are given to me, in hopes that the results they wield in class are shiny enough for me to actually use them outside of the class.

I do wonder if I took the animal diary this seriously when I first encountered it. My memory flickers under the winds of time, but I’m leaning towards no.

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It does, of course, come to my attention what asking for clarification on the instructions could do, but the things classification has done in the past (make just as little sense as before, confuse me further, led my mind even farther from the intended understanding, you know the drill) brushes the thought away.

Years of fractured, sprawled-out education has taught me my best approach for tasks I’m not fully sure about is to set my concerns aside and simply go with what I think is best, consequences be damned!

(And by damned, I mean, as I’m sure you guessed, professionally dealt with at a later date.)

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Maybe the apologetic, justifying tone gives me away, maybe it's the heavy overarching theme in this freeform-style essay, but I should confess that my current thoughts are mixed in the way they always are. Half are swirling around the task at hand and what little attention I can pay to it (as always). The other half is on what I really wish I was writing (ie. what I am always thinking about, somewhere, way in the back): Whatever nonsense my brain has deemed flashy enough to name my current hyperfixation (The Stanley Parable at the moment I’m writing this, though I’m sure it’ll have changed by the time I come back to edit this).

That latter half, of course, brings me to the conundrum I’ve left out to dry ever since I labeled myself a writer. I want to spend this entire essay rambling on about this stupid little video game, and its two stupid little main characters, and the actually brilliant way they need each other more than the narrative itself needs them in one blog-style expository essay, well underneath 750 words. But that just won’t work, in the same way that what I wish I was writing even more than that (fiction, prose in particular) won’t work either. In the simplest of terms, that’s not what this assignment is about. And in order to actually learn, to grow as a writer, I can’t just write what I want to. I have to write what I need to.

[wp100]

Tomorrow Never Dies is definitely one of my favourite Bond soundtracks. It's up there. Favourite Brosnan Bond soundtrack for sure. Goldeneye is a close second. Tie, even. Couldn't really hear much of TWINE and DaD. Have to hear the tracks on their own. Watching with family is tough lmao.

[annbourbon]

This makes me want to pretend being all ladylike >< and fall in love in middle of an afternoon tea. idk... I miss Harry. But I want Jumin right now so bad i'm aching~

Anyways the dress makes me remember Tuck Everlasting.

Every post I make here is basically making me feel like~~~ go back to write your books Anna. Yeah. I keep talking to myself.

So I'll write something here:

The day was hot and dry. There was no sign on the clear sky to say it was going to be different tonight. A cloud of gnats danced its way down the garden, near the forest. None of the ladies minded them much, nor the gnats minded the perfumed skirts and the food. Both groups seemed to be entertained in other affairs. The gnats particularly seemed to be enchanted by the little to no relief the forest could offer.

They were running out of lemonade on the table when a group of gentlemen stopped by to greet them. In a normal day she would not feel particularly shy and would offer to let them in, have a slice of cake as her grandmother would insist on playing cards and the piano for their new guests. So they could join to the aftermath at least. But she stood up and went by, refusing to look at him or to hear her grandmother pleas. She grabbed the teapot and directed herself towards the kitchen as if it was her own. Her grandmother surely would not mind that, as long as their guests weren't left unattended. The corset was killing her slowly by draining all her willpower. The summer was so hot it was abnormal and yet there she was, inside of what it seemed a ton of fabric, just to please her gran. She wanted to avoid him at all cost.

Her throbbing heart would not have any of it. Neither the man standing on the door of the kitchen, who was looking at her with a smug smile on his face. She did not like it. Did not, like it at all. But her cheeks were all red now. A hot summer indeed.

Robe à l'anglaise ca. 1780

From the Metropolitan Museum of Art

[alphadogmp3]

sometimes some people are such perfect microcosms for a greater problem that it is eerie. there is a guy who comes to the arts club/studio a lot and he is just a perfect embodiment of everything wrong with liberals and liberalism. his aversion to change, his fondness of the status quo, his leftist aesthetics but apolitical or milquetoast-political views, his political inaction or rather his piss poor understanding of political action, his attitudes towards public spaces, his opinions on art, his idea of democracy are all so..... Microcosm. like he's dumb enough to make all of his shitty opinions and true colors known to anyone paying attention but smart enough so that he can fashion himself as an "anarchist" to casual onlookers whenever he feels challenged or threatened. he always outright dismisses our proposals to improve the club either because 1) it's against the spirit/culture/nature of the club (and no he has never explained to us what thats supposed to be), 2) it's too much of a rule / too pro-establisment (whatever that may mean) / too strict (what is too strict about not allowing smoking indoors babes), and/or 3) it's anti-art / against what art is supposed to be (which is nuts considering what his idea of art is) (he is a tattoo artist who steals his designs from pinterest and calls them his own). he fashions himself as a free-spirited gifted artist who is surrounded by killjoys and establishment bootlickers when in reality all that he's ever done is defend the status quo unquestioningly. yes he's a business major.

[verystressedcollegestudent]

my ei partner will be like "oh im so sorry i didn't expect you to do 90% of the project i was going to start the day before it was due" like GIRL IT'S A 10+ PAGE WRITEUP YOU CAN'T START MONDAY WHEN IT'S DUE TUESDAY NIGHT

[exopelagic]

nobody should have to read and write abt papers it’s inhumane

[dream-eating-youkai]

Tbh i think more horror game enjoyers need to respect Silent Hill and Resident Evil, esp the older games. Even if you don't find them scary (which like. how? the older RE and SH games are terrifying imo), you need to respect that they built the survival horror genre. They established the tropes. Sure there were other survival horror games before then but they made the genre what it is today. Boo hoo RE1, a game from 1998 that literally established a genre gave you a gun and you didn't like that. Shut up, play the game, and understand how that gun fits into the horror, how the scarcity of ammo makes every shot a decision, how inadequate it feels in the face of hoards of zombies that your gun cannot defeat, how no weapon could really defend you from the fact that the literal building you're in is hostile towards you. Sure it's fine to not like these games, and it's fine to prefer other games or to not like some of the tropes they've established but you need to respect them and what they've done for the genre.

[teaboot]

mr boot sir what do I do when my -history- teachers in college give me ai generated "essays" to "improve"

Report them to head office. I’m not kidding. You are paying thousands of dollars hand over fist to receive an education for a trained and experienced professional, not an experimental generative algorithm. Write a detailed email with copies of what you have received and how you know it is AI and file a complaint. They are not your boss, you are their customer. This is a big deal.

EDIT: I may have misunderstood your question. If the professor is having you read AI essays and study them at face value, I stand by the above.

HOWEVER, if they are giving you AI essays, TELLING YOU they are AI, and asking you to critique and edit them, correcting false statements and errors, that is GOOD. They’re teaching you how to spot misinformation and how to verify suspicious claims. THAT is absolutely fine and a very very important assignment to learn from.

My apologies for the confusion.

[wordfourword]

When my Words Become Murals

Go ahead, imagine anything.

My dream is to become a writer. A personal essayist. Lately, I have been aching more than ever to become. "Her" this woman that I have always imagined myself to be. Successful. Beautiful. Loved. Chic.

To get closer to my dreams, the next three years will be my experimentation years as of 23/10/23 (until 2026...)

I want to take life as it comes. Relax. Not think about what my neighbors... random bypassers... of my life to affect the way I live.

What I want to capture today is that:

I am 32 today. Today I will work harder to care less about what others think. To be a more genuine version of myself. Not to be afraid of showing the world who I am. People, women, suppress all that makes them themselves in order to fit into the cookie cutter world that has been molded by society of wigged men. To live the most genuine versions of my life, I have to overcome the fear of what others will make of ME and deal with it. I need to give or take from the world the truest versions of myself and not think about the consequences. I mean, how bad could it be? It's just me.

Where do you store most of your stress? I store mine mainly in my shoulders, especially the left. Sometimes (lots of times), it is so sore that I can barely stretch it out. Always tight. This stress always coming from myself for not "doing" or "having" that ideal life or circumstances that I imagine. However, thankfully, today, I'm feeling just a bit lighter as I'm consciously choosing to free myself from the "do's" and "don'ts" that I have given myself thinking that this is what the world expects of me when the world expects only that I be myself. Maybe I won't feel the same tomorrow and that's okay. But, I'm going to choose to be me everything even if I have to force myself to believe. And having a beginner's mindset. According to some post I read online, Japanese people have a beginniner's mindset even in things that they have done for a long time in order not to let themselves down so much. I think this is a good way to think about - maybe it's a temporary solution, but thinking about things as a 'beginner' makes me much more comfortable. I dont know how long I'll live 50 years.. 70 years... 100 years... or 10 years... or 5 days or 6 months.... We really have no idea. I have no idea. Even if it is for a brief while, or a long while, I want to consciously create a life that I want and not what others have deemed to be 'acceptable'.

In my journey of 3 years of experimentation:

I will meditate every day to look within myself for answers.

Be open to all experiences.

Enjoy the ride.

Be ok with unanswered questions

Rebel

[selenepsyche]

Placements That Could Indicate Being a Great Author

Mercury Dominance

Mercury rules writing, the mind, communication, and storytelling. So you may automatically have a strong writing ability if you have a lot of Mercury-ruled placements (Gemini, Virgo) or Mercury aspects. Mercury in Gemini can give you quick thinking and strong writing abilities that's especially great for conversational or journalistic writing. Mercury in Virgo can give you a great ability to edit writing and write precisely. Having Mercury in the 3rd represents short-form content, daily writing, and journalism, while having it in the 9th represents publishing books, essays, or novels.

Mercury-Neptune aspects give you poetic, imaginative, and symbolic writing. You could write more fiction, fantasy, sci-fi, or spiritual writing. Mercury-Pluto aspects can give you the ability to write about darker and complex topics. You could write more thrillers, mystery, horror, or be an investigative journalist.

3rd, 5th, or 9th House Emphasis

The 3rd house is the house of communication, language, writing, speaking, and stories. Having multiple planets here can indicate writing and communicating being a big influence on your life. The 5th house is the house is creativity and self-expression. Having planets here can give you the talents of writing poetry, screenwriting, fiction, or children's literature. The 9th house is the house of higher education, publishing, philosophy, and truth-seeking. Having planets here could indicate writing nonfiction books or spiritual and philosophical essays.

Neptune Influence

Having strong Neptunian energy in your chart can bring a vivid imagination. It can bring you a lot of creativity and ideas for any type of book you're gonna write. Neptune in aspect to Mercury or the Moon adds emotional and symbolic power to your writing. It helps you channel stories and write story ideas that just come to you easily. Neptune in the 9th or 12th house suggests being a spiritual author or writing from your dreams or intuition.

Pluto Aspects

Having a good amount of Pluto aspects in your chart can intensify your writing. Moon-Pluto aspects can give you emotional courage. You might write based off of personal wounds, or write about lesser known topics with great empathy. Venus-Pluto aspects are perfect for dark fantasy and dark romance novels. You could be great at writing about complex and obsessive relationships, and stories with revenge plots. Stories about female rage and self-worth can also easily be written.

Uranus-Pluto aspects are great for dystopian fiction, activism-driven essays and stories, and experimental writing. Stories that evolve around freedom, control, trauma, and change are common with this aspect. You could also be interested in writing science fiction or futuristic stories.

Saturn Influence

People always talk about how Saturn is a difficult planet, but let's not forget how rewarding it is. It can bring stability through hard work, discipline, and major blessings (a bit more than Jupiter in my opinion and experience). Having Saturn in the 3rd, 9th, or 10th house can indicate being a serious writer that develops your voice and writing style over time. You could face early setbacks in writing and communicating, but you can gain recognition through perseverance. You could become a published author that's respected for your knowledge. Saturn-Mercury aspects could indicate being a slow but powerful thinker. You may be methodical and careful with your words. You may prefer refined and minimalist writing. You could struggle with self doubt early on, but become a true master of form and clarity.

Personal Planets in Air Signs

Having Gemini, Libra, or Aquarius as your Sun, Moon, Rising, Mercury, Venus, or Mars can help you excel in mental stimulation, research, and communication. Gemini helps you become versatile, a great multitasker, quick thinking, and natural writing abilities that are perfect for any type of writing. Libra helps you be polished, poetic, refined, and write with a great tone and pace. Aquarius helps you with unique story ideas, be innovative, idealistic, visionary, truthful, and write more about topics that can benefit entire communities and groups of people.

Jupiter in 3rd or 9th House

With Jupiter in the 3rd or 9th house, you could have a passion for sharing ideas, knowledge, and stories with the world. You could write large books or create a series of books and novels. It may be easier for you to get published, gain an audience, and attract mentors and people to work with.

Thank you so much for reading this! If you have any questions, let me know!

dividers: @saradika-graphics photos: Pinterest

© selenepsyche - All Rights Reserved

[literaticat]

If an author writes a book not knowing the genre, will the book fit into a genre when it’s finished—or is it possible for a book to be completely genre-less?

I'm about to GO OFF, so if you just want the short answer:

I presume that if an author is writing a novel and they don't have a specific genre in mind when they are doing it, they are just writing fiction. You can get more specific after you finish the book and figure out where it belongs in the bookstore and how to describe it.

It's not really possible for a book to be "completely genre-less" because that implies that it CAN'T be categorized in a bookstore -- I bet your book can be. (I should hope so, anyway, otherwise how will it sell???) -- but also, uh -- it doesn't really matter? Everyone gets really hung up on these hyper-specific genre labels, but you don't really need to get THAT specific. If your book is just "general interest fiction" that's OK -- so call it a novel and describe what the tone is. (Funny? Realistic? Literary? Fast paced? Tearjerking? There has to be some way to describe it, no? )

Even if your book is just weird as hell rambling about things I would never read about in a hundred years -- guess what, that's a genre, Experimental Fiction. ;-)

--

Long Answer: Fun fact about the word "genre" -- it comes from the same root as genus, like what you probably heard back in school when learning about the taxonomy of animals and whatnot.

Because I am extra, I decided to do a little taxonomy of books. It's still a work in progress, I might decide to change it a bit, but this is the basic chart.

I'll assume that pretty much any book we're talking about here has the same domain, kingdom, phylum and class, and PROBABLY the same order, too, since most of you are likely writing Fiction.

Within the order FICTION, there are "families", which I here call Categories -- novels, graphic novels, plays, essay collections, short story anthologies, young adult novels, young adult anthologies, middle grade novels, middle grade graphic novels, chapter books, picture books, ETC. Categories in the order NONFICTION include Biography/Memoir, Cookbook, Reference, Religion, History, Science, etc.

Within each Category, there are different Genres -- that is, the type of [novel, or whatever] it is. Genres of novel include mystery, science fiction, horror, realistic, historical, romance, western, etc.

And within each Genre, you can get even more specific with species, which I am calling subgenre/tone. That's the type of the type, in other words. There are well-established subgenres (like Horror could be slasher, or gothic, or psychological. Romance could be historical, or realistic/contemporary, or whatever) -- but it's also acceptable to get more specific with tone or style -- "Comedic", "literary", "commercial" "upmarket" etc. (You can also have books that have both subgenre AND tone -- that's like species and sub-species)

Examples:

DRACULA: ORDER: Fiction > CATEGORY: Classic Novel > GENRE: Horror > SUBGENRE/TONE: Gothic

DON'T LET THE PIGEON DRIVE THE BUS: ORDER: Fiction > CATEGORY: Picture Book > GENRE: Meta-fiction > SUBGENRE/TONE: Comedic

LINCOLN IN THE BARDO: ORDER: Fiction > CATEGORY: Novel > GENRE: Magical Realism > SUBGENRE: Experimental > TONE: Literary

JAMES: ORDER: Fiction > CATEGORY: Novel > GENRE: Historical Fiction > SUBGRENRE: Retelling > TONE: Literary

You get it?

OK SO, in the bookstore, the books are first divided by CATEGORY. All the Cookbooks are together, because that's the Category, but if there are a lot of them, they will be broken up into categories-within-the-category ("genre" if you will). Perhaps they would be grouped by region or style (Mexican cuisine, Middle Eastern cuisine, European cuisine; Health Food; Baking; etc). Mastering the Art of French Cooking would be in Cookbooks, of course -- but in a larger bookstore with many cookbooks, it would likely be found in its region, either French or European Cuisine -- and in a store with a HUGE French cooking section, those books might even be further divided into "French > classic techniques" "French > desserts" "French > postmodern cuisine", etc. So:

MASTERING THE ART OF FRENCH COOKING: Order: Nonfiction > Category: Cookbook > Genre: French > Subgenre: Classic Technique

And so it goes with Fiction as well; the sections are divided by Category. So all the Middle Grade Novels are probably together. All the Picture Books are probably together. Etc. But for very large categories (like Fiction > Novel), there are enough books that it becomes easier to browse if they give the biggest genres their own shelving. Hence there are probably sections for Mystery, Science Fiction/Fantasy, Romance, etc.

MIND YOU: There are PLENTY of books that fall under "Fiction" and DON'T get separated out into one of those other genres. They are just categorized as fiction. The fiction section is probably the largest section in most bookstores -- it's not weird to write a book that gets filed in the "fiction" section! Those books still have a genre. That genre just might be "realistic" or "historical" or "western" or magical realism" or "postmodern/experimental" or something that doesn't neatly fall into the Mystery or Science Fiction (or whatever) genre categories.

For example: At my bookstore, we ONLY separate out Mystery, Science Fiction/Fantasy/Horror, Romance, Classics. So within the regular Fiction section you'll find a huge variety of books -- they all DO have a "genre" -- it just isn't one of those genres that gets shelved separately!

So, no, I don't believe there are books that just *don't have* a category or genre. ALL books have them. We might disagree a little about what they should be -- we might use slightly different words -- new species might pop up here and there -- we might be able to categorize some of them into even more minute niches -- but all books CAN be categorized in some fashion.

[love-quinn]

— COMPLETELY UNREAL

summary — despite your best efforts, remus lupin is determined to get to know you.

warnings — reader with general anxiety

pairing — remus lupin x fem!reader

pronouns — she/her

word count — 2.1k

note — clearing out my drafts, this has been here 5ever. enjoy

The common room was one of your least favourite places to be, but your dorm room was worse, so there you were. It was getting late, and you had a potions assignment due the next day, so you were sitting in a quiet corner trying to work on it. Well, trying to want to work on it. You were only just passing by the skin of your teeth, and if you failed this essay then it would bring your grade down from an Acceptable to a Poor, and that meant that you wouldn’t be able to get the NEWTS you needed. You weren’t sure what those NEWTS were, as the idea of having to do anything after finishing school filled you with fear, but you figured it probably would have something to do with potions. You sort of just picked the electives you enjoyed and then did your best.

Unfortunately, your best didn’t seem to be good enough with this essay, as you had been working on it nonstop for the past four days and you still had another 10 inches of parchment left.

“Disfigurement,” a voice came from above you. You looked up from your homework at a boy, looking bashfully at your parchment.

“Excuse me?”

He had the good graces to look embarrassed by the way you were looking up at him. “Disfigurement is one of the major side effects of using lacewing flies in the potion, a big part of the reason that it’s level three restricted by the ministry,”

Now, normally, a man standing above you and explaining something that you already knew would absolutely ruin your day, Merlin only knew it happened often enough. But normally, the men doing it didn’t look like they were talking about it out of pure interest.

His eyes got slightly dimmer as he realised your annoyance, a darkened honey colour that people wrote songs about. “Sorry, I should’ve- Just because you paused writing doesn’t mean you didn’t know what you were talking about. Sorry.”

“Don’t worry about it.” You decided on after a minute. You knew who he was, of course, you didn’t spend seven years in the same grade as someone without learning their name, but you were nearly one hundred percent certain he didn’t know yours.

“I just came over for…” he gestured uselessly at the small collection of cups on the table beside you, with a metal pitcher of ice cold water that stayed full no matter how much you poured it. A group of boys in your year had tried to use it to flood the common room one time. You had a sneaking suspicion the boy in front of you had been involved, despite the fact that he never received detention for it like the others did.

“Go for it.”

He poured two glasses of water and paused, looking at you. “I really am sorry. I’ve offended you.”

“I’m not offended,” you replied honestly. “I normally would be, but I’ll allow it just this once.”

The boy cracked a smile, slightly crooked, and it evened out his whole face, as though he had been created just to smile like that. “Thank you, then.” He corrected softly. “For not being offended by my interruption.” He put the cups down gently and looked for a moment as though he might shake your hand, before thinking better of it and leaving them hanging uselessly by his side. “I’m Remus.”

“So I’ve heard,” you didn’t mean to sound pretentious. “I just mean- we share a lot of classes, so I’ve seen you around a lot.” Now it was your turn to be embarrassed.

Remus continued smiling. “No, I know. I see you all the time. You always snag the good table in the library.” He gestured to you, testing your name out experimentally on his tongue, as though afraid to get it wrong. You nodded.

You liked studying in the library because it made you feel like an actual student. Doing homework on your bed, while the more common alternative, made you feel as though you were doing it wrong somehow. As if, because you hadn’t put in the effort to go all the way to the library and bring your study materials with you that you didn’t deserve to do well on whatever it is you were working on. “Do I?” your voice sounded far away, even to yourself.

“I’ll forgive you, though,” Remus said good naturedly, noticing your change in tone. This interaction had gone on far too long for your liking. You were beginning to feel exhausted. How embarrassing.

Talking to strangers for longer than ten seconds makes my stomach do a backflip, you thought bitterly to yourself. That was why your dorm room didn’t feel as welcoming as it was perhaps meant to. The girls in there talked, like they were friends. And they were friends, it was easy to see that.

You’d been so removed when you first started at Hogwarts, when you were only eleven. So overwhelmed by the hundreds of rooms and the hundreds of students, that when your roommates stayed up all night chattering and getting to know one another, you had felt nothing inside you aside from a desire to go to sleep. It took weeks before your nerves calmed enough to even attempt to contribute to their conversations, and by the time you had realised that maybe you did want to be friends with them, they had accepted your silence.

You gave Remus an awkward smile, the polar opposite of the one he’d given you. As if your grinning was a defect, not something you were designed to do. Sometimes it felt like maybe you weren’t.

He was still standing there. How could you make him go away without explicitly telling him to? You felt nauseous, squirmy under his gaze. Why hadn’t he left yet? “That essay Slughorn gave us is a real doozy, isn’t it?”

You cracked a real, genuine smile at his word choice. You didn’t know anyone who used the word ‘doozy’ and the best part was, it seemed to be entirely unironic. “Yeah, I guess.”

“I was planning on spending the afternoon up in the library, working on it.” His hand fiddled with the hem of his button-up. “Any chance I could sit at the good table?”

You nodded almost instantly. “Yeah, no, sure. It’s all yours. Sorry, I didn’t mean to hog.”

“You’re not,” he let out a breathy laugh. “You’re jumpy, aren’t you?” You felt it, and your cheeks burned at the notion that he could tell. “If you wanted to still study at your same table, and I was also to study there, both of us in complete silence, then I don’t think that would be so bad?”

Remus could see that you wanted to say no, and he didn’t want to push it if you were clearly uninterested, but he also knew that it had been seven years of you being the only Gryffindor girl he’d never spoken to, and also being the only Gryffindor girl he’d ever felt a strong desire to speak to. The others were great, sure, Lily and Marlene had become friends to him more concretely now that Lily and James were seeing each other, and Alice had always been sweet. You, on the other hand, had been described by your roommates as sad. Not ‘pathetic’ sad, but a more deep sadness.

“She’s awfully kind,” Marlene had told him once, hushed in the back of a History Against Magic Lesson. He hadn’t remembered how your name had been brought up. “Think she just likes it quiet.”

“The table’s yours,” you offered. “It’s okay. I can just study down here, it’s warmer.”

“It’s louder, though,” Remus reasoned. “Up there there’s no… well, no guys coming over here to explain something you probably already understand.”

“I thought you said you were going to be there?” You were genuinely confused at what he was asking of you by this point, but he laughed it off. You staved off a frown.

“I always find that homework is nicest when you’ve got someone there,” he offered finally. “Even if you’re not talking, just purely sitting there.”

You didn’t see how that would help at all. You’d probably be too distracted by anyone to even get any work done. But, you realised with a start, the notion of someone wanting to spend time in your vicinity, as innocent as Remus’s intentions were, made your heart ache.

He probably just wanted to be able to sit at the good table without putting you out, you understood that. But at the same time, if he really wanted to sit there, and he really wanted to not disrupt your routine, then you didn’t see why not, even though maintaining eye contact with him for any longer than a second felt as though you were going to combust in a caramel-irised explosion.

“You can come,” you conceded, gently, hoping as not to come off rude or too territorial about your space. Perhaps it would be better if you studied outside, or in an empty classroom. That way you weren’t getting in his way.

“Excellent,” he was talking too loud, and he could tell that by the way you shrank back in your seat.  “Maybe I can finally get my transfiguration grade up, Merlin knows you’re doing well in that class.”

Why would he say that? That made him come across as a stalker who knew all your grades. He hoped you didn’t think that implied you did need help in potions. Your reactions weren’t giving him much, and it was making him nervous. He definitely shouldn’t have come over here, but he had been scrambling for something to say, and now he had to take water over despite the fact that no one had asked for water.

“I’m sure you’ll be fine.” You closed your textbook so gently it didn’t even make a paper noise as the cover closed. “But if you really do need help, then I might be able to.” You offered him one final smile, cheeks tinged with a visible blush.

You hoped he couldn’t see how dizzy you were getting. You wanted to go to sleep and pretend this was all a dream so you could go back to ignoring Remus’s existence like he could go back to ignoring yours.

Unfortunately for you, though, he’d found your little hidey-hole study space that you occupied yesterday, coming in to tease you light heartedly about abandoning him for transfiguration. You didn’t not want to talk to Remus, it was nothing about him. He’d been nothing but sweet and funny in the very limited interactions you’d shared, you were the issue.

“Should’ve known you’d ditch me,” he’d said with a sigh as he sat down, opening his textbook up. You found you didn’t mind his being there as long as you weren’t expected to contribute much to the conversation.

“Thought it would be obvious.” You’d attempted to match his airiness in your tone. It came out strangled.

He sighed gently. “I wanted to pretend it wasn’t so, sweetheart. I thought you and me had something special. I told you about disfigurement in potions and you tell me about disfigurement in transfiguration.”

He’d been attempting to do the spell for about an hour, trying to turn a ball of yarn into a scarf. It was a simple spell that’d normally be of no issue to him, but he just couldn’t get it this time.

After nearly forty minutes of mumbling all but silently to himself so as not to disturb you, you had enough. You reached over and, so delicately he’d thought at first it was simply a breeze, uttered the spell while controlling his hand movements. A long, thickly knitted navy scarf burst from the ball of wool, landing pooled by his crossed legs. You looked up at him, expecting to be reprimanded for the touching, knowing you would have done exactly the same.

“You’re not real,” he said after a moment. Sometimes you felt that way too. “We’re officially studying together every time now.” He grinned to himself, picking up the scarf and wrapping it securely around your neck multiple times, tucking the ends into your jumper. It was soft. “Every single time, you little wonder.” You maybe didn’t mind as much this time as you had when he’d last suggested it. Your smile was almost hidden behind the mass of fabric you’d just helped him conjure, but that didn’t mean he couldn’t see it.

[olrastrologytarot]

Chaos Magick

Chaos Magick is a modern form of occultism that defies traditional structures and dogmas, embracing a pragmatic, results-oriented approach to magical practice. Unlike conventional magical systems that adhere to specific rituals, symbols, and deities, Chaos Magick emphasizes flexibility, personal belief, and the use of any technique or symbolism that achieves the desired outcome. Originating in the late 20th century, Chaos Magick has become a significant and influential movement within the broader landscape of contemporary occultism, attracting practitioners who value creativity, experimentation, and personal empowerment. This essay explores the history, principles, practices, and significance of Chaos Magick.

History of Chaos Magick

Chaos Magick emerged in the late 1970s and early 1980s as a response to the rigid structures of traditional ceremonial magick and the occult revival movements of the 19th and 20th centuries. The origins of Chaos Magick can be traced to the writings of occultists such as Peter J. Carroll and Ray Sherwin, who were instrumental in developing and popularizing this new approach to magic.

The Influence of Austin Osman Spare:

A significant precursor to Chaos Magick was the work of artist and occultist Austin Osman Spare (1886-1956). Spare's ideas about the subconscious mind, sigils, and the power of belief were highly influential on later Chaos Magicians. He emphasized the use of personal symbols and the manipulation of belief as tools for magical success, laying the groundwork for many of the ideas central to Chaos Magick.

The Birth of the Movement:

In the late 1970s, Peter J. Carroll and Ray Sherwin co-founded the Illuminates of Thanateros (IOT), a magical order dedicated to the practice and development of Chaos Magick. Carroll’s seminal works, "Liber Null" (1978) and "Psychonaut" (1982), became foundational texts for Chaos Magicians. These books outlined the core principles of Chaos Magick, including the emphasis on belief as a tool, the use of sigils, and the concept of "paradigm shifting," where practitioners adopt different belief systems as needed.

Spread and Evolution:

Throughout the 1980s and 1990s, Chaos Magick grew in popularity, particularly in the United Kingdom and the United States. The movement attracted individuals interested in a more personalized and experimental approach to magic, free from the dogmatic constraints of traditional systems. As Chaos Magick evolved, it incorporated influences from psychology, science fiction, pop culture, and postmodern philosophy, reflecting its eclectic and adaptive nature.

Principles of Chaos Magick

Chaos Magick is characterized by several key principles that distinguish it from other forms of magical practice. These principles emphasize flexibility, pragmatism, and the central role of belief in achieving magical outcomes.

Belief as a Tool:

One of the core tenets of Chaos Magick is the idea that belief itself is a powerful tool in magic. Unlike traditional magical systems that require adherence to specific beliefs or deities, Chaos Magick posits that the act of believing—regardless of what is believed—is what makes magic effective. Practitioners are encouraged to adopt and discard beliefs as needed to achieve their desired results, treating belief as a flexible and dynamic tool rather than a fixed truth.

Paradigm Shifting:

Closely related to the use of belief as a tool is the concept of "paradigm shifting." In Chaos Magick, a paradigm is a framework of beliefs, symbols, and practices that a magician temporarily adopts to work a particular spell or ritual. A Chaos Magician might shift between different paradigms—such as using Kabbalistic symbols in one ritual and invoking Lovecraftian deities in another—depending on what they find most effective for their goals. This fluid approach allows practitioners to draw from a wide range of magical and cultural traditions.

Pragmatism and Results-Oriented Practice:

Chaos Magick is inherently pragmatic, focusing on what works rather than adhering to tradition or doctrine. The effectiveness of a magical practice is judged solely by the results it produces. This results-oriented approach encourages experimentation and the development of new techniques, as well as the modification or abandonment of practices that do not yield desired outcomes.

Use of Sigils:

Sigilization, a technique popularized by Austin Osman Spare, is a central practice in Chaos Magick. A sigil is a symbol created by condensing a specific intention or desire into a visual form. The practitioner then uses various methods to "charge" the sigil with energy and launch it into the subconscious mind, where it works to manifest the desired outcome. Sigils are valued for their simplicity and adaptability, making them a popular tool among Chaos Magicians.

The Gnostic State:

Achieving a state of altered consciousness, often referred to as the "Gnostic State" or "gnosis," is a key component of Chaos Magick rituals. This state of mind, in which the practitioner is highly focused and free from distractions, is believed to be crucial for the successful performance of magic. Various methods, such as meditation, chanting, visualization, or sensory deprivation, are used to induce gnosis.

Practices of Chaos Magick

Chaos Magick is known for its eclectic and innovative practices, which can vary widely from one practitioner to another. The following are some of the most common practices associated with Chaos Magick:

Sigil Magic:

As mentioned, sigil magic is a cornerstone of Chaos Magick. The process typically involves creating a sigil by writing out a statement of intent, removing duplicate letters, and arranging the remaining letters into an abstract symbol. The practitioner then enters a Gnostic State, charges the sigil with intent, and either destroys or forgets the sigil to allow it to work subconsciously.

Magical Experimentation:

Chaos Magicians often experiment with a variety of techniques, drawing from different magical traditions, religions, and even pop culture. This might include invoking gods from different pantheons, working with fictional characters as if they were real entities, or incorporating elements of modern technology into rituals. The emphasis is always on what is effective for the individual practitioner.

Deconstructing and Reconstructing Beliefs:

Chaos Magicians regularly engage in the practice of deconstructing and reconstructing their beliefs. By deliberately adopting different belief systems, even those they do not inherently believe in, they explore the effects of belief on reality. This practice often leads to a deeper understanding of the fluid nature of reality and the power of the mind in shaping experience.

Use of Pop Culture and Modern Symbols:

One of the more unique aspects of Chaos Magick is its embrace of contemporary symbols and icons from pop culture. Practitioners might use characters from movies, comic books, or video games as symbols in their rituals, treating these figures as modern-day deities or archetypes. This reflects Chaos Magick's adaptability and its focus on personal relevance over tradition.

Psychological Techniques:

Many Chaos Magicians incorporate psychological techniques into their practice, drawing from fields such as cognitive psychology, NLP (Neuro-Linguistic Programming), and hypnosis. These techniques are used to alter consciousness, influence perception, and reinforce the practitioner’s intent. The integration of psychological methods underscores Chaos Magick's pragmatic and results-driven approach.

Significance and Influence of Chaos Magick

Chaos Magick has had a profound impact on modern occultism, influencing both magical practice and the broader cultural understanding of magic. Its emphasis on flexibility, innovation, and personal empowerment has resonated with a new generation of practitioners who seek a more individualized and adaptive approach to magic.

Democratization of Magic:

One of the most significant contributions of Chaos Magick is the democratization of magical practice. By rejecting rigid hierarchies, dogmas, and the need for formal initiation, Chaos Magick has made occult practices more accessible to a wider audience. Anyone can become a Chaos Magician, regardless of background or experience, as long as they are willing to experiment and learn.

Cultural Impact:

Chaos Magick has also influenced popular culture, particularly in areas related to the occult, science fiction, and the countercultural movements of the late 20th and early 21st centuries. Concepts from Chaos Magick, such as paradigm shifting and the use of pop culture symbols, have found their way into literature, movies, and art, reflecting the movement's broad cultural reach.

Challenges to Traditional Magic:

Chaos Magick challenges the conventional understanding of magic by questioning the necessity of belief in any particular system or deity. This has led to debates within the occult community about the nature of magic, the role of belief, and the effectiveness of traditional practices. Chaos Magick's focus on results over tradition has encouraged many practitioners to rethink their approach to magic.

Influence on Postmodern Thought:

Chaos Magick is often associated with postmodernism, particularly its skepticism of grand narratives and its emphasis on individual experience. The movement’s fluid approach to reality, belief, and identity aligns with postmodern ideas about the constructed nature of reality and the multiplicity of truths. This has made Chaos Magick particularly appealing to those who resonate with postmodern philosophy.

Conclusion

Chaos Magick represents a radical departure from traditional magical systems, offering a flexible, pragmatic, and highly individualized approach to occult practice. By emphasizing the power of belief, the importance of personal experience, and the value of experimentation, Chaos Magick has redefined what it means to practice magic in the modern world. Its influence extends beyond the occult community, challenging cultural and philosophical assumptions about reality, belief, and the nature of power. As a living, evolving tradition, Chaos Magick continues to inspire and empower those who seek to explore the mysteries of existence on their own terms.