erithe-anethara-writing

[erithe-anethara-writing]

I think it would be so funny if there was a show about King Arthur and the knight of the Round Table where a different knight(s) joins the Round Table every episode and it gets to the point where the cast is like 500 people and absolutely no one is acknowledging that there are like 400 people in this court. Like a gratuitous amount of knights. The plot randomly pivots to knight or knights of the week and then back but it’s not an anthology exactly. Some of them die the same day they join, some randomly disappear from the story and others are technically there for the rest of the series but doing fuckall. Occasionally Arthur will be like “Where has Sir Whatever gone?” and everyone will shrug. Very important quest surrounding the major knights you’re expecting and a minor knight no one has seen for 5 seasons randomly joins in. You need a knightly spreadsheet to join in.

[erithe-anethara-writing]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resources scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[erithe-anethara-writing]

I just saw someone say "there is no ethical consumption under capitalism" as an argument for boycotting AO3

Babe AO3 is a nonprofit. They do not exist under the ethics of capitalism. Fanfiction is legal because no money is ever exchanged around it. (All the money given to AO3 is used to maintain their servers and pay their lawyers to help keep fanfiction legal.)

Fanfiction is one of the few things in this world - probably the one singular form of entertainment that does not exist within the confines of capitalism. So by your own logic, even if you hate some of the content on AO3, it's inherently the only ethical thing to consume in the whole world.

[erithe-anethara-writing]

I think it would be nice to have the option to hide numbers on ao3. Make it where the 'kudos' and 'hits' number is author-viewable only, have an alternate option for when a list is sorted by such so people can read things based off their tags and preferences rather than see big number go brrrr

I speak as someone with popular fics, it doesn't have to be a requirement but like, as an option? This could go for other websites too, tumblr notes and the like.

[erithe-anethara-writing]

[erithe-anethara-writing]

[erithe-anethara-writing]

That video of Alex Hirsch reading S&P notes for Gravity Falls conveys a few things to me:

1) the U.S. entertainment industry (especially animation) is run by older conservative types who make up offensive terms and get really mad about them.

2) the people who run Disney would be the first to fall in line with a fascist regime.

3) most of the media we consume is tailor-made and watered-down to appeal to the tastes of older, deeply religious conservative audiences.

4) conservatism, not the left, is and always has been the biggest voice of censorship in American culture.

[erithe-anethara-writing]

[erithe-anethara-writing]

The funny thing is that I can fully see where a lot of very dumb discourse on this site came from but it doesnt make it any less perplexing

"Weight is most often determined by genetics rather than lifestyle choices, and the connection to health is not as black and white as TLC would have you believe": yeah, im with you.

"A person's health is not in any way connected to their worth as a person, and its not any of your business how healthy someone is to begin with, nor is it fair to demand fat people bend over backwards to perform health for you in a way you never ask of skinny people": absolutely. Completely agree with you.

"Saying that vegetables and exercise are good for you is fatphobic": okay what the hell happened here

[erithe-anethara-writing]

I got "Prisoner of Unusually Damp Roses"

Spin this wheel first and then this wheel second to generate the title of a YA fantasy novel!

(If the second wheel lands on an option ending with a plus sign, spin it again)

Share what you got!

[erithe-anethara-writing]

I think I may never be sad ever again. There is a statue entitled "Farewell to Orpheus" on my college campus. It's been there since 1968, created by a Prof. Frederic Littman that use to work at the university. It sits in the middle of a fountain, and the fountain is often full of litter. I have taken it upon myself to clean the litter out when I see it (the skimmers only come by once a week at max). But because of my style of dress, this means that bystanders see a twenty-something on their hands and knees at the edge of the fountain, sleeves rolled up, trying not to splash dirty water on their slacks while their briefcase and suit coat sit nearby. This is fine, usually. But today was Saturday Market, which means the twenty or so people in the area suddenly became hundreds. So, obviously, somebody stopped to ask what I was doing. "This," I gestured at the statue, "is Eurydice. She was the wife of Orpheus, the greatest storyteller in Greece. And this litter is disrespectful." Then, on a whim, I squinted up at them. "Do you know the story of Orpheus and Eurydice?" "No," they replied, shifting slightly to sit.

"Would you like to?"

"Sure!"

So I told them. I told them the story as I know it- and I've had a bit of practice. Orpheus, child of a wishing star, favorite of the messenger god, who had a hard-working, wonderful wife, Eurydice; his harp that could lull beasts to passivity, coax song from nymphs, and move mountains before him; and the men who, while he dreamed and composed, came to steal Eurydice away. I told of how she ran, and the water splashed up on my clothes. But I didn't care. I told of how the adder in the field bit her heel, and she died. I told of the Underworld- how Orpheus charmed the riverman, pacified Cerberus with a lullaby, and melted the hearts of the wise judges. I laughed as I remarked how lucky he was that it was winter- for Persephone was moved by his song where Hades was not. She convinced Hades to let Orpheus prove he was worthy of taking Eurydice. I tugged my coat back on, and said how Orpheus had to play and sing all the way out of the Underworld, without ever looking back to see if his beloved wife followed. And I told how, when he stopped for breath, he thought he heard her stumble and fall, and turned to help her up- but it was too late. I told the story four times after that, to four different groups, each larger than the last. And I must have cast a glance at the statue, something that said "I'm sorry, I miss you--" because when I finished my second to last retelling, a young boy piped up, perhaps seven or eight, and asked me a question that has made my day, and potentially my life: "Are you Orpheus?" I told the tale of the grieving bard so well, so convincingly, that in the eyes of a child I was telling not a story, but a memory. And while I laughed in the moment, with everyone else, I wept with gratitude and joy when I came home. This is more than I deserve, and I think I may never be sad again.

Here is the aforementioned statue, by the way.

[erithe-anethara-writing]

One of my biggest nitpicks in fiction concerns the feeding of babies. Mothers dying during/shortly after childbirth or the baby being separated form the mother shortly after birth is pretty common in fiction. It is/was also common enough in real life, which is why I think a lot of writers/readers don't think too hard about this. however. Historically, the only reason the vast majority of babies survived being separated from their mother was because there was at least one other woman around to breastfeed them. Before modern formula, yes, people did use other substitutes, but they were rarely, if ever, nutritionally sufficient.

Newborns can't eat adult food. They can't really survive on animal milk. If your story takes place in a world before/without formula, a baby separated from its mother is going to either be nursed by someone else, or starve.

It doesn't have to be a huge plot point, but idk at least don't explicitly describe the situation as excluding the possibility of a wetnurse. "The father or the great grandmother or the neighbor man or the older sibling took and raised the baby completely alone in a cave for a year." Nope. That baby is dead I'm sorry. "The baby was kidnapped shortly after birth by a wizard and hidden away in a secret tower" um quick question was the wizard lactating? "The mother refused to see or touch her child after birth so the baby was left to the care of the ailing grandfather" the grandfather who made the necessary arrangements with women in the neighborhood, right? right? OR THAT GREAT OFFENDER "A newborn baby was left on the doorstep and they brought it in and took care of it no issues" What Are You Going to Feed That Baby. Hello?

Like. It's not impossible, but arrangements are going to have to be made. There are some logistics.

[erithe-anethara-writing]

📢📢📢

[erithe-anethara-writing]

So many modern detectives have tried to emulate Sherlock Holmes, and none of them have even come CLOSE to touching Benoit Blanc. That man is Holmes' true spiritual successor. He's a silly little guy. He's gay. He's a drama queen. He has impeccable fashion sense. He loves music. He works with the cops but refuses to work for them. His voice is both goofy and incredibly fun to listen to. He sucks at playing Clue and Among Us. He mopes in the bathtub for weeks when he doesn't have a case. He loves hanging out with The Girls but gets incredibly uncomfortable when women flirt with him. The only reason he can afford his gorgeous downtown apartment is because his husband works a real job.* The only thing he hates more than Rich Assholes are Stupid Rich Assholes. He solved a double (attempted triple) homicide and the thing that made him most upset was plagiarism. He supports women's rights and women's wrongs. He refuses to break the law himself but actively encourages his client to commit arson.

And, most importantly, he and Holmes would fucking love each other. If most of the modern day detectives inspired by Holmes ever met him, he would probably want to kill them with hammers, but he and Blanc would probably end up being penpals and sending each other newspaper clippings about crime or some shit. And I can absolutely envision a teenage Blanc reading the Holmes stories and being like, "Wait, being a silly little gay private detective is a viable career option? Well, I guess I've finally found my calling in life."

Anyway I love the Benoit Blanc movies and I hope they make a million of them

*confirmed by Rian Johnson

[erithe-anethara-writing]

“Authors should not be ALLOWED to write about–” you are an anti-intellectual and functionally a conservative

“This book should be taken off of shelves for featuring–” you are an anti-intellectual and functionally a conservative

“Schools shouldn’t teach this book in class because–” you are an anti-intellectual and functionally a conservative

“Nobody actually likes or wants to read classics because they’re–” you are an anti-intellectual and an idiot

“I only read YA fantasy books because every classic novel or work of literary fiction is problematic and features–” you are an anti-intellectual and you are robbing yourself of the full richness of the human experience.

[erithe-anethara-writing]

hey uh new type of ao3 spam comment just dropped. (I know it's spam because the fic they left this comment on . doesn't have chapters. lmfao). Report this kinda comment as spam and don't take it personally it is literally recycled bullshit

[erithe-anethara-writing]

But in the end it's only a passing thing, this shadow; even darkness must pass. ― J.R.R. Tolkien, The Lord of the Rings

I finished reading The Lord of the Rings for the first time in my life. With all of *vague gesture at everything* this going on.

I Am Not Okay