#Come with me on a literary journey friends

[halfhoursonearth-writes]

Can you recommend fanfiction that you personally really like?

Yes! Love this ask. I’ve never made a Zutara fic rec list partially because I’ve read so many wonderful stories over time that I find the prospect daunting! 

But there are absolutely certain stories that I have a personal soft spot for, that I return to again and again. And that’s my criteria for what’s included below. This is a sampling of fics that I find myself coming back to, in no particular order. I may come back and add more, because this list is so far from exhaustive. A mix of ratings (marked), so keep that in mind.

Wish I Was the Moon by Like a Dove (T), post-canon: There’s so much that I love about the way this one-shot explores Katara’s character and what she faces post-canon, how she frees herself, strikes out in the world and finds her way home. Her feelings for Zuko, and her inner-conflict around them, are rendered tangibly, both through scene and subtext. A really good example of how an author can show a character’s lack of/journey to self-knowledge without breaking voice.

Refraction by caroes3725 (E), post-canon: When I started reading Zutara fanfic (for me this was in 2020), this was the fic I was looking for—a deep, realistic-to-canon, in-character exploration of how Zutara could unfold after the events of ATLA in a way that gives Katara in particular the arc she deserves. Really well-done development of the Fire Nation court world, well-developed characters, shining dialogue. An amazingly well-worth-it slow burn.

Wildfire by rainstormdragon (E), post-canon: To me this story is kind of a steamy Zutara thesis. The characters are so spot on and alive, their flaws are on full display in a way that feels realistic, and their chemistry is powered by their compatibility—matched in passion and stubbornness, and also in what they want from life. And I think it really gets Aang, too, which is something that can be hard to find in ZK fic. Also really hot, but that's only part of what makes it really shine.

Partners in Learning by evergreenonthehorizon (T), Modern AU: One of the things I love in modern AUs is watching an author weave that invisible string between these characters. Sometimes, it’s by writing narrative arcs that parallel the series, and sometimes it’s by drawing out the personality traits that make the characters both lovable to readers and such a compelling match and watching that spark bloom into flame. This beautifully written story does that so, so well in a really compelling Modern AU setting. Zuko and Katara here are so wonderfully lovable, and it’s a joy to watch them fall for one another, too.

Journeys by Smediterranea (E), Modern AU: In real life, I want to see my friends in relationships with people who can recognize why they’re so particularly amazing. That potential, I think, part of the appeal of ZK as a ship, and that’s part of the special magic of this fic. Watching these two characters get to know one another—really see one another—and fall in love deliciously sweeps the reader up. Plus, really fun, in character cameos from the rest of the Gaang along the way.

Spark, set fire by marijayne (T), Modern AU: literary fanfic, and I mean that in the best way. This story is beautiful and bittersweet, the latter is not often something I seek out in fanfic (where I hide from life), but here it’s gorgeous and worth it. The world building here is really cool—allows the author to explore some of a set of cultural issues/interactions that both echo the ATLA world and ours. The characters are so tenderly drawn (dadko especially)—and the connection between them builds beautifully and tangibly—and the longing is…chef’s kiss. 

Wrong when it's right by nire (T), Book 1 Canon Divergence: Before I read this, I couldn't imagine wanting to read a Book 1 Zutara. After, I wanted more. Bickering, bed-roll sharing, shared heat, tenderness and common ground. A delight from start to finish.

Anyway, thanks for asking and happy reading! <3 And if you want more recs, let me know.

[txttletale]

Your discussions on AI art have been really interesting and changed my mind on it quite a bit, so thank you for that! I don’t think I’m interested in using it, but I feel much less threatened by it in the same way. That being said, I was wondering, how you felt about AI generated creative writing: not, like AI writing in the context of garbage listicles or academic essays, but like, people who generate short stories and then submit them to contests. Do you think it’s the same sort of situation as AI art? Do you think there’s a difference in ChatGPT vs mid journey? Legitimate curiosity here! I don’t quite have an opinion on this in the same way, and I’ve seen v little from folks about creative writing in particular vs generated academic essays/articles

i think that ai generated writing is also indisputably writing but it is mostly really really fucking awful writing for the same reason that most ai art is not good art -- that the large training sets and low 'temperature' of commercially available/mass market models mean that anything produced will be the most generic version of itself. i also think that narrative writing is very very poorly suited to LLM generation because it generally requires very basic internal logic which LLMs are famously bad at (i imagine you'd have similar problems trying to create something visual like a comic that requires consistent character or location design rather than the singular images that AI art is mostly used for). i think it's going to be a very long time before we see anything good long-form from an LLM, especially because it's just not a priority for the people making them.

ultimately though i think you could absolutely do some really cool stuff with AI generated text if you had a tighter training set and let it get a bit wild with it. i've really enjoyed a lot of AI writing for being funny, especially when it was being done with tools like botnik that involve more human curation but still have the ability to completely blindside you with choices -- i unironically think the botnik collegehumour sketch is funnier than anything human-written on the channel. & i think that means it could reliably be used, with similar levels of curation, to make some stuff that feels alien, or unsettling, or etheral, or horrifying, because those are somewhat adjacent to the surreal humour i think it excels at. i could absolutely see it being used in workflows -- one of my friends told me recently, essentially, "if i'm stuck with writer's block, i ask chatgpt what should happen next, it gives me a horrible idea, and i immediately think 'that's shit, and i can do much better' and start writing again" -- which is both very funny but i think presents a great use case as a 'rubber duck'.

but yea i think that if there's anything good to be found in AI-written fiction or poetry it's not going to come from chatGPT specifically, it's going to come from some locally hosted GPT model trained on a curated set of influences -- and will have to either be kind of incoherent or heavily curated into coherence.

that said the submission of AI-written stories to short story mags & such fucking blows -- not because it's "not writing" but because it's just bad writing that's very very easy to produce (as in, 'just tell chatGPT 'write a short story'-easy) -- which ofc isn't bad in and of itself but means that the already existing phenomenon of people cynically submitting awful garbage to literary mags that doesn't even meet the submission guidelines has been magnified immensely and editors are finding it hard to keep up. i think part of believing that generative writing and art are legitimate mediums is also believing they are and should be treated as though they are separate mediums -- i don't think that there's no skill in these disciplines (like, if someone managed to make writing with chatGPT that wasnt unreadably bad, i would be very fucking impressed!) but they're deeply different skills to the traditional artforms and so imo should be in general judged, presented, published etc. separately.

[descendant-of-truth]

Y'know what maybe I'm not done talking about Journeys queercoding actually. maybe I do wanna work out my literary analysis muscles for the sake of Pokemon protagonists. why not

To clarify, this isn't about me personally enjoying the ship between Ash and Gou. I do enjoy it, but I'm making an argument for potentially deliberate queercoding in the writing, I'm not necessarily just here to gush (though that may be a side effect)

I'm also a firm believer that actions or behaviors that we typically think of as romantic are only made romantic if that's how the people involved feel about it. I don't think romance is the only possible way to interpret their relationship.

But when it comes to predicting where a story might be going next, or figuring out what the writers are intending to hint at us, I gotta pull out my textbook of Romantic Tropes first to see what fits the bill.

And I'm sorry, but even if it's not the intended interpretation, you can't include all of these scenes:

...and assume no one in your audience will think there's anything romantic happening here.

Of course, those are just the obvious visual interactions between them that can come off as romantic, to say nothing of the symbolic visual hints; the no less than four rainbows they've been under (one of which was reflected in Gou's eye), the two sets of heart-shaped pokemon that swam past them in a single episode which also had them falling under a rainbow, stuff like that.

But even all of that is pretty surface-level stuff. If the writing doesn't support a queer reading very strongly, then my argument for the queercoding being particularly intentional would fall flat.

Thankfully, the writing does support a queer interpretation, so I'm in the clear! Since breaking this part down will take a lot longer, I'm putting it under a cut.

So, right off the bat we've got the basic setup for the show. For the first time, the focus is primarily on Ash and one other person, as opposed to two or more people... despite having a third person in Chloe, who could easily make this into a trio dynamic, considering she's friends with Gou from the start. But they choose instead to make the core of the show about Ash and Gou.

This is even reflected in promotional material, where they'll often be placed closer to each other than Chloe:

Them being roommates is something I usually bring up as a joke, but it is worth noting anyway simply because it's another way the writers have decided they're going to spend almost all of their time together when they really didn't have to.

But now we gotta get into the real Writing Choices(TM) that are the meat and potatoes of this analysis, such as: making brief allusions to the idea that they might like other guys, too

One way to build up a character's orientation is to show them being attracted to people in shorter instances before giving them a main love interest. Think Luz from The Owl House; she had expressed attraction to both boys and girls before she got a girlfriend or started wearing a bi pin.

Likewise, this is Ash when he's thinking about Leon after seeing him battle for the first time:

I kid you not, he keeps up this blush and zoned-out expression for a solid minute, so caught up in thinking about how cool Leon is that he doesn't even think to eat the scones in front of him.

Now, Ash is a person frequently characterized by his love for food, and in previous episodes he had expressed a particular adoration for Galar scones, so this is pretty unusual behavior for him.

So unusual that it's. literally never happened before, to the best of my knowledge?? I don't think it takes much analyzing to realize that, even if it was brief, you could easily take this as Ash having a celebrity crush on Leon.

(There's even pink flowers in the background but that's probably less important)

Meanwhile with Gou, his "setup crush" in this scenario would be Horace. These two have a whole episode dedicated to their first meeting and the bond they forged, and how that turned bitter on Gou's end when he gets stood up right as he thought he was finally making a friend.

What sets this up for a romantic interpretation is largely the framing of things towards the end of the episode:

"Why do I keep thinking of him" is historically not the most platonic thing you could be bitterly thinking to yourself while you remember stargazing with someone, even if I do stand by my statement earlier of nothing being inherently romantic by itself

The end of the episode also implies that the feeling is mutual, if this shot is anything to go off of

(It's just a very shoujo manga-esque frame okay there's no way I wasn't going to point it out)

And the ending scene is two Celebies looking down happily at the two of them while the narrator talks about how pokemon form "many different kinds of bonds"

Many kinds of bonds, huh? Wonder what he could possibly be implying there

Okay so we've got orientation buildup, next in line is this. suspiciously consistent trend of characters who are close to Ash telling Gou to take care of him, or even going out of their way to test him to make sure he's good enough to be his rival or friend.

Gou himself even echoes the sentiment completely unprompted once, which says even more to me that they're trying to make a point out of this:

And here's the thing. None of the other companions have ever undergone this sort of treatment. Nobody questioned whether or not Ash's friends were good enough to hang out with him before, so why now? Why Gou? What makes him different?

Kiawe is relatively easy to explain because (from what I can tell) he's just Like That about rivalries, but why the addition of describing a rival as "the person closest to Ash"? Why does Gary suddenly care about the quality of Ash's buddies when that was never really a concern for him before?

Well gee I don't know about you guys but to me, this feels like the trope where someone's friends and family all start scouting out the guy they're interested in (or who is interested in them) to make sure they won't like, break their heart or something. And despite my best efforts, I'm struggling to see how this wasn't the writers' intention behind these plotlines.

Gou telling Ash's mom that he'll look after Ash on two separate occasions as opposed to the initial one also feels like an easy parallel to someone promising their love interest's parents that they'll be a good partner.

To my understanding, that isn't traditionally something friends also have to promise, even if there's more justification here as Ash and Gou are traveling around and getting into chaotic situations regularly.

So, with all this in mind, it kind of reframes the stuff I mentioned earlier, doesn't it? The blushing, the hand-holding, the spin hug that I'm never getting over, the frequent appearance of rainbows and the heart shaped Pokemon (Luvdisc if you were wondering)... it feels a lot more intentional once you take into account the bigger themes in the writing.

And once you start looking, it keeps piling up. The way Gou hurriedly says that he totally didn't want to help Ash out or anything after Scorbunny gives him a knowing look, like how most tsundere tropes tend to play out:

Or the specific way Gou is taken aback by one of Ash's compliments before trying to play it off by looking cool, only to be comically shocked when Ash gets distracted by something else:

I could go on but I'm running out of image space and I think you get the idea.

Ash's side of this whole thing is admittedly a lot more subtle than Gou's (*cough* because he's arospec) which is why I haven't gone over it much - my aim with this post was not to go too far into speculation territory - but we at least have marketing on our side for that

Gee Ash how come Animedia let you feed Gou two pastries

Anyway, in conclusion: I ran these two through the literary queerometer and the results were positive, thanks for coming to my TED talk

[caramel-flan]

🏮 3.4 LANTERN RITE EPILOGUE 

// SPOILERS AHEAD

There’s so much to unpack here regarding Venti and Zhongli but can we talk about this exchange at the end:

Going insane because the way the scene is framed and how the conversation pans between the two of them... it seems like Venti is speaking indirectly about himself and Zhongli.

If we take a look at some of the previous scenes:

What’s interesting are the moments after the dinner, when Hu Tao and co. are gathered to re-light the incense.

While Hu Tao makes her speech we see Venti looking contemplatively at Zhongli while everyone else is looking at the incense.

He applauds Hu Tao for her idea before nominating Zhongli as the most distinguished guest

This part is hilarious, to the humans present it sure is strange that Venti would immediately nominate this person he’s just met and chatted with briefly as opposed to one of his equally accomplished “old friends”?

But Venti gives his reasoning and finally this leads to another scene we aren’t talking about enough:

For the majority of the night Venti and Zhongli have been so un-serious with each other. At the dinner table they’re having fun with their ridiculous 4d compliments battle slash game of ‘Hey stranger’.

And it’s understandable that the masks are up tonight, the two of them can’t speak openly about earth-shattering plot-moving topics without giving away their identities after all.

But it’s here that we the audience get a glimpse of Venti and Zhongli at their most plain and honest about each other:

“If knowledge were a form of power, one could even say that you’re a wielder of unlimited strength.”

“But when it comes to having a way with words, the notable bard is certainly one cut above the rest.”

 Zhongli is genuinely impressed that his ‘new friend’ can spin such an ‘unexceptional skill’ into an ‘unparalleled talent’ and he humbly downplays the claim. 

But Venti is absolutely correct. Having a photographic memory is an extremely powerful and valuable skill to have in the world of Teyvat if we recall the events of Sumeru, and the purging of knowledge from Irminsul. 

Zhongli likewise acknowledges Venti’s exceptional literary skills as a bard. We know now that fiction can be used to depict knowledge that has been erased from Irminsul, anything that can be recorded into song or ballad is ‘safe’ and therefore can be retrieved later.

For all their bickering, Venti and Zhongli recognize each other’s strengths in the effort to record Teyvat’s history, and preserve the ‘truths’ of the world.

It’s easy to see then why both of them would be so important and invaluable to each other as friends, and why they’ve stuck together for so long.

- 🏮 -

At the beginning of Lantern Rite Zhongli tells Traveler: “Setbacks are inevitable over the course of a long journey. If you wish to share what's troubling you, allow me to lend my ear. There is no need to shoulder all burdens by yourself.”

Through lore and gameplay we know that Zhongli and Venti are the last surviving members of the first iteration of the Seven.

Both have yet to personally reveal anything about their origins before the Archon War, only scattered hints that implicate Venti having strong connections to the God of Time Istaroth, and that Zhongli may not originally be from Teyvat.

But regardless of which theory you subscribe you, it’s clear both of them understand all too well the hardships of being on a long journey, and the importance of having someone there by your side to help shoulder those burdens.

[tirralirralirra]

something I love about having read/watched frieren and dungeon meshi concurrently is getting to see that, despite their similar broad genres (fantasy, DND-esque settings, failure op elf girls /lh), they are two very distinct stories that ultimately achieve the same* thematic goal through different narrative means.

like you have frieren's contemplative, almost slice-of-life style storytelling that focuses on how the connections between people make an impact, and how it's beautiful to cherish the memories of those we love, even the small ones (especially the small ones), and that being alive is so, so beautiful because of those things. Then juxtaposing this with the overall narrative of a literal journey to a land beyond in order to meet with the dead, while not losing focus on those that are alive. Frieren as a story takes time to explore the small things that make life beautiful (fields of flowers, the beauty and not the power of magic, stargazing and sunsets with your friends).

and then you have dunmeshi's tight narrative arcs that are built around urgency (saving falin, first from digestion, then from...chimera-ization), but also continually return to the same concept as a core tenet to both the literal narrative structure around meals and the overall story: to eat is a privilege of the living. That there is joy to be found in eating because it means you are alive, that you survived. That taking time to take care of yourself is honoring your life. That death is a part of life through the acts of killing monsters to eat, and that the dungeon's condition where a soul remains tethered to the body is unnatural.

For that last bit, I love how we're just introduced to the concept in the beginning as a bit of world building, something you might just take at face value of, "oh, I guess this is how this works in this story", and over the course of the story the characters start to interrogate that reality, culminating in Marcille's realization at the end that they took death for granted because of the dungeon's condition:

[ID: Manga panel of Marcille looking down in thought and saying "Look, this might sound a little weird, but...I think the entire point of this journey we went on....was learning how to accept death.]

(Panel is from the ehscans version, will update with official eng when the final volume releases)

I also love that the story takes the time to say, look, you can be in a hurry, but you still need to take care of yourself. Eat well, sleep well, What will you achieve in the service of yourself or others if you don't take care of the most basic qualities to survive first? The most recent episode is a good example of that with the focus on shuro vs. laios, and then there's this reinforcement of the idea by the end:

[ID: Dungeon meshi manga page showing Laios, Chilchuck, and Senshi shouting "A balanced diet!!" "R-regulating our daily rhythms!!" "And moderate exercise!!" respectively, followed by the three in various poses in front of the word "VICTORY" and Laios saying "If we watch these three points...we'll naturally work our way to strong bodies!!"]

Anyways this is all very disorganized and I have other things I need to do and I could write a more cohesive, actually organized thought piece on all of this with like, coherent points, but I don't really like to delve into literary analysis on my fandom account. it just lives in my head, rent free. thank you for coming to my ted talk tumblr. don't expect to see more of this, lol.

*I say same goal, which is not to say the only goal. stories can have more than one theme, it's ok if you disagree with me on this, but please bear in mind that I'm speaking very, very broadly.

[drchucktingle]

I got my first tingler just before the holidays, 'pounded by the classics' and it's been an absolute joy to read. Sat up one night with a friend to do a dramatic reading of Dorian Gay with my best friend it was great. Its great having these books out there, as I have found getting back into reading difficult and I find your writing style really engages me.

Thank you so much 🙏

KIND POST i appreciate this very much. pounded by the classics is one of my favorite series to write and i am also VERY PARTIAL to the covers.

but also very importantly THANK YOU for mentioning writing style. my style as writer is partially just what comes out of chuck but i think it is also directed and guided by desire to NOT BE PRETENTIOUS. to create things for others AND myself to enjoy TOGETHER. i want to write with respect for an audience where i say 'i am not trying to IMPRESS you with these words or the way i describe things, i am trying to CONNECT with you' i do not want buds to get bored or tired (unless that is the point of the art piece but that is whole other story). i just want to tell you what happened in a way that is RESPECTFUL OF YOUR ATTENTION and takes you on an emotional journey, moving along at the same speed as your mind, not faster or slower. i saw review that said 'chucks literary writing style is fluid thought' and I like that.

so anyway, when buds talk about chucks writing style i take this as big compliment, ESPECIALLY if it is a buckaroo who says 'i do not read very often but i LOVE this'. that is important for me.

here are the two books in series: POUNDED BY THE CLASSICS and THE LESBIAN CLASSICS GET ME OFF

[em-dash-press]

Why Originality in Writing Isn't Always Possible

I was writing for years before I encountered a problem with writing as a whole—that most ideas have already been published.

When someone first told me that though, they said it like, "You'll never think of something that hasn't already been written."

The phrasing makes it sound like all story ideas are a waste of your time. I began spiraling. I researched every short story I'd ever written. I looked up books similar or identical to other books I loved.

Turns out, that person was right.

Sort of.

New Ideas Are Old News

Think about how long humanity has existed. Think about the many experiences that generations have shared—love, loss, happiness, adventure, self-growth, your coming-of-age years.

Story ideas inspired by whatever you go through in life have likely already been lived or thought of, given the trillions of people who have walked this planet and interacted with each other.

BUT

Originality Doesn't Only Come From Ideas

This is what I wish someone had told me back when I was spiraling.

I'll say it again for those in the back—

Originality Doesn't Only Come From Ideas

It also comes from your voice and your perspective!

Voice can feel tricky to grasp when you're starting out as a writer. Everyone can throw a few words on a page. How do you know what your voice sounds like and if readers will respond well to it?

Imagine two friends going on a trip. They do everything together. They sit on the beach, they eat lunch at a restaurant, and watch a movie before heading home. Then they each journal about their day in notebooks.

Those entries would look nothing alike! One friend might relax on the beach and feel so at peace that they take a nap, while another gets sunburned easily and hides under their umbrella with a scowl. Both ultimately enjoyed their day for different reasons. The beach lover got time by the ocean and the other friend who liked the beach much less fell in love with a new dish at the restaurant because they're a foodie.

You'll also frame your stories differently than any other writer. Like accents change the way every person speaks out loud, writers structure sentences and describe things/events/emotions very differently.

These may seem like insignificant details that set stories apart, but they make all the difference.

Think about Homer’s Odyssey. Circe is a minor character in the long tale and basically gets about a minute of the reader's time before Odysseus moves on to the next phase of his journey home. In Madeline Miller's Circe, the goddess becomes the main character and the ultimate portrayal of fear, rage, hurt and healing that are universally experienced but are especially true to the female experience.

Both stories follow the same timeline, so readers don't pick them up to necessarily get surprised by something Brand New to Literature™. Instead, they read direct retellings to learn from the characters in new ways, live momentarily through someone else's eyes, and bond over another aspect of the human experience.

Circe is an incredible work of art. Your idea—whether it's a direct retelling, indirect retelling, or full of literary devices from previous works—can be incredible too.

How Do You Know Which Ideas Are Worth Writing?

If a story idea doesn't immediately make you jump for your computer or a pen/paper, is it worth writing? My best advice is to sit with it.

Some of my best work has come from stories that got to marinate. I put them in the back of my mind and thought about the characters or themes or plot when something sparked another idea. By the time I started typing, the story was more vivid than when I first though of it.

But also, I have probably twenty failed ideas for every story I've written.

Give yourself time to get to know your ideas. If they're worth your time, they'll sit with you too.

[letters-from-dekarios]

Gale;

By the time this letter arrives in Waterdeep I will have already departed from Candlekeep. I have found several tomes relevant to your interests and have copied what I can, though given my inability to withdraw books from the athenaeum it may be wise for you to visit yourself.

We should return together, when you are free of your students.

You may tell Tara to stand down - I have been informed that my good friend Arnold the Dog already has an owner, and that if I try to smuggle him out of the city again neither you or I would be permitted entry in future.

Be grateful I prefer you to the dog.

To say that I have missed you would be an understatement. These few tendays I have spent within the library have been the longest I can remember.

I remain unsure that my research will be seen as adequate. I do not doubt your faith in me my love, though I am forever uncertain about what the world may think of an academic Bhaalspawn. I fear that you may be the only learned man who forgives me my lineage, and though I am not surprised I am…

Distraug-

Devast-

Disappointed.

We will be passing through Baldur’s Gate soon enough, I will give Jaheira your best. It will be strange to see the city without you beside me.

With all the love I have to give;

Dreuer.

P.S. if you try to trick me into using a filing system again I will start moving the bookmarks around in your books when you aren’t looking.

P.P.S. i look forward to seeing what part of you you inadvertently dyed purple. I have several ideas, none of them suitable to be committed to ink and parchment.

Loveliest Dreuer,

It pleases me greatly that you were able to find such information. Even the smallest of copied words is enough to begin another journey in my studies. I am sure it is plenty to begin with and will provide a good starting point to search for more if I ever have the chance to visit myself.

Once the summer sun rises and the students have taken their break, perhaps we can make the journey. I still have much to do, and much to prepare, but I can never pass down an adventure for the literary arts.

Tara will be pleased to know this! However, I have several questions as to how exactly you found out Arnold had an owner. If you risk my chance to visit the Athenaeum, I shall be thoroughly disappointed.

I have missed you greatly so, my love. The longer I spend within my books without your embrace, the more weary I become. Though I know you are safe, I only wish to be by your side.

Trust when I say that your lineage is likely the least surprising thing any academic society could come across! They simply judge others for where they cannot judge themselves. I understand your perception of it is and will forever be worlds different than my own, but you truly have nothing to become anxious over. I know you may hate that I would do so, for pride or ego, but I would use my name in a heartbeat if anyone attempted to discredit your research. I know, as well as any other person, how much effort you’ve put into this- if that doesn’t change the minds of even the most heartless, I’m not sure what will.

What matters the most is not what others think, my love, but what you think. Be satisfied with your works, and be joyous in your research. Only you can pave your path forward to academic achievements- and I know you well enough to have full confidence that you will accomplish all you set your heart to.

I’ll send coin for you to use within the city. I know I don’t have to, but I want to. Buy Jaheira a drink, or yourself something if you’d like. I have gone too long without spoiling you since you’ve been away, allow me to make up for it even in such a small dose.

The heart that belongs to only you,

𝑮��𝒍𝒆 𝑫𝒆𝒌𝒂𝒓𝒊𝒐𝒔

P.S. If you even think of moving my bookmarks I will force the Netherese orb back into my body and use it. [ there is a small angry face drawn next to the text to convey that he is joking. probably. ]

P.P.S. Now I am going to lock you out of the tower until it returns to normal. I shall also solely blame this on you for not letting me label things. This is why we need the filing system.

[ there is an half-inked feline paw-print stamped at the corner of the page, some small splashes of ink surrounding it, indicating Tara was very much a part of the process in writing the letter. ]

text reads: gale dekarios

[mindstriker]

pspspsps I have not played BG3 but I’d listen to you get on the soapbox about Astarion and Gale and Lae’zel. :] I love the vampire…twink(?) and hearing good things about that Gale guy and the frog(?) lady who makes my gender kinda start buzzing like a cicada <3

THE PEOPLE HAVE SPOKEN, AND HOW NOW SO SHALL I.

Seriously though, thanks for giving me an excuse to yap. As much as I am an enjoyer of fandom shipping, I am also a friendmaxxing visitorpilled individual and while I'm a strong proponent of pretty much every Baldur's Gate 3 Origin character being friends to some degree, I have my favourites, and Lae'zel, Gale, and Astarion are a trio I find particularly compelling. Maybe just because my first playthrough I exclusively travelled with them and loved their shared dialogue. So! THE DYNAMIC (as I see it.)

This is gonna be a long post. Oops.

Gale + Astarion

The one that I like equally as a romantic and platonic venture. I'm gonna be real, I tend to like these two as an actual romantic pairing- but that's irrelevant here. I've been over the lighter reasons why I think they'd be the ultimate pompous wine aunts of the group before, but there's a bit more to it than that.

Asides from shared aesthetic and literary interests, when I say I think they like each other in a surprisingly uncomplicated way despite their personal complexities, I truly do mean it that way. I feel that Gale is the type of person Astarion could truly come to cherish as a friend, once he's in a better place personally. He's startlingly authentic, giving Astarion a space to be as well, should he wish, rather than keep up his entirely charming facade- kind to others while also being... morally flexible enough to pique Astarion's interest and to avoid making him feel like he's being monitored by someone TOO well-intentioned (because I love Astarion, but he IS a bit of a bastard and will be forever, I reckon). On Gale's front, I genuinely think a part of him would feel incredibly vindicated by having a friend in Astarion- someone who would unabashedly encourage his ambitions and wilder interests (but whom I believe would still have his best interests vaguely at heart). Obviously that can take a darker turn under some scenarios- but I like to think that Astarion's playfulness and willingness to embrace his curiosity and passion about the stranger and more... reckless side of his work could be freeing to him. Like having that one friend that finally listens to you when you say "hear me out" and only intervenes if it's a TRULY bad take. Someone he can actually be mischevious with- because Gale IS a bit of a little shit himself, when he's given the freedom to be without guilt.

Gale + Lae'zel

This is the unusual friendship that I go the hardest about. I am so normal about them and what they could mean to each other. Lae'zel is incredibly dismissive of Gale initially, as she is with most of the others- but she's incredibly soft towards him by gith standards starting from the moment he demonstrates genuine respect and curiosity towards her and her people. Assessing his physical combat skills as less-than-deal shortly after meeting him, she even goes so far as to offer to *literally* train him in gith combat tactics shortly into your journey. That is not an offer I think Lae'zel makes lightly, or out of pragmatism alone. Is it because she sees him as weak? Yes. But it's also because she sees him as capable enough to become stronger, and worth training so that he is no LONGER weak. Most githyanki would not do that for another, especially one they had not met. Lae'zel is incredibly kind and giving to the others from the get-go no matter what anyone says about her "attitude"- putting her life and the code of ethics she lives by on the ropes to help a bunch of outsiders from the very start- but she is especially so to him, someone which many of her people may have outright discarded as useless.

From there, she starts to answer some of his questions. I like to think he talks to her about Faerun in turn for every question he asks- recognizing that the earth is as alien to her as she is to it. That's a good start for any friendship, really- mutual curiosity.

And then it gets stronger, as their personal struggles are revealed. The moment Lae'zel begins to waver in her faith and her dedication to Vlaakith is right around the same moment she hotly declares Mystra a fool for "demanding that Gale place all her faith in her and giving him none in return". She defends him against a literal god, declaring him capable and part of a mighty group- a stunning turn from her initial assessment. She balks at the idea of sacrificing him when she believes so firmly that it's an unnecessary waste of a skilled man. Possibly one she now considers a friend.

They are, in many ways, similar. Groomed in different senses by gods/god-like powers that only sought to milk them for all they were worth and then discard them when convenient. Manipulators of a celestial variety- the type of people who leave you with the realization that your entire life has been wasted serving them. Both of them were even wanted for their power- Laezel for her unwavering loyalty and militant prowess, Gale for his magical ability.

So, TLDR: They have, from the beginning, connected to each other via mutual understanding. They go through shocking life changes together and find solace in finding understanding in someone whose struggle initially seemed so alien to the other. From there, I feel like they'd genuinely find more casual things to bond over as Lae'zel discovers her enjoyment of Faerun and its wonders. No one would go ham over having a friend newly excited to learn about the world than Gale "could talk at length about anything" Dekarios.

Astarion + Lae'zel

This doesn't seem right at first, right? Poncey (lovingly) vampire meets unwaveringly stoic alien warrior. Except there's something ruthless and downright STURDY about Astarion that I can see Lae'zel quietly appreciating from the beginning. She can tell that he's willing to go the distance- even if they butt heads over her revulsion concerning the tadpoles and Astarion's attempts to wheedle the group into using them for their own gain. I feel like respect is shockingly easily earned for him on her front. In turn, I feel like Astarion is quite wary of her first- but honestly? He might be vaguely assuaded by the fact that Gale, arguably the most vulnerable of them all, just seemingly wanders around chatting with her intermittently without losing any limbs or being verbally abused. He also definitely clocks right off the bat in that scheming way of his that she'd be an incredibly helpful ally to have.

Except she's not easily seduced, or swayed by charm and friendly platitudes. Instead, I think the thing Lae'zel would silently begin to appreciate about him first is the subtle ways he shows interest in the world around him- his dialogue about not remembering how much colour there was in the world, and the like. As someone who's learning to love her new surroundings bit by bit, I can see her sympathizing with his newfound adoration of the daylight and outdoors he was deprived of for so long.

Later, she wholeheartedly supports Astarion's campaign to be rid of Cazador, and he even gleefully states "good for her" when she decides to turn her back on Vlaakith- so I reckon they're another check on the front of "friends bonding over overthrowing those who have been unrighteously in charge of them for so long". The circumstances are highly different, but the sentiment is shared: fuck that guy, I won't be their puppet anymore.

Finally, in the ending where Lae'zel chooses to stay on Faerun and forge her own fate exploring a new world, I can see her and Astarion working together- both enjoying their newfound freedom from cause and control and absorbing all the joys of a *functionally* new world for the both of them. With the aid of their far more local wizard friend who's less prone to the battlefield, of course. I can see them teaming up for a glorious adventure or two easily. Battle buddies, and the like.

[that-ari-blogger]

A Weird Finale (For Good)

Catharsis is a weirdly complex emotion. Weird in the sense of how it operates. Catharsis isn’t an emotion, that’s kind of the whole point, but it acts like one. Catharsis makes you feel better, it makes you laugh or cry or maybe both, and there are very few literary tools as powerful as the ability to make your audience emote.

Catharsis is the releasing of strong emotions. If I tell a joke, the catharsis is the punch line. If I tell a sad story about a friend getting badly injured, the catharsis is the conclusion where I tell you that they are ok.

Case and point, For Good is the final song of Wicked. Kind of. It isn’t really, the story continues afterwards, and a song called Finale follows that. But For Good feels like the conclusion a story. It certainly reflects on the events of the musical as a whole, and makes a conclusion going forward.

It is also one of the two songs in all of musical theatre that I cannot make it through without crying, and this post is my defence of that inability.

Let me explain.

SPOILERS AHEAD: (Wicked, Hazbin Hotel, Andor)

“I'm limited Just look at me I'm limited And just look at you You can do all I couldn't do Glinda So now it's up to you For both of us Now it's up to you”

Elphaba has failed in her journey. She wanted total freedom, and she couldn’t achieve it. She wanted the ability to make a change in the world, but she was just one person. She failed.

The reuse of the Unlimited Lite Motif shows the other side of the coin that is Glinda and Elphaba’s relationship. It brought them both what they wanted. Together, they were unlimited, but alone… there’s this.

The limit actually corresponds to more than just physical freedom. They both wanted to be free, to be unshackled by their own capabilities. They wanted unlimited power, and Elphaba couldn’t achieve that, but she believes Glinda could. Although Glinda would disagree.

“I've heard it said That people come into our lives For a reason Bringing something we must learn And we are led to those Who help us most to grow if we let them And we help them in return Well, I don't know if I believe that's true But I know I'm who I am today Because I knew you”

I had a whole thing planned to write about fate here, but I don’t think it’s the point. Because if you focus too much on what might be, you miss what actually is.

Wicked is a story about dreams and reality colliding, and the answer to which will come out on top, is “neither”. Elphaba chased her dreams to the end and found them unobtainable. Glinda, meanwhile, saw her friend achieve great things in real time.

Don’t stop chasing a better tomorrow. That isn’t what I’m saying here. But don’t think that the change will be sudden and one day you will reach that eutopia. Change is slow, and it happens as you go. Elphaba, for example, has been saving people, and inspiring people. Oz hasn’t been saved, but she’s made progress.

The first chorus, as is usual for a song in this musical, is understated, and building to something bigger. It's laying the groundwork for later events.

The fact that Glinda’s phrases are offset is a continuation of something that began in I’m Not That Girl (Reprise), her casualness.

When Galinda was introduced, she spoke with a practiced poise, that was evenly metred so that it was impossible to notice when a song started for her. She had, in a very real sense, always been singing and never actually spoken.

This is the opposite of that, Glinda’s words feel more real, because the timing creates a casual vibe that I take to be more genuine.

Wicked has been playing around with time signatures since the beginning, usually to represent indecision or an inconsistency reminiscent of how fae realms are represented in mythology and literature. It feels whimsical.

Here the awkward bar is used to emphasise Glinda’s words. “I have been changed.”

I have found myself recommending covers of these songs, so to continue that streak, Voiceplay's Wicked medley is phenomenal, and the For Good section is especially memorable.

Glinda doesn’t know or even care about fate or what was meant to be. She is astonishingly real and pragmatic, and she can see Elphaba’s success in a way that her friend can’t.

Elphaba has become the Wizard, in a sense. She has inspired people to take their lives into their own hands. She has promised people a better world, but instead of the Wizard’s false hope, Elphaba delivered, and showed people that if they try, they can improve the lives of generations to come.

Glinda can see that Elphaba changed at least one person and made them want better, and she can carry on that legacy.

In other words:

“You've already done so much So many lives you've changed So many souls you've touched And in the end, if it's only me you've saved There's something that I've been dying to say”

Hazbin Hotel is satirical musical that deals with seeking freedom. It’s most definitely not Wicked, it’s theming is different and when I do a series on it, I will talk about that at length. But it does have a song that links to For Good.

There’s a difference between having done enough, and being done. If you only save one person, you are a hero. If you make life better for one person, and inspire them to pay that favour forwards, you have made your mark. You have your legacy.

But Elphaba has done far more than just save one person. Again, if she has inspired Glinda, she must have inspired someone else as well. And when Glinda drives away the Wizard, and presumably does more to help the citizens of Oz who are oppressed, that’s because of Elphaba.

This song in Hazbin Hotel is also a love song. I wonder if that is relevant.

“I burn my decency for someone else’s future. I burn my life to make a sunrise that I’ll never see.”

Andor is a surprisingly well-made series. As in, the Star-Wars fandom has been starved for a while for stories that say anything. So, when Andor began exploring some complex philosophy, people missed that the show was also just genuinely good craft.

But it is the messaging that I want to talk about here, briefly. Andor discusses the cost of rebellion, and in one of the several incredible monologues of the series, Luthen Rael explains that, among other things, he is making a better world for future generations. One that he will probably never receive. Like Moses delivering people to a promised land that he, himself, would never reach.

Legacy is important to both Luthen and Elphaba. Their futures are marked by conflict, but they exist so that later generations will live without that.

I would also recommend this cover by Jacob Daniel Cummings and Peter Gibbons. They are both talented vocalists, but the simplicity of the music video and set design are really cool, and the fading from monochrome to colour is a nice touch.

This song precedes Elphaba’s “death”, and it centres around Glinda telling her and the audience that it was all worth it. That’s the catharsis, whatever happens next, Elphaba has succeeded.

“You'll be with me Like a handprint on my heart And now whatever way our stories end I know you have rewritten mine By being my friend”

The romance of this musical has been implied. Evidence through subtext, rather than what is actually being shown. It got pretty strong, but an entirely aromantic reading of their relationship was possible, if you squinted.

However, I would argue that this isn’t subtext. I would suggest that “you’ll be with me like a handprint on my heart” is innately romantic in nature.

“Like a comet pulled from orbit As it passes the sun Like a stream that meets a boulder Halfway through the wood”

At this point, the song spits out a ton of metaphors, and I’m not going to go over each one. So as a whole, these stand in for that catharsis. This is Elphaba and Glinda finally letting out their emotions and stopping limiting themselves.

Defying Gravity reflected the first half of Wicked by displaying Elphaba’s freedom from external forces. But the second half featured the battle with herself and her own abilities and emotions. So, letting go of all of that and saying “I love you” in every way imaginable except the obvious certainly counts as releasing emotions.

This is the other part of the catharsis that I talked about. Half of the drama of this musical has been the development of the relationship; however you see that, between Glinda and Elphaba. That relationship fell apart, hence the tragic nature of this musical, but it did so quickly and without much closure.

So now, the two can look back on it and say, with definite confidence, that it was, in fact, a relationship.

Again, I will claim that this is romantic because friendship isn’t that powerful, usually. Friendship can change people, but romance can change a person’s story, and their life. A friendship doesn’t leave “a handprint on my heart”, for example.

I am actually having trouble articulating why this is romantic. It just is, look at it. You have to prove that it isn’t at this point.

The acting here sells the romance as well. The blinking back of tears, the faltering in each word. Emotions are running high through this song.

That is why I love this song. That is why this is my favourite song in all of musical theatre. That is why this song makes me cry.

This song is the resolution of a complex, and heavy story. It looks at the future to talk about legacy, but it also looks at the past to say “see what Elphaba has achieved”.

The song itself isn’t even the thing that makes me cry here. The emotional element of this is the story that got you here. Wicked is emotional, but it makes you hold all of that in, until For Good releases that.

Essentially, I like For Good because I like Wicked, and when I listen to the song, I listen to an entire story.

Final Thoughts

This was really difficult to analyse because the song isn’t complicated on its own right. Like I said, it’s the fact that it is the conclusion to Wicked that gives it the emotional gravitas.

But I do want to clarify something. This post should have gone out on Wednesday, but it will probably go live on Sunday instead, and there is a reason for this.

Partly, I am disorganised as hell. But partly, I have been struggling to explain why this song is queer or even romantic in nature. It is, and I will defend my opinion on that, but my excuse for it being that is… look at it, it’s so obviously romantic.

I think my answer is linked to my conclusion about this song as a whole. This is a romantic song because the entire musical has been about the romance between Elphaba and Glinda, so it carries over that weight. This song is queer because that relationship was queer. All this song does is amplify what you take into it, and that’s a weirdly empty description for something so powerful.

But I guess, in a way, that’s how stories operate as a whole. You only get out of them what you are willing to put in. If you engage with a character, and you pour your heart into that character, you will probably be rewarded tenfold. But that takes a mixture of good craft, the right story (because no story is for everyone), and a great deal of vulnerability on the part of you. Emotions can hurt, and to engage with a story, you have to be willing to let yourself feel that. But the risk is well worth the reward, at least with Wicked.

Next week, I will be giving my final thoughts on the musical as a whole, and trying to make a coherent point out of my own, incomprehensible ramblings.

So stick around if that interests you.

Previous - Next

[nanowrimo]

Pro Tips from a NaNo Coach: How to Keep Writing When it Feels Impossible

NaNoWriMo can seem like a daunting task sometimes, for NaNo newbies and veterans alike. Fortunately, our NaNo Coaches are here to help guide you through November! Today, author Shameez Patel Papathanasiou is here to share her advice on how to set yourself up for noveling success:

National Novel Writing Month is almost over. Some authors managed 50K In A Day (my wrists scream at the mere thought), some are steadily hitting that 1667 daily word goal, and others have fallen behind—and that’s when writing starts to feel impossible. 

Don’t. Give. Up! 

Even if you’re under 50,000 words by the end of November, you’ll come out with something: perhaps 20 000 words, exciting characters, or at the very least, a new idea. 

Keeping at it when you’re juggling a full-time job, parenting, and surviving a pandemic is tough, but you can do it. Here’s how: 

1. Sprints

This concept is not foreign to any seasoned WriMo. My personal favorite is a 10-minute sprint because regardless of how busy I am, I can find 10 minutes, be that after I inhale my lunch or the 10 minutes I usually spend creating stories in my head before falling asleep. 

With some practice, you can write between 250 and 500 words in a 10-minute sprint, and if that is all you’re doing every day, that’s okay. Consistency is key. 

2. Writing-On-The-Go

For years I thought I had to set up my space and get in the zone, but one night, after years of being stuck in bed beside a sleeping toddler, I stopped doom-scrolling and opened a Google Doc on my phone instead. Within months, I had an 80,000-word first draft. 

While I realize that some of you use Word or Scrivener to draft, it would help to keep a Google Doc handy for those days you find yourself waiting at the bank, outside your kid’s school, or even for when you’re lying in bed a little bit too cozy to get up and fetch your laptop. 

Trust me, you won’t remember the idea you’re promising yourself you’ll remember. Write it down or send it to yourself in a voice note. Your phone is a powerful tool, use it!

3. Writing Buddies

This is another thing that NaNoWriMo has blessed me with. While writing is often seen as solitary, it doesn’t have to be. Having a close group of friends who write not only means they’re there to encourage you and keep you company, but they’re also there to critique your work and to cheer for you on the days you doubt yourself. 

4. Don’t Compare

Don’t compare word counts, don’t compare the time taken to get published, don’t compare the number of awards, don’t compare anything. Your writing journey is your own for more reasons than even you know. It will happen when it happens in the way that it is meant to happen. If your writing buddies are succeeding before you, remember that there are also others behind you. 

A line from one of my favorite poems comes to mind: If you compare yourself with others, you may become vain or bitter, for always there will be greater and lesser persons than yourself.

Which leads me to another line from the same poem: 

5. Be Gentle with Yourself (And Your Work)

First drafts are supposed to be messy. They’re your first attempt at a project, which makes it your worst attempt too. And in every revision, you will create something better and more beautiful. Acknowledge this and allow yourself to play around with characters and worlds, to feel joy in the story you’re writing, to vomit out the roughest form of the story you’ll one day share with the world.

We’re almost there, and no one else can write it the way that you do. Do your best!

Shameez Patel Papathanasiou is from Cape Town, South Africa. She is a civil engineer by day and an author by night. Her literary adventures take her to worlds filled with magic, monsters and someone to fall in love with. Shameez fell in love with fiction at a young age. Her parents fondly recall her first handwritten story completed before the age of ten, titled The Treasures of Zombie Island, which surprisingly featured no zombies at all. She has been writing ever since. Her debut fantasy novel, The Last Feather, is out now—it, at the very least, features a feather.

[spaceorphan18]

Which book should I read next?

Inspired by @ckerouac - I picked out one book from each of my eight bookshelves** - one that I haven't read and that's been on my TBR list for a while. I'm letting you guys decide which one to read! Let me know what you think! And I'll read the one you pick next....

**- one of the bookshelves is dedicated to Young Reader books, and sitting on top of it are a couple of books that my bother loaned me, so I've included that instead of an actual YR title.

Info about the books under the cut

From the Fiction/Classics bookshelf: Less by Andrew Sean Greer

You are a failed novelist about to turn fifty. A wedding invitation arrives in the mail: your boyfriend of the past nine years now engaged to someone else. You can’t say yes--it would all be too awkward--and you can’t say no--it would look like defeat. On your desk are a series of half-baked literary invitations you’ve received from around the world. How do you arrange to skip town? You accept them all.

From the Graphic Novels bookshelf: Sandman by Neil Gaiman (Vol. 1)

In PRELUDES & NOCTURNES, an occultist attempting to capture Death to bargain for eternal life traps her younger brother Dream instead. After his 70 year imprisonment and eventual escape, Dream, also known as Morpheus, goes on a quest for his lost objects of power. On his arduous journey, Morpheus encounters Lucifer, John Constantine, and an all-powerful madman.

From the Sci-fi/Fantasy bookshelf: The Way of Kings by Brandon Sanderson

It has been centuries since the fall of the ten consecrated orders known as the Knights Radiant, but their Shardblades and Shardplate remain: mystical swords and suits of armor that transform ordinary men into near-invincible warriors. Men trade kingdoms for Shardblades. Wars were fought for them, and won by them. One such war rages on a ruined landscape called the Shattered Plains. There, Kaladin, who traded his medical apprenticeship for a spear to protect his little brother, has been reduced to slavery. In a war that makes no sense, where ten armies fight separately against a single foe, he struggles to save his men and to fathom the leaders who consider them expendable.

From the Mystery bookshelf: The Thursday Murder Club by Richard Osman

In a peaceful retirement village, four unlikely friends meet up once a week to investigate unsolved murders. But when a brutal killing takes place on their very doorstep, the Thursday Murder Club find themselves in the middle of their first live case. Elizabeth, Joyce, Ibrahim and Ron might be pushing eighty but they still have a few tricks up their sleeves. Can our unorthodox but brilliant gang catch the killer before it's too late?

From the Non-Fiction bookshelf: The Great Green Room by Amy Gary

The extraordinary life of the woman behind the beloved children’s classics Goodnight Moon and The Runaway Bunny comes alive in this fascinating biography of Margaret Wise Brown. Margaret’s books have sold millions of copies all over the world, but few people know that she was at the center of a children’s book publishing revolution. Her whimsy and imagination fueled a steady stream of stories, book ideas, songs, and poems and she was renowned for her prolific writing and business savvy, as well as her stunning beauty and endless thirst for adventure.

From the Agatha Christie bookshelf: The Science of Murder by Carla Valentine

Agatha Christie is the bestselling novelist of all time, and nearly every story she ever wrote involves one―or, more commonly, several―dead bodies. And the cause of death, the motives behind violent crimes, the clues that inevitably are left behind, and the people who put the pieces together to solve the mystery invite the reader to analyze the evidence and race to find the answer before the detective does. Nearly every step of the way, Christie outlines the nuts and bolts of early 20th-century crime detection, relying on physical evidence to tell the real story behind the facades humans erect to escape detection.

From the Young Adult bookshelf: Scythe by Neal Shusterman

A world with no hunger, no disease, no war, no misery. Humanity has conquered all those things, and has even conquered death. Now scythes are the only ones who can end life—and they are commanded to do so, in order to keep the size of the population under control. Citra and Rowan are chosen to apprentice to a scythe—a role that neither wants. These teens must master the “art” of taking life, knowing that the consequence of failure could mean losing their own.

From (on top of the) Young Readers bookshelf: What If It's Us by Becky Albertalli and Adam Silvera

Arthur is only in New York for the summer, but if Broadway has taught him anything, it’s that the universe can deliver a showstopping romance when you least expect it. Ben thinks the universe needs to mind its business. If the universe had his back, he wouldn’t be on his way to the post office carrying a box of his ex-boyfriend’s things. But when Arthur and Ben meet-cute at the post office, what exactly does the universe have in store for them?

[garadinervi]

The Journey That Matters: What It Was Like, Directed and Produced by Arwen Curry, Featuring Ursula K. Le Guin [reading her essay 'What is Was Like' (2004), in Words Are My Matter. Writings About Life and Books, 2000-2016, Small Beer Press, 2016], 2023 [Literary Hub]

Cinematographer: Jeff Streich Editors: Maya Curry, Sarah Cannon Composer: Will Fritch Location Sound: Anna Rieke Motion Graphics: Alexandra Petrus, Kia Simon

Archival footage and stills: The Ursula K. Le Guin Foundation; Schlesinger Library, Harvard Radcliffe Institute

What It Was Like A talk given at a meeting of Oregon NARAL in January 2004 «My friends at NARAL asked me to tell you what it was like before Roe vs. Wade. They asked me to tell you what it was like to be twenty and pregnant in 1950 and when you tell your boyfriend you're pregnant, he tells you about a friend of his in the army whose girl told him she was pregnant, so he got all his buddies to come and say, "We all fucked her, so who knows who the father is?" And he laughs at the good joke. They asked me to tell you what it was like to be a pregnant girl—we weren't "women" then—a pregnant college girl who, if her college found out she was pregnant, would expel her, there and then, without plea or recourse. What it was like, if you were planning to go to graduate school and get a degree and earn a living so you could support yourself and do the work you loved—what it was like to be a senior at Radcliffe and pregnant and if you bore this child, this child which the law demanded you bear and would then call "unlawful," "illegitimate," this child whose father denied it, this child which would take from you your capacity to support yourself and do the work you knew it was your gift and your responsibility to do: What was it like? I can hardly imagine what it's like to live as a woman under Fundamentalist Islamic law. I can hardly remember now, fifty-four years later, what it was like to live under Fundamentalist Christian law. Thanks to Roe vs. Wade, none of us in America has lived in that place for half a lifetime. But I can tell you what it is like, for me, right now. It's like this: If I had dropped out of college, thrown away my education, depended on my parents through the pregnancy, birth, and infancy, till I could get some kind of work and gain some kind of independence for myself and the child, if I had done all that, which is what the anti-abortion people want me to have done, I would have borne a child for them, for the anti-abortion people, the authorities, the theorists, the fundamentalists; I would have borne a child for them, their child. But I would not have borne my own first child, or second child, or third child. My children. The life of that fetus would have prevented, would have aborted, three other fetuses, or children, or lives, or whatever you choose to call them: my children, the three I bore, the three wanted children, the three I had with my husband—whom, if I had not aborted the unwanted one, I would never have met and married, because he would have been a Fulbright student going to France on the Queen Mary in 1953 but I would not have been a Fulbright student going to France on the Queen Mary in 1953. I would have been an "unwed mother" of a three-year-old in California, without work, with half an education, living off her parents, not marriageable, contributing nothing to her community but another mouth to feed, another useless woman. But it is the children I have to come back to, my children Elisabeth, Caroline, Theodore, my joy, my pride, my loves. If I had not broken the law and aborted that life nobody wanted, they would have been aborted by a cruel, bigoted, and senseless law. They would never have been born. This thought I cannot bear. I beg you to see what it is that we must save, and not to let the bigots and misogynists take it away from us again. Save what we won: our children. You who are young, before it's too late, save your children.» – Ursula K. Le Guin, Words Are My Matter. Writings About Life and Books, 2000-2016, Small Beer Press, Easthampton, MA, 2016

[scotianostra]

18th August 1773 saw Samuel Johnson and James Boswell set out on their three month tour of the Highlands and the Inner Hebrides.

Boswell enticed his famous English friend Samuel Johnson to accompany him on a tour through the highlands and western islands of Scotland.

James Boswell, 9th Laird of Auchinleck was a Scottish biographer, diarist, and lawyer, born in Edinburgh, like many young men he longed to visit the bright lights of London and in 1760 he deserted the family home to live in the English capital for a few months. It was during his second stay in 1762-63 that he met his literary hero and model, the poet, essayist and dictionary maker Dr. Samuel Johnson. In August 1763 Boswell embarked upon a 2½ year Grand Tour of Europe, during which he met many notable men and women, including Voltaire and Rousseau. On returning to Scotland he practised law as an advocate. During this time he made occasional visits London to spend time with Dr Johnson and others of his circle, including Oliver Goldsmith, Sir Joshua Reynolds and Edmund Burke. He was also on familiar terms with David Hume, Adam Smith and other leading figures of the Scottish Enlightenment.

Johnston and Boswell set off less than 30 years after the '45 Uprising, when whisky was still distilled illegally, roads were scarce and travel was by foot, bone-jangling carriage, horseback or over very turbulent seas in a rickety boat.

Their extraordinary journey to the Highlands and the Hebrides during an autumnal season of relentless rain and storms, took Johnson - plump, partially deaf and blind and who had rarely travelled outside of London - on a grand Scottish tour which led to two of the earliest travel books and paved the way for centuries of tourists who would also explore the nation’s wild islands and highland

While for the then 32-year-old Boswell there was a chance to witness Johnson up close for nearly three months, providing a wealth of material for his admired biography, Life of Samuel Johnson. The travel journal was a massive hit and a humorous account of their journey.

Boswell was Scots to his roots and is very defensive about the Scots and Scottishness, while Johnson has this very English take on it all. These two things fuel the humour, Johnson is like this English bulldog and Boswell is like a Scottish terrier. Together they are a hoot! Add to that the facts that as you would expect from a Scotsman, Boswell was a heavy drinker and Johnson was teetotal, which leads to all kinds of escapades. It’s like 18th century Laurel and Hardy.

Boswell, quoted their first conversation in the biography, Life of Samuel Johnson, saying: “Mr Johnson, I do indeed come from Scotland, but I cannot help it”. To which Johnson replied: “That, Sir, I find, is what a great many of your countrymen cannot help.”

It set the scene for a friendship driven by verbal sparring, with Johnson’s deprecating remarks about Scots robustly foiled by Boswell’s defence of homeland.

Their travels began in mid-August at Boyd’s Inn in Edinburgh, where the cleanliness dismayed Johnson. Boswell wrote: “He asked to have his lemonade made sweeter; upon which the waiter, with his greasy fingers, lifted a lump of sugar, and put it into it. The Doctor, in indignation, threw it out of the window”.

The pair then travelled up the east coast, stopping at St Andrews to indulge their interest in John Knox and Mary, Queen of Scots, Following the coast towards Aberdeenshire, a bit like today’s NC500 tourists plotting their route, they took an anti-clockwise course along the Moray Coast to Inverness and then to the Western Isles.

At times their journey resembled a lengthy pub crawl as they noted the quality of the inns and the food.

In Montrose, Johnson noted: “At our inn we did not find a reception such as we thought proportionate to the commercial importance of the place; but Mr Boswell desired me to observe the innkeeper was an Englishman, and I then defended him as well as I could.” Dundee, it was noted, was “dirty, despicable”. They even recorded their first taste of Arbroath smokies.

Having travelled through Glen Shiel, the pair arrived at the inn at Glenelg. Often praised today, Boswell and Johnson gave it the equivalent of a one-star TripAdvisor review. Having arrived “wearing and peevish”, they discovered “no meat, no milk, no bread, no eggs, no wine. We did not express much satisfaction.”

The Highland terrain posed even greater stress. Dangerous and often impassable except on foot, they were often in remote spots, miles from inns or shelter or ankle deep in a peat bog. Nevertheless, they trudged on through stormy weather and with Johnson often suffering from colds, increasing deafness and seasickness on the journeys between the islands.

The trip from Coll to Skye was undertaken during a vicious storm, with Boswell fretting over whether the boat might sink or explode, and troubled that he couldn’t understand the sailors’ Gaelic! Johnson was no great fan of the language, describing it as “the rude speech of a barbarous people, who had few thoughts to express, and were content, as they conceived grossly, to be grossly understood”.

But in Skye, they were delighted to meet Flora MacDonald, and slept in the same room that Bonnie Prince Charlie had slept in. “Both were over the moon because they were besotted with the story,” he wrote.

Don’t judge Johnson on his dislike of the Gaelic language though, the pair told of finding the Highlands still occupied by military garrisons, cleared by immigration and spoke of the suppression of Highland culture and oppression of the clans.

The isle of Raasay turned out to be a favourite spot, where the pair enjoyed the clan chief’s hospitality and a raucous ceilidh, with Boswell dancing a jig on the flat summit of Dun Caan. Both felt that in Raasay they had come close to authentic old Gaelic culture and way of life.

By October 1773 they were in the Saracen Head Inn in Glasgow’s Gallowgate, revelling in a roaring coal fire and conversation with professors from Glasgow University.

The trip would come to a sorry end, however, at Boswell’s family’s Ayrshire home at Johnson and Boswell’s father had an enormous row; they were total opposites in religious and political beliefs,

Johnson was a kind of father figure to Boswell. He knew Boswell could be a bit out of hand, but he also knew he was a real literary talent.”

Johnson’s A Journey to the Western Islands of Scotland, was published in 1775, followed a exactly decade later by Boswell’s The Journal of a Tour to the Hebrides with Samuel Johnson. Both wrote their own versions of their tour differently. They go to the same places but see things differently.

[uzumaki-rebellion]

Hi there! How’s the trad publishing journey going? I’ve recently been working on a novel that I feel like I want to have published traditionally, do you have any advice for someone starting down that road?

Yay for you taking the next step! Trad pub takes a lot of patience and peserverance. The hardest part is the waiting while submitting.

I'd suggest watching some videos (they helped me mentally prepare for submitting my romance books) on craft, editing and re-writing your drafts. Getting your work as tight as possible is most important before trying to get an agent etc.

Next, you have to have a banger of a query. Sadly, being a great writer doesn't always translate into being a great query/synopsis writer when it comes to boiling your entire book into a few sentences or even a one sentence logline.

For now I will suggest that you check out some vids by Ellen Brock that I find very helpful for working on drafts. (I share one of them below)

Also, here's some advice from literary agent LaToya C. Smith

LaToya has her own youtube channel and has more good vids to help writers:

Bookends Literary Agency has some good vids on navigating the process too.

Here's one on the submission process:

This should be a good start for you. For now, get that first draft together, let it breathe for a couple of weeks, go back in and take notes on your own work. What do you like/don't like? Does the book flow for you as a reader?

Then read it out loud to yourself each chapter at a time. Does it feel clunky to read it? It probably sounds clunkiy hearing it too, so edit away the clutter as you read through your words.

Find Beta readers (they don't have to be your close friends either) and have them read it and tell you honestly what they liked and didn't like. Everyone's opinion is different but you may hear familiar complaints/praises that will help you see what is working and what isn't.

Once you have a draft that feels ready to go out, check out the website Query Tracker. It's free for basic agent research purposes, and you can pay a nominal fee to access extras, but sign up for their newsletter that lets you know who is open to recieve submissions. It's a great resource to also see how other writers have fared with agents and their turnaround time. It's also a great search tool if you want to know who the agent is of a writer with a similar book as yours. Find it HERE.

Good luck and welcome to my struggle!

[scribefindegil]

authors self rec! When you get this, reply with your favorite five fics that you've written, then pass on to at least five other writers. Let’s spread the self-love❤

Yayy! Thanks Mary! <3 After agonizing it for a while, my top 5:

The Real World (Mob Psycho 100, post-Mogami arc) is absolutely my favorite fic I've ever written. It's some of my best prose, I'm really pleased with how concise and focused I was able to keep it despite touching on so many characters, and it let me distill down a lot of my thoughts on the themes of the show and why it's so important to me. And I wrote it during the absolute worst stretch of the curse, painstaking sentence by painstaking sentence over the course of half a year. I am so so so proud of it.

Fisherman's Knot (Gravity Falls, post-canon fic focusing on the Stans, their deeply-entrenched mental health issues, and their eventual recovery. Also there are selkies.) At 104k words, the longest piece of writing I've ever finished. Writing it was a journey; I took a long break but I'm so happy and proud that I managed to come back and finish it and that there were still people who were as excited as I was to get to the end. The response to this fic blew me away; it started out largely as a coping mechanism to deal with my own poorly-treated mental illness and I feel really honored that my writing resonated with so many people dealing with similar things. I grew so much as a writer over the course of it. Both the big moments of catharsis--Stan's glitter and Ford's realization by the harbor--were things that were so powerful and electric in my head that I worried I wouldn't be able to put them down in words that did the feelings justice, but I did!

Bloom (Discworld, a Glorious 25th of May fic set a few years after Night Watch) Everyone who sets out to write a Discworld fic is undertaking an extreme act of hubris, because not only are you trying to emulate a specific writing style, you're trying to write like Terry Pratchett, which as we all know is basically impossible. Still, I think I hit some good resonant Discworldy notes in this little piece and really nailed the Themes I was going for. Periodically the Tumblr post version gets a little burst of notes and it always makes me really happy that people are enjoying it.

First And Final Orders (Mob Psycho 100, Dimple character study) Hi. Have you heard of ring composition? I love ring composition. It is my single favorite literary device (and I love a LOT of literary devices), so I had to include one of my fics that makes heavy use of it. I also love pointing at a piece of media and going "Hey. Hey have you thought about how there's kind of some Discworld themes here? What if we thought about the Discworld themes together?" And ALSO i love DIMPLE!!! I hope this fic helps explain why.

Casualties (Gravity Falls, missing scene from the finale) So the reason this fic makes this list isn't so much its quality (though I do still really like it!) but the fact that it was my first-ever completed fanfiction. I'd idly poked at the idea of writing fic a couple times before but never made much progress. I hadn't actually done any creative writing for years at that point. I came to fandom late due to a combination of being scared of the internet and, when I did check out my real-life friends' fandom blogs, feeling like everything was so focused on shipping that there would be no place for me and the kinds of stories I cared about. Gravity Falls changed that. I'd made friends and felt like part of a community for the first time. I'd read fanfic that I loved and that focused on the sorts of relationships I really cared about. And so finally I decided that even though it still felt really scary, maybe I would try my hand at actually writing and posting a fic of my own.

360,000 words and 54 works later, I still think it was a pretty good idea.