#should i format these better (like with actual paragraphs)?

[seaofreverie]

Sparkstember Day 19: Lil' Beethoven (Ride 'Em Cowboy)

First of all, let this very important fact be known: the love I have for all three albums in the Lil' Beethoven trilogy cannot be overstated. I think I can safely call them my favourite pieces of art ever made. You know, when you look forward to something and it not only lives up to all your expectations but it's also just SO SO much more? Something about this neoclassical / dada / deconstruction of pop music / whatever-you-should-even-call-it approach is absolutely PERFECTLY suited for my tastes, and I didn't even know I was looking for something EXACTLY like this until I found it.

I think the circumstances of my first hearing of this album are pretty funny and something I got pretty lucky with actually (I often think about this with Sparks in general, as much as I wish I've known about them sooner I also do feel like they appeared in my life when I needed that the most. But anyway.) I was very eagerly looking forward to hearing it and finally seeing for myself what the genius of this album is all about. But I insisted that I can only do it through a physical format because yesss, let's make it even more *special*! The moment I've been waiting for! So yeah let's gooo, I need to wait until my CD arrives in the mail (that was one of the longest weeks of my life). And then I started to wonder, well, maybe I actually won't like it that much. To hype myself up to this extent and then be severly dissapointed - would have sucked!

Well, I was NOT dissapointed. Instead I was perplexed, confused, but also very intrigued and quite, ok not just quite, *completely* amazed already. That was the initial reaction and I think it's a rare but very beautiful moment when this happens - no need to *fully* grasp it right away, but enough to be all like "oh that was SOMETHING. I need more." As I said after that first listen (and I actually have my whole LIVE reaction to hearing LB written down lmao, that's how much of a big deal this was for me), I felt like it actually has to grow on me a bit still, gradually but surely with each next listen, rather than the 1st listen being THE prime listening experience. And that was very true! But it wasn't even gradual, it was very fast, seriously. And something very important that stood out to me right away too were the melodies - something about them, and that continues into HYL and ECOTD too. It's this classic feeling of: this always existed, or at least it feels like I've known it for years already. And as I listen more and become more familiar with them the magic still grows.

It's of course no coincidence to me that an album that relies so much on extreme levels of repetition is so addicting, even hypnotising. And once upon a time I thought that I couldn't like something that's too repetitive and therefore could be considered monotonous or "predictable". But nothing is predictable about LB actually. (Besides... ok, I'll get to that one bit later). But yeah, it's good for the brain. And it's been said before by others but this music definitely has this certain neurodivergent appeal thanks to all this, and, well, I love that aspect of it so much and I definitely relate to it on some level that goes even deeper than just song topics and instrumentation choices. It's in the structure and the fundaments of it all too.

I legally can't finish this without a dedicated paragraph to the 2004 Live In Stockholm performance because HOLY SHIT. Feeling so lucky again that all three of these albums got this treatment and we have recordings of these half-concert-half-performance-art pieces that we can now marvel at. I will say that like, a pretty big part of the sum of the appeal that LB has as an album is stored in this show and its visual and narrative elaboration on its themes. And also it's just so fun to watch! Sometimes I thought about how this might be an even better introduction to LB / this era of Sparks / Sparks in general than the actual album but well, never had a chance to test that and you know. Maybe shouldn't recommend Sparks with one of the most leftfield things there is to be found from them. Either way, very good, very important, felt like experiencing the power of LB for the first time all over again.

So now, please hear my exact reasonings for why I so deeply love (almost) every single one of these songs......

The Rhythm Thief

NO song made such a big impression on me the first time I heard it as this. I might have gotten more used to it after all this time but man, The Rhythm Thief, you will always be the realest one to me. This is what made me look forward to the whole album so much and convinced me that it would be like nothing else I've heard before. And that turned out to be so very beautifully true!

How Do I Get To Carnegie Hall?

I could listen to this one a hundred times in a row over and over and not get sick of it one bit. That's it, idk what else to add, beautiful and ethereal in every way

What Are All These Bands So Angry About?

Mostly I just want to direct everyone's attention to the bridge section, at the 2:26-2:52 time mark, which as far as I can say is the most heavenly piece of music ever made. Feeling like that Winnie The Pooh soul leaving his body gif each time I hear this

I Married Myself

Aromantic anthem, to me. Not that much to say actually but it's just, a very sweet and pretty song even when it might be taken as just this sort of ironic piece, I think it's this situation where a song can be taken more or less literally and it doesn't lose anything, rather the sincerity takes on a new sort of meaning? Because yes, maybe this hyperbolic situation (marrying yourself) COULD be the solution to the heartbreak of failed relationships. Ever thought about that??? Ok, stopping right here and leaving my I Married Myself analysis for another day

Ride 'Em Cowboy

My mind is blank on this one suddenly. But it's so good believe me. I love it a lot. It just has this LB spirit that makes it very addicting to listen to

My Baby's Taking Me Home

This was sort of the first Sparks song I've ever heard, or maybe that I quote-unquote purposefully listened to, and I think that's pretty important considering that it was the moment that ultimately lead to... all this. This song has always been incredibly beautiful and powerful to me, but lately it just makes me emotional to an extent that makes it hard to listen to most of the time. I WOULD sell all my material possessions for even one chance to experience this song live by the way

Your Call Is Very Important To Us. Please Hold

Earns soooo much as a live version, but even without that I think it's genius in the same way as The Rhythm Thief, and maybe the most disquieting piece here overall... If we ignore the next one maybe

Ugly Guys With Beautiful Girls

Sitting there hearing the intro of this song all like "huh, this is so chill and calm... too calm..." and then being hit with, well, everything that's going on in this song afterwards was truly THE MOMENT back in the day (and re: the predictability thing. idk though, it's not like, really an issue). Later on I decided that this sort of narrative nature of the song makes it have less replayability value than the rest (???) but I abandoned that opinion soon enough, thank god. I love it how long it took me to realize that this song and the ending of MBTMH are the only times when drums appear on this entire album (I mean no, I'm not very proud of that fact actually, as the self-proclaimed biggest LB fan in my area. And The Rhythm Thief literally saying "say goodbye to the beat"... come on man). So yes, sometimes less is more! I adore this song now it's such a treat I would gladly terrorize my neighbours with it

Suburban Homeboy

Ok, I'm sorry Suburban Homeboy fans but this is the only song here that I'm not a HUGE fan of. I still think it's brilliant and an incredibly fitting ending for the whole thing - the mood whiplash is amazing as this is the only "vaguely happy sounding" song on here, per my words from months back. And what's better than yelling WE ARE THE SUBURBAN HOMEBOYS! (I'm actually awaiting today's Sparks karaoke rating reveal very impatiently lol the reveal happened before I posted this and I'm very happy about it)

One more actually, a quick word on Wunderbar because it gave us two things that we might have not been able to do without: 1) this whole album actually (the fact that LB exists because of Wunderbar giving the Maels the idea to continue meddling with this style. Up there as one of my fav pieces of Sparks trivia) 2) anddddd the 21×21 performance of it of course

[anistarrose]

I'm seeing a huge uptick in fanart with artist-written alt text and IDs in my fandom circles recently, which is obviously great! But I can also tell that a lot of people, because they're just getting started, haven't quite figured out how to consider the screen reader experience while writing alt text/IDs.

The remedy to this, when in doubt, is to pull up a screen reader or TTS on your own device. That way, you can hear out how things sound. But in general, a couple things to keep in mind:

For multi-image posts: You don't have to repeat the same information in the description of every single image.

If you have a four-image comic, and a character — let's just say a young adult white woman, with brown hair and glasses — features in all those panels, you don't have to repeat that description in every ALT text. The images are going to be read in order, and in context. If a screen reader has to hear "a young adult white woman, with brown hair and glasses" four separate times in quick succession, to say nothing of other recurring characters, that's not a good listening experience!

Yes, if you were to share one of those panels on its own, in some other instance, it might be good to slightly edit the image description, and actually re-include that information. The description of an image is always going to be influenced by the purpose and context of an image — just like images being shared to appreciate the artistry will warrant more description than IDs for memes, where it's best to keep things brief. (And on that topic, this post puts it better than I could.)

And, secondly:

In-post image descriptions should go directly under the image. There should not be commentary in-between the image and the ID.

Imagine if every time you wanted to know what an image was, whether a piece of art or a screenshot of a tweet, you had to hear paragraphs of the artist's statement that presumed you'd seen the art already, or paragraphs of OP's commentary lampooning the tweeter. Imagine if every time anyone posted a graph, you had to read through a short essay presuming you'd seen the graph, but before you actually got to see what the graph was showing.

Yeah, that's the essence of the problem with putting IDs below commentary.

Also, after a point, people will just assume the post is undescribed and skip it! You described your post, you put in the effort to make your post accessible, but you want to make sure it'll have the impact you hope it will, right? Hiding the ID below commentary (or under a read more) is not going to let your effort have the maximum impact.

Here's a visual example of the formatting guideline I just described.

In general, there are many elements of writing IDs that are just subjective, and there are many ID beneficiaries whose preferences differ amongst each other, too. But if you start out by not including redundant information, by considering context, and by considering flow for screen readers? Then you're starting out totally fine.

[performativezippers]

This is a departure from what I usually do, but I'm hiring a bunch of people at my work right now and thought I'd leave you some tips in case you're going to be job searching anytime soon. Disclaimer: nothing applies to everyone, etc, whatever. I work in higher ed as a staff member which is big and bureaucratic and of like a dysfunctional nonprofit, but this will apply to many other jobs/industries as well.

tl;dr: make your resume relevant and clean, customize and personalize your cover letter, use every interview question as the chance to share an experience from a previous job that makes you look good, and remember the answer is never just "no."

Resume Tips

Include past job history for 5 years if you're young or 10 years if you're older. If your only experience isn't directly relevant (ex: you've only worked in fast food and it's a receptionist job), frame the duties in ways that make it seem more relevant, such as "customer service" instead of "500 hot dogs a day."

include dates of employment -- i fyou don't, i assume you have something to hide (you got fired after 3 months)

Each job should have 3-5 bullet points describing the duties. Don't lie, but you can make them sound cool. "Answered the phones" could be "First point of contact for all clients and contractors."

Format it so I can read it. I should easily be able to see position, company, dates, and duties. The page should have a decent amount of white space so my eyeballs don't explode, but it's very obvious if you have nothing to say and are making the margins big to make it look full. Don't do that!

Cover letter Tips

WRITE ONE, oh my god. We asked for resume and cover letter for the application and automatically rejected everyone who didn't write one. I know they suck, but if you're applying for the job, actually apply for the job.

Address it to the right person/job. We are hiring for a case manager, and we got several that said things like "i look forward to joining your company as a project specialist" or whatever. (a) not a company, (b) not a project specialist. I KNOW you use a template that you update for each job you apply to, but you have to actually update it, buddy.

Customize it. "I will bring valuable skills to your company" is nothing. That's meaningless. I ignore that. The cover letter is for you to tell me why you'd be a good fit for my job, not a job.

The format can be: "Dear X, I am writing to enthusiastically apply to the position of [job] at [company]." Paragraph on your related experience. Paragraph on why what you can bring is perfect for what they specifically need (include something you learned from your research on their website for bonus points). A sentence or two on what excites you about this job. "Thank you very much for your time and consideration, Your Name."

Interview Tips

Be on time. Dress in a way that demonstrates effort (like a button down shirt). If you have a natural resting bitch face, try not to for the interview.

If you're doing it in person (not on zoom or phone) bring something to write things down on, like a notepad. This is where you can keep your questions for them, as well as jot down ideas that occur to you as they're asking the question. Don't use your phone, it looks unprofessional.

Write down questions in advance that you have for them. DO NOT ask about pay or benefits or vacation (you can do that later). You can ask things like "what would a typical day in this role look like?" or "how would you describe the company culture?" or whatever. if you've done research, the more specific questions you can ask, the better. "I'd love to hear about the origins of X project, which I was reading about on your website." Nice.

Every question is a chance for you to share a specific story from your work history that paints you in a positive light. If they ask "How would you organize all of our client files?" don't say "in a filing cabinet or hard drive." That's because I know about filing cabinets and hard drives; assume the interview isn't stupid. You can say, "At my previous role, we had a lot of client files and what I did to organize them was ____." I KNOW you don't know how I organize my files, and that's okay because you don't work here yet. What I'm really asking is, "do you understand the ways that not organizing things is bad, and have you had experience with organizing similar stuff in an effective manner? Prove to me I can trust you with my files."

Do not ever speak about yourself or your previous job negatively. If they ask why you're leaving your current job (they shouldn't), be vague and polite. You're "looking for a new challenge," or "my current position has taught me a lot, and while it's really great, my future career goals are much more in line with [something this company or job does]."

If they ask about your experience with something you have zero experience with, like "have you used salesforce" and you're like, bro, no, i worked at wendy's, YOUR ANSWER IS NEVER JUST "NO." You can say something vaguely positive about yourself like "I haven't, but I learn new systems quickly and that's something I'm really looking forward to learning and becoming fluent with in this role" or you can mention something similar, like, "I haven't used salesforce, but my previous role used a different database to manage our client contacts and [some stuff you think is relevant about that and how good at it you are]."

Questions? feel free to ask!

[quinnydoll]

You should watch Eureka Seven

So there's this neat little show I watched before I turned 10 when I couldn't understand a goddamn thing, and it caused me to think about the cool aesthetics of giant robots flying around stylishly on boards as naturalistic trails flow behind them.

I rewatched the show recently with my lovely nesting partner, because I wanted to revisit its world, and I was offered so much more than I remembered. Yes, the show is absolutely what I just described in the previous paragraph/run-on sentence(fuck you this isn't a school assignment) but it's also SO MUCH MORE.

I'm not going to beat around the bush, there's a singular gif I can show people that usually convinces them to watch it with the added info that this isn't just a super highlighted moment, it's just what the show looks like:

(side note: if you haven't seen this show in its entirety, do not, I repeat DO NOT search for gifs of it on this site, never have I ever seen such a dense wall of spoilers)

Still with me? I'd hope so after that display! Also, for non-mecha fans, PLEASE I am begging you to still give the show a chance, it's so worth it!

So we need to start off with this show's worldbuilding. The giant robots can wait, because first we have to address the most glaring thing: everyone seems to have access to these boards that seemingly allow them to levitate and travel in midair on these almost fluid-like trails. These are explained as Trappar Waves, and not much is explained about them early on. I'm going to keep my explanation brief, because it's way more satisfying to watch the mystery unravel through the course of the show.

Basically, the planet this takes place on is full of these waves, and that's one of the main things that everything relies on, and why we can see effectively airships that are just perpetually suspended in the air without need to refuel constantly. This is what allows them to stay up. Also the reason why we see characters with their nifty little boards. Oh yeah, the giant robots have those boards too.

That's the main thing I wanna address about the world of this show, because explaining the rest would genuinely spoil so much of the show, and the experience would be extremely reduced by me explaining. Just trust me, it's really good.

Now, the format of the show is actually masterfully done. The first arc involves the immaturity of the main character, and the format of the show reflects it heavily in the very slice of life format as our main character is enchanted with the conditions he's been put into. At this stage of the series, it's not very serious, and its stakes are pretty low.

As it progresses though, it eases you into a far more coherent overarching narrative in a way that feels really natural and well done. You'll never really "notice" the point at which "shit gets real" or anything, you'll just find yourself way more interested in the bigger picture of what's going on, because the show puts a larger focus on it.

There's a romance story in it too, and it's actually really well done, which is something I haven't really seen effectively done in a lot of action anime, but I think in this case it's because they don't really treat it like a "subplot." They do a really good job of tying it into the main story, and they make it feel pretty real as a romance, and by the end, the payoff is the most satisfying one I've seen of really any romance plot that isn't necessarily the actual main focus of a story. I genuinely feel like they could've conveyed the story they did without the romance plot, but something truly impactful would've been lost had they gone that route.

I think it's not unfair to compare this show to Neon Genesis Evangelion, but at the time, it would be doing both stories a serious disservice. Evangelion is a really effective exploration into nihilism and mental illness, but Eureka Seven feels like a direct response in the way it delivers its story. It feels like it did a Better Rebuild™ before the Rebuild movies even came out.(let it not be said that I don't like the Rebuild series, it's legitimately in my top ten.) Early on, they communicate a lot of the same themes, but then Eureka Seven diverges hard with how it explores the intricacies of interpersonal relations and how people will strive to do better and how people can genuinely be better to each other. I feel like the way it delivers that is genuinely way more effective than even the extremely cathartic conclusion to Evangelion 3.0 + 1.0.

Seriously though, if you're not interested in watching this show, I don't know how to convince you. It's truly a fantastic show, and it's honestly taken the spot of "favorite anime" in my book. I am no longer a Gundam fan, but an Eureka Seven fan who also likes Gundam. You're going to love this show, even if you're not into mecha anime.

[needlesandnilbogs]

writer asks! 13, 36, 81

ask game in question

13. talk about a writing experience that has pleasantly surprised you.

uhh... I have too much of a Complicated relationship with mirrorverse to totally call it pleasant, but it's nice that I've managed to stick with it and I'm still happy to write it most of the time, that should count?

really, a better answer might be the recent fic I published about mb going to the equivalent of the state fair, which popped mostly formed into my head, complete with both format and several lines already written, so it didn't feel like I was ever stuck on it! I liked that a lot lol

36. do you base your characters of real people or not? If so, tell us about one.

Sort of. I steal bits of outfits and personality from people I know for canon characters, but really the one-off OCs are more of real people. Two examples come to mind obviously: high school au mensah, who is very much my school's stage manager during my jr year, a senior who was like the epitome of coolness to me that year and remained enough of an inspiration to be a big part of HSAU Mensah, and Arden fairoak, a character I made up for a one-off mirrorverse thing who is now. not a one-off character. and also is very much based off my high school best friend.

the rest of the mirrorverse one-off OCs, excluding Arden's family who are all except for Bharadwaj named for local libraries, are named and loosely personality based off of historical figures or fictional characters, including: Caroline Bingley and Emma Woodhouse from Jane Austen books, Nikita Gill, Vikram Seth, Fabiola Cabeza de Baca Gilbert...

81. if you could go back in time and give your younger self a piece of writing advice specific to you, what would it be?

Okay, there's two answers to this. both apply to my past self in 7th-9th grade

Generically: Stop being embarrassed of your stuff, idiot. (Expanding slightly more on that, you're not going to be seen as stupid for writing fanfic and (tagging @kellumnights and @clustxr because they'll know who and what I mean and laugh) if kellum could literally do That Story and JdS could do Hot Day in Hotwrong about it, you could totally put your stuff in the writers guild magazine and not just rolls and role-players original flavor.)

extremely specifically, re a thing I started then which became my favorite original universe:

Dear Past!Prime!Bardic,

actually write down exploring frontiers, please. I want that stuff now and I want more than I put on paper.

relatedly, you did not need to write the whole boring story to introduce everyone before you wrote the fun chapter. but thank you (genuinely) for the seven paragraphs of auri lore that I needed in eleventh grade when I restarted it

you did not need to feel so embarrassed about Plory and Ara having A Thing. it was what you needed to write at the time.

stop naming characters after your irl cousins bc eventually they find it and mock you

don't name the main character after yourself. they might be a self insert but you'll make it ten times harder to share it when you're my age because then you have to check every snip and make sure you renamed [name] to Ampara every freaking place.

seriously. names. Ampara, not [name]. Danessa is good, keep that. Savfira is gonna become stupidly hard to get spellcheck to understand but it's fine. Zynnia's great. dump Ariya and find a better R name that still lets you use Rya as a nickname. Ladira, not Lady. also by the way you add a seventh house later.

love,

present!prime!Bardic (PS we change our name.)

[ladytabletop]

Hey, do you have any tips for writing modules\adventures\supplements\whatever for TTRPGs?

Not even for the purpose of selling it. I’m just working on a project for fun and have been stumped on actually putting the concepts, hooks, playbooks, etc. into words (I usually just do the illustrations).

Basically anything to help with the writing itself. Like how to make it more evocative, better formatted, comprehensive, & all that.

I live and die by the outline!

Basically, my process for modules for games that already exist (versus writing a new game) is to find a few I like and look at their tables of contents or layout. Let's use Slugblaster as an example here.

I'm working on a neighborhood and want to decide what should go in it. Let's see what the neighborhood in the core book looks like.

So from this page, I see 4 paragraphs of description, a popout box about technology, a popout box about the inspiration for the town, a list of 11 Problems and a list of 10 Checkpoints, with one flavor text note. The following page has 20 locations that are called out on a map, each with a sentence or two of description.

Now, if I look at some of the fan-written options, I'll see variations on these numbers and features, so I kind of average out what feels right and end up with:

2-3 paragraphs of description

a note about the inspiration for the town

a bullet list of features (5+ bullets)

a list of 10-20 locations

Obviously, this isn't as robust as an adventure might be, but the principle is the same. For an adventure, my outline might end up being something like this:

Overview

Notes on Tone & Outcomes

Story Hooks

----- Follow each hook to its next logical few steps/encounters

NPCs

Antagonists

Loot

Conclusion

It really depends, though! Writing a module for myself vs for another person to run as a demo/stream vs a published piece all end up looking vastly different in terms of the amount of detail.

If you're writing for yourself, I would say to identify how the information needs to be organized to best serve you. Also, don't worry about things being fully prose and polished - I'm a big fan of bullet points with a few striking details. So a story hook might look like this:

Commotion after midnight in old padlocked graveyard

-------flashing green and yellow lights

-------wailing and machinery sounds

-------rumors of a demon summoned there a hundred years ago

and then I can write 2-3 paths that hook might lead down!

Best of luck!

[eternalglitch]

I want to become a better writer, but something that stumps me is inside voices. Characters when they hear or talk to inside voice is hard to write.

Do you have any tips or tricks on how to write a voice talking or thinking to a character, like how should I write it?

Some say use italics, others say bold or parentheses, but I want others intakes on it, people I love their writings from!

So there's a couple things to keep in mind for my approach to internal monologues.

First up is that only about 30-50% of the human population have consistent internal voices at all according to some sources. I personally don't hear one most of the time, unless I'm intentionally rehearsing what I'm going to say, for example. This might make it worth it for writers to consider what level a character would even have an internal monologue, and adjust their writing style to better showcase another aspect of this characterization.

(If you read my work Like Father Like Son, I intentionally start with fairly active internal monologue and slowly get rid of any internal monologue at all for the character until it starts to come back.)

With that being said, I find it very clunky when writers have a heavy inclusion of internal monologues. I personally like to just interweave the entire POV with the character's thoughts; if something is of interest for them, the descriptions of that item is a lot more exact and focused. This can easily lead into a paragraph connecting whatever nuances are needed to be "clicked together," if that makes sense, without it actually being in a dialogue format.

I'll only use a rare internal monologue line to draw the final conclusion or pose the initial question, as most thoughts tend to not be as neat and clean as dialogue allows.

In the event that I do have that internal monologue, I prefer to show it by standard dialogue formatting rules. Just remove the dialogue quotes and make the thought line of dialogue italic.

Ex. Oh, she realized distantly. Well, I had a good run of it.

Bold doesn't really make any sense for me; it's extraordinarily rare to see bold at all in published fiction. And parentheses tend to be a very disjointed idea that might be almost entirely unrelated to everything surrounding it, or a further clarification of what proceeded them.

In any case, I think it takes some practice to get a good grasp of what reads well as a good mix of direct internal monologue vs. descriptive paragraphs of what the character is thinking. I would read through some books or fanfics that you think did a good job of showing what a character is thinking and feeling and note how much each technique is used to get started on figuring out that balance.

Hope that helps!

[twig-tea]

My Universe Round-Up

This was a series of 2-part short stories, essentially each the length of a movie but they're more episodic which makes it an interesting format to get a wide variety of actors, directors, stories, and tones. And all of these vary widely. Most of the actors are very green, which means the performance quality falls all along the spectrum, but overall emotions often fall flat. There are a handful of different directors too (each directs a few of the stories), so these really feel different. The only two things that don't vary are the production quality (middling; sometimes some decent camera shots, but few sets and extras, sound is sometimes shirt-muffled or otherwise messed, the usual hilarity of royalty-free music choices) and awkward subtitles.

The subtitles deserve their own paragraph because I think they're potentially the worst kind, in that they look fine but then every once in awhile the translation is the opposite of what it should be. Having a bit of Thai knowledge and experience with Thai pulps really helps navigate these.

The other thing to say about the structure of this series is that there is a neat thing where each story sets up the next with either a character appearing in the next one or having been mentioned in the previous one. So they're all in the same universe but are otherwise unrelated. Sometimes you can guess whose story you'll get next (like a side character), sometimes it's a real stretch (like the waiter at the noodle place the characters ate at once).

As a really brief summary of what these are actually like in terms of narrative, they took as many tropes as they could think of and then treated them seriously. It could have been interesting, if they had something to say, but I'm really not sure they did. There are a lot of difficult circumstances covered, sometimes with hope, sometimes with nihilism, and it often feels like the story is about the characters around those who are dealing with difficult circumstances rather than those who are experiencing it themselves. Honestly this felt like a film school project about trying out difficult tropes, rather than folks with something to say about a specific topic.

Tropes [note, almost all of these are a dark/sad version of these tropes and end sadly or open]: bodyswap, mistaken identity, in-love-with-your-sibling's-friend, destined lovers, enemies-to-lovers, love triangle, coach/athlete, fake-date-turns-real, twincest, age gap, paid companionship, terminal illness.

Warnings for this series overall: murder, attempted sexual assault (in multiple miniseries), incest (only very lightly speculated about), ambiguous relationship with a minor, cheating, intimate personal violence, death of parents, death of a partner

If you're going to try any of them, I'd recommend episodes 5-6, which were the story Right Time, Right You as a starting point--it has some of the better acting, an open ending, but still some of the dark themes (treated not as dark as some of the other segments) so it's a good litmus for if you should try any of the other parts out.

The one I most enjoyed watching was episodes 7-8 You Are My So(ul) Mate which unsurprisingly had actors who have acted before, and was one of the rare happy endings. The last one, I Wish You Love episodes 23-24 was maybe the best done overall (least annoying flashbacks for sure, decent pacing in the romance, comparatively decent acting) but warnings for the ending.

Details of each 2-part miniseries with rating and specific warnings beneath the cut for anyone still curious about any of these stories! My goal here is to give you enough info to watch whichever ones might interest you so I do spoil twists below when I think it's important to help people decide whether to watch. Feel free to ask questions if you're still not sure or have specific things you want to avoid.

Ep 1-2: Casanova Begins

4/10: Not recommended unless you like bodyswap

This plot was doomed to never fly with me; a dead lover tries to seduce the man he left behind in the body of the man he thought his lover was going to cheat on him with. I love supernatural stuff but bodyswap is a hard hill to climb and 2 episodes just isn't enough time to do it well. That being said, the actors did surprisingly well in the scene where all is revealed and they're saying goodbye. There's a stinger, and it did NOT work for me--people are not interchangeable.

Ep 3-4: Marry Go Round

6/10: Decent pulp with a good underlying message, but you have to not mind slapstick

I like the way one side character from the previous series brings us into the next, it's a neat way to tie these otherwise unrelated stories together. For a slapstick comedy of errors, this worked surprisingly well. The misunderstandings are well set up and make sense, characters have motivation for continuing the shenanigans and the continual additional complications build to absurdity but it all holds together in a very slapstick comedy way. Mei being willing to marry her friend's boyfriend to help keep their secret is top tier allyship. I wish the fujoshi had been chewed out more; she was invested in exposing them as a couple for her own curiosity/excitement and that's gross, and I don't like that she got any credit for their happiness. The mom being a secret fujoshi herself [and, it's implied, very ok with their relationship as a result] was a little on the nose lol The performances in this one were a little weak on the comedy; slapstick like this isn't easy to do well and the comedy suffers from this not being these actors' strengths. All that being said, the underlying message that marriage equality is the right thing and having to stay in the closet causes so much strife for everyone is one I can get behind.

Ep 5-6: Right Time, Right You

7/10: Decent plot, acting, themes. A bit rushed, but good pulp. Warnings for references to intimate partner violence. Ambiguous ending.

I enjoyed this one; I love the in-love-with-your-sibling's-friend trope, I love smiling-to-hide-pain, and I love pining. I love the complicated feelings around not being ready to let go of the love you have for someone even if they hurt you. I love wanting to do something for your friend because you see them hurting, and not knowing what will help. I love your sibling and best friend always being able to read you and ferret out your secrets. The framing in this one was interesting, there were a lot of on the nose imagery with the fence, the rope, the cigarettes. I really liked the dynamic between these characters, Mhok really felt like a younger sibling; a little willful, pouting when he is ignored, or not taken seriously, stealing his sister's breakfast, tagging along. And the ending was sweet. It's clear that Phat feels something, though he's been explicit that he's not ready to open up to anyone. And we basically end with very tenuous possibility. Not for anyone who is not ok with ambiguous endings.

Ep 7-8: You Are My So(ul) Mate

6/10: Fun trope-y pulp. Again you have to be ok with slapstick comedy, and I docked this one for internal inconsistencies but the chemistry was on point.

Ahhh one of my favourite romance tropes, dreaming of your destined person before you meet, and then experiencing the dream in reality! I appreciated that Butr's mom really did have a gift, and that he didn't believe and wrestled with the ethics of that. I also really liked that they tried to engineer a coincidence and had one anyway; I'm a sucker for magic/fate is what you make it. The actor playing Butr looks like a Footloose-era Kevin Bacon when he smiles while ducking his head, and the other lead is from My Cuisine, so I was pre-disposed to find them extremely cute. I do love shy4shy. That being said, a lot of the melodrama was around coincidence, and it was clear the overeager senior was just scouring campus for the guy, so there was a double-standard with the "coincidence" that would work (at least in the eyes of the protagonist) so a lot of it doesn't really hold together if you think about it very hard.

Episode 9-10: Lucky Love

5/10: rough especially with the language gap, but the leads have an interesting dynamic

Content warning for an attempted asault in this one. Annoyed-strangers-to-lovers where one guy has just broken up and is drunk and belligerent about it, and the other is not taking his shit. I really like Jeng as this taciturn dude who shows caring through food. The ex is still around, Meen is still clearly not over him, and goes through the stages of learning to prioritize his own feelings and truly let Noll go. Jeng talks mostly in innuendo, which paired with the bad subs (bad enough that sometimes they say the opposite of what's meant) means that a lot of this one is lost in translation. Because of the short runtime and the amount of time Meen spends getting over his ex, they can't get far, but the show gives the sense that they'll just keep on as they've been going. All that being said, Meen wears dangly earrings and has a femme best friend who is fantastic, and I am a simple person who enjoys her simple pleasures, so I actually didn't mind watching this one.

11-12: The Camp Fire

4/10: really disliked the twists in this; the horror was ok. Warnings for blood, ghosts, references to drowning, on-screen death.

Content warning for blood, ghosts, death (more details follow). Horror BL starring Kaonah and Turbo. Two guys who have been chatting online agree to meet in person but it turns out they already know and dislike one another; now they're stuck toughing it out at the campsite rather than let the other chase them home. Turns out this is a classic BL love triangle wherein one of the boys thought they were competing for the same girl, but his "rival" loved him the whole time (this is not the twist, it's fairly obvious). And that was my first frustration; Talay was unwilling to admit any kind of feelings for Camp even though Camp tries to reach out, even though he's clearly been in love the whole time and now has the excuse of their anonymous conversation and meeting. But then we get into the real spoilers, with the double-twist that honestly ruined this for me. First, it's revealed that June the girl who Camp loved is dead, and she died after being rejected by Talay (implying she killed herself) after Talay pretended to be into June so that she would not take up Camp's offer to be together. This made me really not want to root for this couple at all, Talay's character is awful at this point. Then Camp hears this story and decides to admit he likes Talay anyway, which felt extremely rushed if not absurd, and then June haunts them in earnest and snaps Camp's neck on screen. And then in a second twist, we find out we've been watching a film within a film the whole time, and Talay and Camp just met for the first time for filming this and have just started dating in real life. But we spend so little time with the "real" Talay and Camp that I wasn't invested in them at all as a pair.

13-14 Friends Forever

4/10 friendship in this is great but upsetting on the romance front, and the actual execution was rough and full of unnecessary flashbacks; content warning for coach/athlete, unnegotiated kink (slapping during intimacy), dubious consent (for the slap not the intimacy), murder (not shown on screen), and ghosts

So spoiler based on the content warning, this is a story about a coach who seduces one of his athletes and then murders him so that the athlete won't expose their relationship and get him fired. The sexy scene is consensual but the coach introduces pain without any context or consent, and it's just kind of shrugged off. The coach is creepy from jump so I enjoyed none of the couple's scenes. Beyond that, my issues with this were the massive use of flashbacks in a 2-episode short. They basically re-showed ep1 in ep2. The acting is ok, and the friendship (which is the actual story) between the guy who is murdered and his team is extremely cute, it was heartening how much this team supported their teammate dating the coach and how much they missed him and cherished his memory after his death. But this could have been one episode, or they needed something more to do.

15-16 Fake Love

4/10 flat acting and more flashbacks than actual new shots (half of ep 15 is a flashback of the other half of ep 15, and then we get it AGAIN in ep 16).

In this story a university student is trying to show up his pushy ex by blackmailing a campus 'prince' to pretend to date him. He finds out that his fake boyfriend used to have sex with his ex, and gets upset. They make out and then avoid one another. Fake boyfriend gets beat up and they reunite and admit they both lie to protect their reputations. There's an implication that Pol was being judged for being slutty and Peem was being judged for being poor, which I would have liked as a theme if they then hadn't undermined this by framing Pol as being "good now" at the end. Open but tentatively happy ending.

17-18 Pisces of You

3/10 WHY IS THIS SO DARK DANG. TW attempted sexual assault, blackmail, speculation about incest (really mild),

Ok so this is about twins being jealous and confused about their feelings; Mild is here and he sexually assaulted one of them (idk how young these actors are but this was hard to watch though he doesn't get far). I don't mind what they're doing around twins pulling apart, falling for other people and putting them first, being confused about their feelings, throwing away their future for an unrequited love (this is actually super realistic), regretting their decisions. But goddamn that was painful AF and these baby actors really struggled to actually deliver on these difficult and complex emotions.

19-20 1626

6/10 decent short story but barely a romance. Warnings for age gap.

Follows one of the twins' love interests from Pisces of You; we find out why he wasn't interested in the twin, it's because he has his own love interest in his former tutor 8 years older than him (16 and 24). For what could have been a really cringe story, this was handled relatively well. They were careful that these two characters barely touched, and made the feelings between them very ambiguous and confused. The ties between them were very confused too; they both had family trauma and had helped one another to the point where desire and debt seemed to be inextricably mixed up. I appreciated the choices made in this one. Again, not what I would consider a "romance" story per se. And again, the ending is ambiguous.

21-22 Refund Love

2/10 incomprehensible, terrible acting, terrible plot, zero chemistry, infidelity, manipulation, and weird unclear moralizing around a thinly veiled allusion to sex work

This one, I don't even know what to say. It's trying to be clever with the way it parcels out information, but it ends up being just frustrating and, in the end, nonsensical. I won't even try to avoid spoilers or fake impartiality here, because I really think nobody should watch this one. This is all about jealousy of your significant other taking a job as a "companion" for other people. There's lying, manipulation, and attempted fake relationships for jealousy purposes. I'm sad because this also has a side GL couple, but they made no sense. This couple claimed to have orchestrated their boyfriends deciding to spy on them together (how?) in order to....see if they cared enough to fight for them, after one had already broken up with her man and the other was going to? What in the world was the endgame?! MAKE IT MAKE SENSE. Anyway they really shoehorned in a relationship in this one with two guys--one of whom just broke up, the other who is thinking about whether or not to break up, and who spent only one day together, most of which under false pretenses--and I didn't buy a second of it.

23-24 I Wish You Love

5/10 big themes, decently handled to a point, but the story was about how helping the terminally ill character helped the abled character find purpose, and that sat wrong with me. Warnings for discussions of terminal illness and character death (not shown onscreen), as well as loss of parents.

This episode was set up as a ghost in the mirror story, but the supernatural element disappears pretty quickly and is actually just an excuse to bring together the two main characters (who knew each other before but one thought the other was dead) back together. This story is trying to deal with the very serious issue of chronic illness and what it's like being young and unable to do the things other people do, and the suicidal ideation that can come from being isolated and having a limited time left anyway, as well as the regrets about missed opportunities. It was also dealing with the sometimes awkward feeling of sorting out the love of friendship and the love of romance, and transitioning from P'-Nong to Faen, especially with the additional fear of loving someone when one of you has limited time. The supernatural element comes back at the end to grant one wish, and to give the character who is sick a chance to undo one regret. It's implied Marwin died, but we don't really see him process having completed their bucket list, instead we get Pond reflecting on what he'll do next and how this experience has given him meaning. This episode had fewer egregious flashbacks than the other episodes, and better acting (one of the main characters is actually one of the series directors, and the other is Winner aka Wai from My Dear Gangsta Oppa, as well as War of Y and Nitiman), but did also use an instrumental auld lang syne in the background of a dramatic scene that was distracting, and some awkward we-don't-have-budget-for-an-actual-ambulance-or-emergency-personnel moments. Overall it was one of the better offerings from this series but I wasn't thrilled with how it made the terminally ill character's death a teachable moment for the one left behind, even though that was honestly flagged as the point throughout the two episodes, so is maybe my hang-up and a little unfair. At least this series framed that it was about Pond the whole time (we start and end with him).

[minecraftbookshelf]

Mistakes Are Made Chapter One Dialogue Breakdown

This was hard to make it turns out. A combination of "how do i format this" and trying to comprehensively summarize the thought processes and decisions going on. I think this works though.

Honestly, this sort of thing would probably work a lot better as like, a live conversation but we work with what we've got XD

I won't be including every bit of dialogue from the chapter but it will be most of them.

Disclaimer that this isn't a "How To" or any kind of "you should do things this way" this is just an explanation of what I put into my writing, and dialogue specifically. Also that I write in limited first person most of the time, so in a way, all the narration can be considered dialogue and as examples of character voice.

This is also only the first part of a long story that is intended to a) be re-readable and b) involve a lot of discovery as the story progresses, so a lot of the decisions I made are based off of things that will come up/be revealed later in the series. I will be talking about those, sometimes with no helpful explanation, sorry XD

I'm using color coding to specify what parts I'm talking about at any given time, so hopefully that helps.

This is going to be a long, wordy post, its entire point is to be an insight into the intentionality and consideration that goes into writing dialogue for me, if this isn't something you're interested in, absolutely pass it by. It will also likely "take some of the magic out of it" for some people. But I like to think that it might also add a bit more magic to it for others. So here we go!

On with the show behind the scenes! [AO3 Link to the Chapter] if you want to follow along there with more context to the selections.

"Hello, Jimmy!" He manages to clamber out of the fountain without tripping and falling flat on his face at least. He splashes Katherine in the process, where she is hovering off to the side but he can't really be bothered to worry about that. All he can manage to do is stare at Sausage's smirking face. "Hello, Jimmy!" Katherine's greeting is much less mocking

Starting off with the very first dialogue of the chapter, which doesn't occur until a few paragraphs in and then proceeds to be the exact same line said by two different characters.

This is one of the times that I am heavily relying on the fact that I am writing fanfiction and these greetings are words that we hear the characters in question (Sausage and Katherine) say multiple times. So I don't go into much detail with dialogue tags, counting on the reader to fill that in themselves. Even if they/you aren't imagining the exact tones I had in mind its a fairly easy extrapolation that these are said in wildly different tones. The emphasis on Sausage's is to imply the more mocking/antagonistic tone, helped along by the mention of his expression, but can also just convey that its louder and more emotive (As Katherine is trying very hard to be OfficialTM in this chapter) Also describing her greeting as "less mocking" helps fill in the appropriate tone for Sausages retroactively.

"What is he doing here?" He jerks his chin at Sausage, who is still giggling like a child. He sees Jimmy looking and grins at him, all teeth. Behind the mask, Jimmy bares his own teeth and takes some comfort in the knowledge that he has more of them; and they are sharper.

This is the first instance of Jimmy's inhuman body language being used as an extension of the dialogue/conversation between the characters. The use of teeth as a threat being a hybrid trait.

Sausage's smile is also part of this, something that isn't actually said in this chapter but will be demonstrated later on is that, as the ruler of a kingdom with a heavy hybrid population, Sausage knows this and his own body language is chosen accordingly.

Sausage keeps giggling and Jimmy can barely hear it beneath the roar in his ears. He leans down to try and whisper into the faerie queen's ear. "I really need your alliance right now, Katherine." He hopes his desperation doesn't show in his voice. She gives him a reproving look that throws him right back to his brief time spent in a classroom. "I'm allied with everyone, Jimmy. You know that."

This is the first example of really incorporating distinct character voices into the dialogue. I'm a liberal user of italics and in this case I'm using them to indicate emphasis where the ccs tend to stress their words to encourage assigning that voice to the dialogue itself. These are also, if not direct quotes from canon, very similar to actual things the ccs and their cubitos have said so it isn't exactly what I would consider heavy lifting.

Jimmy at this point is still fully informal. He's surprised and he's talking privately to a friend.

This is also more natural dialogue from Katherine, whose exasperation with her friend is partly overcoming her attempts to be Formal Faerie Queen.

I'm trying to keep the early dialogue fairly simple and close to canon voices because that way I can transition slowly and naturally into slightly different voices that suit the atmosphere while also preserving their more casual voices as the way that they talk when they are more comfortable and in less official settings. Setting up the contexts for different manners of speech is a big thing in this chapter overall.

"He invaded the Swamp," Jimmy hisses, his ear-fins flaring, ignoring the shudder down his spine from her use of his Name, even in part. "He crossed our borders. Again. He's threatened war." He's no longer whispering by the end, standing to his full height, shoulders back, sword hand by his shoulder. "And according to him, you've threatened it right back!"

Another instance of emphasis on Jimmy's inhuman body language.

This bit is actually more about Katherine than Jimmy. It does show a bit of Jimmy's sensitivity to magic but more than that, it incorporates Katherine's willingness to invoke her own flavor of threats, even in casual conversation with friends.

This is the first real deviation from canon dialogue in the entire chapter. This is the blending point where I'm taking the characters voices and using them myself instead of just channeling the pre-existing ones. The emphasis for this was important to me to try and keep it Jimmy's voice saying the words.

The body language here is a physical representation of Jimmy's shift from more informal speech to a more tense and emotionally and politically fraught situation.It's also the transition of Jimmy taking this from a private conversation to a more public one, now in earshot of both Sausage and Katherine's guards and staff. He's beginning to speak more as The Codfather than Jimmy and his physical stance is the biggest indication of that.

This is Katherine's last "private conversation" line and is, again, indicative of her frustration with her friends and the situation they have put themselves and everyone else in. It's a fairly sharp statement, geared to indicate that she is not really on Jimmy's side here. ("all sides" = "no sides" and a part of Katherine knows that, even if she refuses to admit it out loud, mostly because it is a role she has trapped herself in and can't leave.)

Sausage recovers quickly and shakes out the fur lining of his coat. "Is it just me or does it smell fishy in here, now?" "Sausage," Katherine looks disapprovingly back over her shoulder. "That's rude." "Oh," Sausage blinks at them both, "I'm sorry, Jimmy, I didn't realize."

Jumping ahead a bit we're in the "polite conversation because political masks" phase of dialogue.

Sausage is Not Being Polite. This is his attempt at "polite rudeness" but he's not very subtle in general so its blatant enough for Katherine to call him out on it. It's also a continuation of Sausage speaking more informally in general. He has something of an upper hand in the situation, and an abundance of bravado, and that is reflected in the way he talks. (Sausage just also has a very distinct voice in general that is already leant towards melodrama which works very well for the au's setting as a whole)

His apology is also disingenuous. In retrospect I should have probably used some italics or some other indicator to help convey that. (I might go back and edit something in. I do that sometimes on AO3. Major edits get notes made at the chapter end but minor fixes happen a lot.) He makes the "apology" and that connects Jimmy to his original statement, even if it hadn't been blatantly obvious.

"Oh, this one is new!" Sausage immediately changes the subject, pointing at one of the skulls hanging on the wall of the hall. It's some kind of middling-sized land animal...a sheep maybe? with poppies filling the eye sockets and woven in a crown, there are delicate lines of gold painted across the surface of the bleached bone. Katherine beams, her irritation at the rudeness forgotten (or at least set aside, fae never truly forget breaches of etiquette) "It is! It's a gift from a childhood friend," she looks fondly upon the skull for a moment. "We've been reconnecting lately." Sausage nods sagely, "It is always good to spend time with your friends." "It is," Katherine's ears twitch and her wings flutter briefly before she resumes walking. "Which is why we are going to fix this."

This is a slightly better attempt from Sausage at maintaining political etiquette by complimenting the host. A distraction and a peace offering.

And this is the first mention of Scott in the chapter, in what I am now realizing (it was not intended that way but here we go) is a context that kind of foreshadows his role of peace offering. It also is an establishing line for Katherine and Scott's relationship, as well as a nod to their short-lived plushie business (my beloved) from canon.(And the adaptation of it that exists in the au, which will come up later in Katherine's backstory at the very least.)

Sausage is being ingratiating here. It's a kind of wink wink nudge nudge "we should be friends and you should do what I want" moment.

Katherine knows what he is doing. This is also an incorporation of Katherine's inhuman characteristics, though a bit more subtly, specifically because this is Jimmy's pov and he is neither familiar enough with her mannerisms to break down exactly what they mean the way his own are, or unfamiliar enough with them to register them as odd and worth commenting on.

And then we have the POV switch to Xornoth

The entirety of Xornoth's external, out-loud dialogue is one single line, but the internal dialogue is their narration of the situation at hand. Ft. "helpful" commentary from Exor.

Xornoth's voice is arguably the trickiest part of the entire chapter as it is the part with the least canon basis. Xornoth is a character I am functionally building from scratch, given that the majority of their canon appearances are arguably as much Exor as they are Xornoth. (at least in the context of this AU)

Xornoth's canon voice (on a purely literal level) is "Scott Smajor with a script and a voice changer" and, on the occasions they are on screen together, "someone else with a script and a voice changer", and then the single epilogue bit.

So I'm working with somewhat stilted, formal speech and a tendency for dramatic declarations.

For this first chapter there was actually a bit more effort put into characterizing Exor, as, despite it being in their pov, the majority of the Xornoth characterization is happening in Chapter Two. (which is also mostly from their pov)

Honestly, this is already really long, I'll probably do the dialogue in the second part of the chapter as a part two, but I do want to put a compilation of Exor's commentary down here to talk about.

I opted to make Exor's dialogue bold instead of italics both to distinguish it from Xornoth's own internal dialogue and to emphasize how unavoidable it is for Xornoth. It's not something they can truly ignore, its too loud in their head.

Meaningless frivolity.

Disparaging commentary on the priorities of the other emperors and Jimmy in particular, leaning into one that Xornoth themself is inclined to agree with.

Do not pretend such reluctance. I see the truth.

Denying Xornoth's knowledge of themself in favor of asserting their own.

You are still only a student. And you will be so long as you refuse to take what is rightfully ours.

Exor's goal is and always has been (as long as Xornoth as known them) world domination. This is his most blatant statement of it, coupled with a disparaging comment towards Xornoth's own authority.

Like a fish on a hook.

Dehumanization with a side of violent imagery.

They are going to hurt themselves, trying that hard to utilize what little intelligence they have.

General scorn towards the intelligence and competence of the other emperors.

If we pinned her wings to the wall like a butterfly and made her watch, that would phase her. If we gutted him like a fish he'd squeal so nicely.

Violence. Rather graphic, worded in a way to make Xornoth/The Reader paint a stronger visual image to accompany it. These are the ones that both Exor (in-story) and I (out of story) designed to have a stronger impact. For Exor its about sowing thoughts in Xornoth's mind and having them doubt themself, for me its about really conveying Exor's intentions.

Rip them all to pieces, give the farmer the fight she wants.

This is a half-step back into a more friendly-aligned bit. Pearl is Xornoth's friend. A war would make her happy! Pearl is not Xornoth's biggest weakness, but she is one and Exor takes as much advantage of that as he can.

Wheat fields burn so easily, all it would take is a single spark in the right place and all of Mythland would be in flames. Carefully, carefully, Xornoth sets their book down on the table beside them and places their hands in their lap. Katherine will stop allowing them to borrow her books if they start spontaneously combusting them. Hopefully she doesn't notice the slightly singed cover.

Arson yay!

With the previous comments designed to rile Xornoth up the invocation of fire is a deliberate reference on my part to Xornoth's powers (with the follow up in the next paragraph) and on Exor's part is a provocation towards losing control/making it harder to stay in control of their powers.

Why do you consistently choose to prove your incompetence.

Even gods that crave violence can be disappointed.

this was equal parts chosen to add to the overall comedy of that exact moment and as a final nod to the way that, while he spends a lot of time tearing down other people in Xornoth's head, he also puts a lot of time into tearing down Xornoth themself.

-

I'm going to leave it there for now, if just because of length. I can come back and make a part two for Xornoth and the other emperors during the second part of the chapter later.

[quirkthieves]

i really don't want to dignify this with more than i have to, but okay. speedrun to address all those paragraphs because i really did not bother reading most of it i literally just woke up

-a dni isnt a callout. its just a boundary. in fact, the reason i said i didnt want close friends of ire to interact was for reasons like this, where this grown adult proceeds to flip the fuck out on people. i didnt make a callout. there wasnt anything callout worthy. just someone being a douchebag. in fact, i was fine interacting with mutuals of ire and ire themselves all the way up until shit hit the fan, in which case i think im very well justified in saying "yeah i dont think our circles should interlap very much". you know, after ire flipped out on Marx, because marx is a friend of mine and anyone who can do that to a mutual friend just because we're mutual friends and just because marx is friends with lys is ridiculous. i wont go into marx's stuff unless they want me to but are you for real rn

-i can post our full convos if you really want i kept the screenshots but here's the rundown: first: saying rxgelord writing age up smut was just "his business" was kinda weird. im gonna give you the benefit of the doubt and say you didnt really mean it that way because you just wanted to argue semantics with me.

and thats the bigger thing than whether it was about rxgelord, myers, whatever. the reason i left the server and the reason i decided i didnt want anything to do with you was because you went out of your way to nitpick and argue about semantics with me, sometimes for over an hour. with rxgelord? okay, whatever. idc. that guy was deeply unserious anyway. myers? that one was just bad faith because everyone knows we were being facetious and silly with the whole "cheating with himself" thing-- the point was that he had done shit like making alt accounts to date himself when he had actual partners because he was someone who frequently and grossly misused peoples trust, we were just wording it in kind of a jokey way because i did not think you needed that written out for you, and the third one, which wasnt about drama at all and is the ACTUAL reason i left

the third one had to do with me expressing that something in the server had blown up very quickly and gone very fast and was a bit hard to keep up with. i asked maybe we have a log channel and be a bit better about plotting because both myself and others had to deal with unintended consequences on our characters we werent prepared for regardless of how much we participated.

ire then proceeded to spend an hour with me arguing about if it "even actually counted because it was in text format" and saying they "didnt understand discord rp" despite having run servers in the past. this went on for an hour. i was polite, because at no point was ire ever actually bringing up a point that was contrary to my own-- ire was just trying to nitpick what i was saying and went out of their way to call my feelings unimportant, amongst other things. after the rxgelord and myers things, i realized that ire was very dedicated to misunderstanding me at every junction, was intentionally trying to put down how i felt in any given situation regardless of severity, and very much wasting my time. im not stupid. i decided it wasnt worth trying to stick it out and tolerating something that was going to be triggering for me (im in an intensive trauma therapy program right now and being demeaned and nipped at is not going to help when i already spend so much of my week in an episode or the aftermath thereof, and i know i can have a temper problem!), so i left, because unlike ire i felt no need to be hostile to people in the server regardless of how i felt about them. and then ire decided to be a massive dickhole to a bunch of my friends, so now we're here.

kind of weird the focus is on me and how abrasive i am when so much of their shit was about lys, but whatever. shrrrrrrugs. and again, i have the screenshots of our spats in the server but it reallllly doesnt matter? because thats what this is? petty spats? why am i catching this splatter again

anyway, calling me a crazy tweaker and an edgelord for being mad at [looks at notes] the man who gave me a seizure and lied and gaslit me for two years is kinda wild. arent you a dabi roleplayer? you love this shit. put me on your blog, i can send you pics for your graphics and everything.

anyways, back to your regularly scheduled tweaking out. love you all.

[gaphic]

I know most of the advice to fanfic writers is to ignore your hitcount, and while hitcount IS bullshit, I also think it’s valuable to know if there’s anything specific impacting your numbers. So, for the fic writers: a brief list of Things That Might Be Preventing People From Reading Your Work, Roughly In Order A Reader Encounters Them

Bad title. By ‘bad’ I don’t mean ‘stupid,’ I mean self-deprecating or inscrutable. If your title gives the impression you don’t like your own work or leads people to expect something you’re not offering, you’ll lose them. Titles aren’t that important on AO3, I know I mostly ignore them, but they’re still the first thing people see!

No ships. Nothing for this one, sorry, ship fic is just more popular than gen fic

Overtagging. This risks the reader getting overwhelmed when they see your Wall Of Tags, and leaving them uncertain whether the thing they’re searching for is actually significant or just mentioned in passing. Restaurant menus don’t list every grain of salt and sugar!

Undertagging. This risks readers not being able to search your fic, or not knowing what to expect from it. Restaurant menus don’t just say ‘pizza,’ they list the toppings!

No summary/“I’m bad at writing summaries.” Your summary is your last line of marketing before your reader either clicks or scrolls past! It’s your last shot! Do not leave it empty! I know summaries are hard, but in a pinch you can just copy paste a juicy sentence from your fic! It’s fine!

First person narrative voice. Number one thing that makes me, personally, click away. Nobody likes it.

Second person narrative voice. This is getting more popular in recent years, but it still puts some people off. *Not applicable if your target demographic includes homestucks

No paragraph breaks. This makes your fic scan as an impenetrable wall of text. It will feel hard to bite into, eyes will just slide off.

Poor grammar/general text formatting. If you are not highly proficient writing in your chosen language, find a beta reader. People tend to think this is harder than it is- if your fic isn’t super long, a lot of pedantic autists like myself will beta it just for fun! Don’t be afraid to ask people! Just clarify that you want a grammar check, not a full script edit

EDIT: should’ve clarified this to begin with, but NONE of these things reflect on the quality of your story, or are ‘should’ statements!! This post is ONLY describing the things that (for better or worse) ping a readers lizard brain, and may prevent them from being able to engage with a fic they would otherwise love!

[mostlysignssomeportents]

Google's chatbot panic

The really remarkable thing isn’t just that Microsoft has decided that the future of search isn’t links to relevant materials, but instead lengthy, florid paragraphs written by a chatbot who happens to be a habitual liar — even more remarkable is that Google agrees.

If you’d like an essay-formatted version of this post to read or share, here’s a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/02/16/tweedledumber/#easily-spooked

Microsoft has nothing to lose. It’s spent billions on Bing, a search-engine no one voluntarily uses. Might as well try something so stupid it might just work. But why is Google, a monopolist who has a 90+% share of search worldwide, jumping off the same bridge as Microsoft?

There’s a delightful Mastodon thread about this, written by Dan Hon, where he compares the chatbot-enshittified front ends to Bing and Google to Tweedledee and Tweedledum:

https://mamot.fr/@danhon@dan.mastohon.com/109832788458972865

“At the front of the house, Alice found two curious characters, both search engines.

“‘I am Googl-E,’ said the one plastered in advertisements.

“‘And I am Bingle-Dum,’ said the other, who was the smaller of the two, and sported a pout, as to having fewer visitors and opportunity for conversation than the other.

“‘I know you,’ said Alice. ‘Are you to present me with a puzzle? Perhaps one of you tells the truth and the other lies?’

“‘Oh no,’ said Bingle-Dum.

“‘We both lie,’ added Googl-E.”

It just keeps getting better:

“‘This is truly an intolerable situation. If you both lie,’

“ — ‘And lie convincingly,’ added Bingle-Dum — 

“‘Yes, thank you. If that is so, then how am I to ever trust either of you?’

“Googl-E and Bingle-Dum turned to face each other and shrugged.”

Chatbot search is a terrible idea, especially in an era in which the web is likely to fill up with vast mountains of AI bullshit, the frozen gabble of stochastic parrots:

https://dl.acm.org/doi/10.1145/3442188.3445922

Google’s chatbot strategy shouldn’t be adding more madlibs to the internet — rather, they should be figuring out how to exclude (or, at a minimum, fact-check) the confident nonsense of the spammers and SEO creeps.

And yet, Google is going all-in on chatbots, with the company CEO ordering an all-hands scramble to cram chatbots into every part of the googleverse. Why on earth is the company racing Microsoft to see who can be first to leap off the peak of inflated expectations?

https://en.wikipedia.org/wiki/Gartner_hype_cycle

I just published a theory in The Atlantic, under the title “How Google Ran Out of Ideas,” where I turn to competition theory to explain Google’s sweaty insecurity, an anxiety complex that the company has been plagued by nearly since its inception:

https://www.theatlantic.com/ideas/archive/2023/02/google-ai-chatbots-microsoft-bing-chatgpt/673052/

The core theory: a quarter of a century, the Google founders had one amazing idea — a better way to do search. The capital markets showered the company in money, and it hired the very best, brightest, most creative people it could find, but then it created a corporate culture that was incapable of capitalizing on their ideas.

Every single product Google made internally — except for its Hotmail clone — died. Some of those products were good, some were terrible, but it didn’t matter. Google — a company that cultivated the ballpit-in-the-lobby whimsy of a Willy Wonka factory — couldn’t “innovate” at all.

Every successful Google product except search and gmail is an acquisition: mobile, ad-tech, videos, server management, docs, calendaring, maps, you name it. The company desperately wants to be a “making things” company, but it’s actually a “buying things” company. Sure, it’s good at operationalizing and scaling products, but that’s table-stakes for any monopolist:

https://www.eff.org/deeplinks/2020/06/technical-excellence-and-scale

The cognitive dissonance of a self-styled “creative genius” whose true genius is spending other people’s money to buy other people’s products and take credit for them drives people to do truly bonkers thing (as any Twitter user can attest).

Google has long exhibited this pathology. In the mid-2000s — after Google chased Yahoo into China and started censoring its search-results and collaborating on state surveillance — we used to say that the way to get Google to do something stupid and self-destructive was to get Yahoo to do it first.

This was quite a time. Yahoo was desperate and failing, a graveyard of promising acquisitions that were gutshot and left to bleed out right there on the public internet as the dueling princelings of Yahoo senior management performed a backstabbing Medici LARP that had them competing to see who could sabotage the others. Going into China was an act of desperation after the company was humiliated by Google’s vastly superior search. Watching Google copy Yahoo’s idiotic gambits was baffling.

Baffling at the time, that is. As time went by and Google slavishly copied other rivals, its pathology of insecurity revealed itself. Google repeatedly failed to make a popular “social” product, and as Facebook commanded an ever-larger share of the ad-market, Google made a full-court press to compete with it. The company made Google Plus integration a “key performance indictator” for every division, and the result was a bizarre morass of ill-starred “social” features in every Google product — products that billions of users relied on for high-stakes operations, which were suddenly festooned with “social” buttons that made no sense.

The G+ debacle was truly incredible: some G+ features and integrations were great and developed loyal followings, but these were overshadowed by the incoherent, top-down insistence of making Google a “social-first” company. When G+ collapsed, it totally imploded, and the useful parts of G+ that people had come to rely upon disappeared along with the stupid parts.

For anyone who lived through the G+ tragicomedy, Google’s pivot to Bard — a chatbot front-end for search results — is grimly familiar. It’s a real “die a hero or live long enough to become a villain moment.” Microsoft — the monopolist that was only stayed from strangling Google in its cradle by the trauma of its antitrust dragging — has transformed from a product-creation company to an acquisitions and operations company, and Google is right behind it.

Just last year, Google laid off 12,000 staffers to please a private-equity “activist investor” — in the same year, it declared a $70b stock buyback, extracting enough capital to pay those 12,000 Googlers’ salaries for the next 27 years. Google is a financial company with a sideline in adtech. It has to be: when your only successful path to growth requires access to the capital markets to fund anticompetitive acquisitions, you can’t afford to piss off the money-gods, even if you have a “dual share” structure that lets the founders outvote every other shareholder:

https://abc.xyz/investor/founders-letters/2004-ipo-letter/

ChatGPT and its imitators have all the hallmarks of a tech fad, and are truly the successor to last season’s web3 and cryptocurrency pump-and-dumps. One of the clearest and most inspiring critiques of chatbots comes from science fiction writer Ted Chiang, whose instant-classsic critique was called “ChatGPT Is a Blurry JPEG of the Web”:

https://www.newyorker.com/tech/annals-of-technology/chatgpt-is-a-blurry-jpeg-of-the-web

Chiang points out a key difference between the output of ChatGPT and human authors: a human author’s first draft is often an original idea, badly expressed, while the best ChatGPT can hope for is a competently expressed, unoriginal idea. ChatGPT is perfectly poised to improve on the SEO copypasta that legions of low-paid workers pump out in a bid to climb the Google search results.

Speaking of Chiang’s essay in this week’s episode of the This Machine Kills podcast, Jathan Sadowski expertly punctures the ChatGPT4 hype bubble, which holds that the next version of the chatbot will be so amazing that any critiques of the current technology will be rendered obsolete:

https://soundcloud.com/thismachinekillspod/232-400-hundred-years-of-capitalism-led-directly-to-microsoft-viva-sales

Sadowski notes that OpenAI’s engineers are going to enormous lengths to ensure that the next version won’t be trained on any of the output from ChatGPT3. This is a tell: if a large language model can produce materials that are as good as human-produced text, then why can’t the output of ChatGPT3 be used to create ChatGPT4?

Sadowski has a great term to describe this problem: “Habsburg AI.” Just as royal inbreeding produced a generation of supposed supermen who were incapable of reproducing themselves, so too will feeding a new model on the exhaust stream of the last one produce an ever-worsening gyre of tightly spiraling nonsense that eventually disappears up its own asshole.

This is the last day (Feb 17) of my Australian tour for my book Chokepoint Capitalism with my co-author, Rebecca Giblin. We’ll be in Canberra at the Australian Digital Alliance Copyright Forum.

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

[Image ID: Tweedledee and Tweedledum, standing at the bottom of Humpty Dumpty's wall. Dee and Dum have the logos for Google and Bing on their chests. Humpty is about to fall and is being held up by a motley collection of panicking businessmen."]

[chuuya-fan-page]

Regarding E’s post about Taylor Swift...

No offense, but who are you to say that? Like, let people have their fun. Who are they hurting by adding Taylor Swift to their soukoku playlists and posting about her songs/lyrics in relation to them? If it annoys you—don’t interact with it. Scroll past, press not interested/dismiss depending on the platform you’re on, filter tags/key words, block people (Blocking was made to allow people to curate their timelines and not see content they don’t want, it doesn’t mean the blocker has some sort of agenda against the person they blocked, like many people love to pretend). All these alternatives are a million times better than being mean about it. As a placeholder for blocking, you can also filter out someone’s username on Tumblr and it’ll hide all their posts from your dash the same way filtering a tag would. There are so many ways to avoid this without posting about it and spreading negativity.

If you disagree with someone in regard to a song fitting a ship (or anything fandom related, really), that’s completely okay. That’s your opinion, and you are entitled to it. What you’re not entitled to is shaming the person for it and telling them what they are and aren’t allowed to do.

Some Taylor songs genuinely fit them very well, in my opinion. Yes, also in my opinion, not all the songs people claim do actually fit them. But in their opinion the songs do, and who am I to tell them they’re wrong? My opinion isn’t in any way superior to theirs. And I’m not about to tell people what to think, or how they can interpret relationships, or what songs they’re allowed/not allowed to have in their relationship playlists. It’s not my place to. It’s not anybody’s place to.

It’s the same way the problem with the Chuuya hate page isn’t that they hate Chuuya, but instead that they’re unnecessarily loud and mean about it. Of course, I’m not trying to say that you’re “the same” or anything, because what the Chuuya hate page is doing is a thousand times worse than this, but this is the beginning of what evolves to be posts like theirs.

Not to mention that this whole mindset of “Stop making everything about X”/“Stop throwing X at everything” is rooted in ableism. What if an autistic person has Taylor as their special interest and they can’t help make everything about her? Heck, what if they have soukoku and Taylor Swift as special interests simultaneously and combining the two brings them unrestrained joy? Why should that bother you?

As an autistic person, I’m really tired of people telling me to stop making everything about my special interests. It’s genuinely out of my control, and I don’t understand why my happiness annoys them so much.

Please don’t take this as hate. The whole reason I sent this is because I like this blog, and I like to believe you’re mature enough to understand what I’m saying and where I’m coming from. Thank you for taking the time to read this <3

Hey I'm sorry that my post was read as being mean, I didn't mean for it to come across as anti-Taylor Swift. I do have my own issues with her but her music is good and I don't have a problem with people thinking a few of her songs fit whoever.

And also I'm not talking about actually explaining why you think a song fits them, that's cool as fuck. Analysis is great I love character analysis, especially if you talk about songs that represent the character and why.

Now respectfully, I think you are reading into a post too much but you did send me a well formatted ask so i'll by paragraph.

Who am I to say that? It's a take, I can have those and I wasn't shaming anyone. I said Taylor Swift makes good music but it doesn't fit everything. Which is true.

Please do not compare me to the Chuuya Hate Page as what she does is entirely different and my saying not everything works with Taylor Swift is so far away from being a bigoted shithead.

I'm not going to say much on the ablism but do know that I am also autistic. I understand where you are coming from but you also have to understand that sometimes special interests can clash. I said what I did because most of the "this Taylor Swift song fits them so well!!" is full of mischaracterization and it pisses me off because bsd is my special interest.

So, I'm not telling anyone specifically to stop doing what makes them happy, I made a very short post where I didn't even say anyone was doing anything bad. I said Taylor Swift doesn't need to be for everything.

Having said all that I do appreciate that you took the time to explain why exactly that post upset you and that's valid, however I am allowed to post whatever takes I want and you don't have to agree with me.

-E

[amtrak12]

Hey hi! I read your Helena Wells meta earlier, from ten years ago, and I found it so interesting and spot on, and at the end you were so sad that you felt like you didn't have a good grasp on the character - do you feel that has changed, since then? And if so, how? Or, what do you think of Helena these days?

(the meta you posted and linked here: https://www.tumblr.com/purlturtle/736985181321314304/your-helena-tangent-got-me-thinking-and-yes-this )

Oooo fun and deep questions! :D Thank you!!

Obviously, that was 2.5 high schools ago so I had to reread my original meta to refresh my memory. My first thought is: OMFG LEARN PARAGRAPH BREAKS!! O_O But then, as I kept reading and saw how many spaces were missing after periods and how the sentences after the missing space read like a new paragraph -- my second thought is, I think Tumblr did me dirty at some point in the last 10 years of formatting changes and I actually did use appropriate paragraph breaks originally. Rude. -_-

But on the point of your actual questions! lol

I don't remember writing that exact post, but being nervous and uncertain about my Helena characterization does ring a bell. I was DEFINITELY more confident in analyzing/meta-ing Myka or Pete (if it was in relation to Myka). HG made me nervous and that was only like 10% because she's British and I'm American.

Some of my uncertainty probably came from my lack of historical knowledge (which has not improved. Fun fact: this is why I nearly never invented an artifact for fic). A not-insignificant portion of my uncertainty probably also came from how confident the rest of the fandom spoke about Helena. It seemed like she was meta-ed more often and by more people than Myka was. (Which makes sense as -- in general -- Helena was/probably still is the more popular character in the B&W ship.) I don't remember ever feeling like someone was way off base or out of character with Helena, but I do remember reading meta/fic sometimes and struggling to decide if I disagreed with a character trait/action that the person assigned her or if it was an accurate aspect of Helena's character that I hadn't internalized yet.

Basically I had Opinions about how Myka (and Pete for that matter) should be written and definitely noticed when a fic disagreed with me. But figuring out HG was like the wild west to me and I could never pin her down with firm barriers on who her character is and isn't.

I am very, very rusty on my Warehouse 13 knowledge because it's been nearly a decade since I was deep in my analyzation of the show. So, I wouldn't say I have a better grasp on Helena's characterization today than I did in 2014. But there are some aspects I feel like I could understand better if I took the time to rewatch and meta.

Loss of a child -- look I don't have children, but I do have niblings now that I adore. I'm also raising a dog who taught me I do not have the energy or anxiety coping mechanisms to raise a human child, because worrying about her almost does me in on its own. And I'm in my mid-30's now and seem to have a better understanding of parent-child relationships (or I'm at least way more interested in exploring them now, both from the view of the child and the view of the parent). So, exploring Christina's death and just how much that affected Helena would absolutely be on my list of deep-dives. I never ignored this before, but I'm certain I could pull more out of this backstory today than I could've in 2014.

Helena's guilt -- I started rambling at the end of that post about which things Helena felt guilty about and whether she felt guilty at all. As far as I remember, I usually wrote her as feeling some measure of guilt for her past actions. (Although I was also usually writing full AU settings so it was a moot point.) But I also wasn't wrong when I pointed out how she didn't show any obvious signs of regret over her S2 actions, unless it was something that had hurt Myka. If I was going to go back and meta WH13, I would explore this topic deeper for sure.

Interestingly, it's not something I could've explored deeper prior to 2022-ish. But now I've watched the series Lucifer which deals entirely with guilt and has a protagonist with shut down emotions who doesn't regret things and then, through incremental changes over 6 seasons, opens up, learns to feel every emotion again, unpacks a lot of shit etc. And I have been FASCINATED by how the writers pulled that off, because on the surface it is not a show (or a protagonist) that I should care about. (And if I had watched it from ep 1.01 instead of completely ass backwards, I wouldn't have cared about him.) BUT I DO CARE! And I want to know how they pulled off Lucifer's character arc. And then I want to use some of the techniques they used to explore guilt and pain and apply them to Helena to see what emerges in her character. Because I think it would be really interesting.

And then finally, I'm not sure I have anything new to bring to the conversation around what Helena's future with the warehouse and/or happy ending looks like. But I could also never make up my mind on what would work best for her. Does she return as an agent? Does she become a regent? (Probably not, but you never know.) Does she just become the live-in inventor who doesn't venture into the field unless absolutely necessary? I have absolutely no idea what her future with the warehouse would look like if a romantic relationship with Myka is her happy ending. (Which is my personal goal obviously lol).

Because -- and this is where my Opinions on Myka come into play -- our girl Myka Bering is not leaving that warehouse. Ever. She is the new Artie. She will take over as the lead agent when he retires/partially retires. And then she will die there. In South Dakota of old age (because I refuse to let her die on a mission). Pete? Oh, my boy Pete will meet an awesome lady and retire to be a stay at home dad. He'll walk away one day. Myka? Absolutely never. You're burying her at the warehouse. Which means Helena will have to have some kind of relationship with it again, and I would have to figure out what that looks like because both today and in 2014, I can't decide what option fits her best.

I hope this answers your question! It was so deep and I love it :D I just don't have new thoughts on WH13 yet because I haven't looped back around to a full blown obsession with it yet. (It will happen. Round 2 of BERING AND WELLS ARE THE BEST THING EVER will absolutely happen at some point in my life because that's how I roll and they are.) So this is less meta about how my thoughts on Helena have changed, and more about how my approach to her character would change given the experience I've gained in the last ten years.

THANK YOU SO MUCH FOR THIS ASK!

[hopeymchope]

I'm curious, what's your stance on generative AI? I know we in the fandom community often talk about it in the context of AI created fanart, but I'm talking more in the context of the uses generative AI has in the realm of general work productivity, like what Microsoft is trying to do with their new CoPilot program.

Well, the ethical issue is basically the same as it is for A.I.-generated images—but for some goddamn reason, people don't like to think of any kind of writing as a form of propietary "art" the same way they do about visual arts, so it's garnered FAR less attention.

But as far as their usability goes? As someone who writes documents for a living, I can see these programs being potentially beneficial for creating early rough drafts, but that's the extent of what it's good for now: They can make outlines. BUT! You could get the same outline from a template or from an online boilerplate, so is that even worth anything? Once you go beyond an outline, any text generated from these A.I.s always needs heavy revision, reorganization, and editing. I'd spend less time just writing it from scratch.

Currently, generative so-called "A.I." programs that are designed to assist with writing text are based upon predicting what they think the user is requesting or desiring. They set out to give you what they believe you want, and accuracy is NOT part of the equation. This might not be as big of an issue if you're trying to make a book report on a classic novel, because there are probably enough examples of reliable web coverage on the subject it could reasonably generate something that's at least usable. But outside of doing some of your homework for you, how useful is it?

It can certainly bullshit some generic blather to fill space in a paper, or it could spew corporate-ese for the purpose of drafting a mass company email... but can it announce something new to your staff or the press in an accurate way? Nope. Can it reliably create copy or a script for advertising/marketing? Not if you want your ad to actually be true, let alone unique. :P

If you're doing something fairly rote like taking existing legal documentation to create a new, similar legal document for a different usage? You're better off just having a template on-hand with editable sections to revise; that way, the A.I. won't attempt to "improve" the legal text in a way that fucks you over. And if you're asking the A.I. not to edit that text in the first place... well, then why are we using this A.I. when we already have templates?

If you're hoping to create some kind of instructions, maybe a "How-To" book or a manual for something? Just forget it. It doesn't matter how much documentation on the subject you feed into that A.I. Ultimately, it will preconcieve how the process COULD work or what the program/device/person MIGHT do, and then it starts going off on bizarre claims/tangents that are wholly imagined. The longer the document you want, the worse the amount of nonsensical bullshit gets.

But even if you're just trying to get it to reduce a massive document down to like, a single page that covers the basics? It has no real system for judging what "the basics" are. You can try to specify to the A-not-I what you need to include, feed it the original document... and still wind up with a combination of falsehoods and excluded requirements. This won't necessarily happen every single attempt or in every single paragraph, but it'll definitely happen enough times to make it more trouble than it's worth. Still... this kind of thing — i.e., revising a single existing source into a different format or length — is probably the area that's the most promising application for these programs in the near term. It should be possible to "teach" to the programs in question, and it handily skirts past most ethical questions about the sources behind its knowledge.

What I said about falsehoods and skewed info/inaccuracy is also why search engines that have incorporated A.I. have gotten LESS reliable. Generative A.I. isn't truly "Artificial Intelligence," because it can't make any kind of judgment. It doesn't have a clue how to deem something true or false, and it's really fucking hard to build that into a program. Because ultimately, what do you ask it to do? How do you explain that to the program in a logical fashion? You can't just say "only believe the sources I give you/tell you to trust," because it only generates based on tons of pre-existing examples that it's observed. It only exists at all because of those examples, which is always going to cause these issues.

....and that last point ALSO raises the same exact ethical questions already brought up by A.I.-generated imagery. What right do they have to use these sources? Where are they getting them, etc.? And now I'm back where I started.

Suffice it to say I'm not a fan. Although I do, of course, have skin in this game, so I acknowledge that I'm definitely biased.

[thebestofoneshots]

Hi I would like for you to read some of the stuff to my book to see if you think I should make more and maybe give me some advice, I feel like my writnig is not the best bc English is not my first language.

You were sitting on your sofa in your house looking at some random shit on your phone. "Hi, I'm home!” says Paul as he opens the door to your house. you stand up and walk out to him “hi” He puts his hands on your waist and pulls you in for a kiss. “hi” he smiled down at you “how was the filming?” "awful Tyrese and I couldn't make one of the scenes we kept laughing” you stood on your tip toes and kissed his cheek. “Are you ready for the Italian Grand Prix in a few days?” “mhm, Charles is coming over to get me thursday, tomorrow so I won't be home. Also, do you want to come with me?” you ask him “I would love to come but am Im allowed to be there not many people know our thing.” “you will be if you walk in with me and Frédéric knows..” “Did you tell him?” “no, he saw you called me after a race. He could see your name with a heart on my phone.” “okay.. so I'm flying with you and Charles?” “yeah he will be okay with it, he had his gf with him once” “I will go up and pack then” he smiled at you as he took his shoes off.  He then stood up “did you have a good day?” “yes but it’s much better now that you're here” He chuckles and looks down at you, he then takes you up and puts you over his shoulder ”HEY!”   

I really like it myself but dont know if it is actually good..

Hey babe! I've taken some time to answer this one because I wanted to dedicate the proper time to it. I must say, your story is pretty interesting, and you should definitely write more. In fact, even if some asshole ever told you that you shouldn't, you should continue to write if it's what you enjoy doing.

Now, where I do think I could give you some advice is regarding the formatting. This one is crucial because different languages have different formatting for writing and English has a lot of tricky ones, and it takes a lot of attention to get them right but I think I can sum them up for you.

Now the lack of spacing might be because of the limited amount of space in asks, but just in case it isn't, it's important to remember that you must switch paragraphs every time:

A different character speaks

You change a scene, time or location

You start a new topic

Another interesting one that even I didn't know until way deep into writing fanfiction is the punctuation marks after your characters speak and before you add the quotation marks. Allow me to elaborate.

This is a super detailed article about it, but basically, a dialogue should look something like this.

"If your dialogue follows a dialogue tag, you must use a coma in the end," she said.

She said, "On the other hand, if it's at the beginning, then instead of a coma you would use a dot."

"If it's obvious who the speaker is and you don't want to add a dialogue tag, then you also use a dot."

"And it's the same if you're breaking a paragraph after your dialogue."

"You are also meant to use dots if the dialogue is followed by an action and not a dialogue tag." She moved to the other side of the room to continue explaining.

"And if you have either a question mark or an exclamation one, then you continue your without capitalizing, the same as if it were a coma!" she said.

"If you are breaking paragraph after it, you don't need to add a for though!"

So with proper formatting, the little excerpt you've sent would look somewhat like this:

You were sitting on the sofa in your house looking at some random shit on your phone. "Hi, I'm home!” said Paul as he opened the door to your house. You stood up and walked up to him (tense change) “Hi.” He put his hands on your waist and pulled you in for a kiss, (tense change) “Hi,” he smiled down at you. “How was the filming?” "Awful Tyrese and I couldn't make one of the scenes, we kept laughing.” You stood on your tip toes and kissed his cheek. “Are you ready for the Italian Grand Prix in a few days?” “Mhm, Charles is coming over to get me Thursday, so I won't be home. Want to come with me?” you asked him. “I would love to come but... Am I allowed to be there? Not many people know our thing.” “You will be if you walk in with me and... Frédéric knows–” "You told him?” (sounds a bit more natural) “No, he saw you called me after a race. He saw your name with a heart on my phone.” “Okay.. so I'm flying with you and Charles?” “Yeah he will be okay with it, he had his girlfriend with him once.” “I'll go up and pack then,” (also the contraction makes it a bit more natural) he smiled at you as he took his shoes off,  he then stood up. “Did you have a good day?” “Yes but it’s much better now that you're here.” He chuckled (tense change) and looked down at you, he then grabbed onto your waist and put you over his shoulder. ”HEY!”  you complained. 

Also, I'd also add that you must be careful with your tenses, you start in past and then you switch to present, while this can happen in English when you are in conversation, it's not very common when you're telling a story. If you'll be talking in present, stick to the present (It's not vert common on formal books but I've seen it often in fanfiction), if you'll be talking in past, stick to the past.

I hope you find this useful darling, I tried to be as concise as possible while explaining all these little grammar rules, and I hope I didn't come as harsh. Took me long to figure them out and I suppose someone detailing them to me would have been pretty useful. I think your writing is great and I reiterate the fact that you should definitely continue. Sending all the love in the world!