#writing thread

[lasciviess]

I didn’t technically manage to actually write today, but I did put something onto paper: I outlined a new multichap, pretty much in full. it’ll be fun and light and just some good old romance (fake relationship (well, kinda) my beloved), so hopefully you guys will like it too! I want to get tgotml ch2 and absinthe out of the way with first before I start working on this too, but soon!!

[rrcraft-and-lore]

The migration of folktales, fables, myths, and The Doors of Midnight. I've talked about his following piece of work before - Panchatantra

Pronounced (cuz romanizing Sanskrit adds weird ass fake A's to things) Panch (or pah-nch, meaning FIVE) Tantr (thun-trr) Treatises. 

It is a collection of folk tales (and I talked about this in my true origin of "fairy tales" and even what inspired the Grimm Brothers thread) fables, particularly focusing on talking animal fables from India. The written text is about 200 BCE (before common era) but the stories themselves are agreed upon by folklorists and experts to be far older given Sanskrit's long oral traditional history and the fact India has a history of oral performers by caste passing down these tales these tales are as old as we can possibly imagine. It is arguably one of, if not the most, translated piece of work out of India, with copies of it having reached Europe by the 11th century CE - yes, that old. Old enough to influence many European stories - particularly folk/fairy tales, and we'll get into that, because believe it or not, some famous fabulist writers even credited the collection of tales/author as their direct inspiration. Wild, right?

Continuing. 

Panchatantra has been translated in nearly every major language with nearly 200 versions in 50 languages over the world. Before even the 1600s it had been translated into: Czech, Old Slavonic, Spanish, Italian, German, English, Greek, Latin, and more. 

The earliest known translation was 550 CE into Middle Persian (and we'll get into why this is important in Tales of Tremaine as it's a commentary/meta referential and analysis, and love letter about migration of stories as well as storytelling) -- by the 12th century it was really spreading through Europe based off the Hebrew translation by Rabbi Joel, which then went on to be translated in German by Anton von Pforr in 1480 -- nearly 40 years before the 1812 publication of The Grimm brothers tales. Yep. 

Now, to 1001 Nights - a collection of tales compiled by Alf Laylah wa-Laylah, which yes, includes stories from India that were translated as discussed above, and Syria and other parts of the Middle East as well obviously.

Panchatantra has been influential in both 1001 Nights as well in Sinbad. The particular inspirations were the usage of frame narrative, first recorded in India, and also the inclusion of specific styles of talking animal fables within the collection, and most specifically the motif of the wise young woman who delays and finally removes an impending danger by telling stories - if you've read The Doors of Midnight, you'll get now where I'm going with this.

Since the series is a mix of many things, including addressing/commentary on fantasy/myth-storytelling tropes, motifs, themes, history, origins, replying/referencing them in meta ways, as well as a discussion about western fantasy novels because there's a history in/with them also using tropes for exoticization and kind of fetishy exoticization at times without nodding to, offering, showcasing a lens to/of the cultures those techniques, stories, tropes come from, I wanted ot be able to talk about that in the context of the work (which does happen), critique, reference all of it. Book two is no different.

In where if you've read it, you'll see a genderbent take on the particular motif above, and if you're only understanding of stories is 1001 Nights, you might get it confused for ONLY referencing one story. Not true. While there are many overt and subtle references to that because this is a love letter and commentary on the migration of stories (which that is literally mentioned in the story itself), so it tries to include and nod to all the wonderful stories from all the cultures I can include along the Golden Road in this world.

The take in here not only references both Indian and Middle Eastern culture, but also dismantles and in fact comments on a toxic trope that has had previous positive iterations as well - namely: meeting the goddess/the temptress (two pieces of storytelling that often get lumped into one of a dude character bumps into smoking hot goddess who can't resist him, they boink (A LOT a lot a lot) he leaves or threatens to and she's upset, boink continues, then he gets a gift from her. This goes backs to the oldest epics, it's not western or even fairytale original, but it did become UBER popular in the west. Young bardic boy meets fae, they boink a lot. He leaves. Usually tragedy, not always. The end. Some magical gifts. 

But the idea behind the trope was never supposed to be this reductionist. It was supposed to (go back to this word I've used about) evoke SENSE OF WONDER. Meeting a powerful character in possession of knowledge (see power), and magic (also power but sense of wonder), and to learn from her, gain some wisdom for your own betterment and evolving into a better kind of hero, and then use your gifts she gives you to that end. See, Frodo meeting Galadriel, no hanky panky, much wisdom, both were offered different temptations (not of the body) and in the end helpful gifts for the quest. :)

So, if you like or want to learn more about comparative mythology, storytelling, seeing the origins of such and dismantling your ideas of: structures, plot, tropes, motifs, beats, so on - check out The First Binding and The Doors of Midnight (recently released by @torbooks and @gollancz (US/UK).

Anyways yeah. 

Back to more about this. I've shared before the assertions of Max Muller and others on the influence that 30-50 percent of western fairy tales/ballads/nursery rhymes owe their origins/inspiration to Indian tales -- but Jean de La Fontaine, a french fabulist and poet - one of the most read poet of that time, directly credits Indian stories and the Indian sage Pilpay for his source of inspiration in his works -- 

"This is a second book of fables that I present to the public... I have to acknowledge that the greatest part is inspired from Pilpay, an Indian Sage" - Jean de La Fontaine.

He's also not the only post medieval era author to specifically credit Indian stories and the sage Pilpay and others who contributed to the many other epics, collection of tales, individual tales, and more.

Now, IMPORTANT NOTE - inspiration here does not mean a direct 1-1. 

Yes, many are complete rewrites, translations which is obvy a translations, and others are using the motif and overall theme but converted to and through their cultural lens and time of place. That's how storytelling traveleled, evolved, and become coopted, adopted, and accessible to local masses in w.e. country/empire.

And that's obviously a massive theme in my work but using a central heroic figure or villainous to be a focal point for that to see how that happens around one figure as it's an easier way to do that in fiction rather than a freak ton of povs which would make it harder for readers to continue to track and grok all those changes within the frame narrative aspect.

[100wordsprompts]

This is a writing thread where anyone is able to join and continue the prompt. Feel free to reblog and add your own twist.

The grass tickled her feet, and the mud coated her toes as she walked across the field. The wind stung her face, ceasing only when she the big apple tree.

It was old and no longer bore fruit. It had been her friend when no one else was there. The sturdy branches helped her climb the familiar path up the tree. The comfort of the leaves blocked out the noise and cares of the world.

[100wordsprompts]

This is one beautiful story!

You’ve been sentenced to 400 years for multiple murders. It’s been 399 years and your jailers are starting to get nervous.

[poorly-drawn-mdzs]

Historians Hate Him

[First] Prev <–-> Next

[salarymanwaka]

[cheer-nympho]

Demon Eddie this, Demon Eddie that…take a minute to picture Demon STEVE

Theres so much fun to be had with that. Maybe that’s how he got to the top, favours and exchanges

People come to him with requests and they don’t know how, but he always gets it done.

And then they owe him.

It becomes a thing for him to jokingly go “you owe me!” With a big smile, but they literally do. And he always cashes in, but usually just for small things he wants in the moment. Like a spare cigarette or a drink at a party.

And hey! Maybe Eddie DOES try to summon demons…

And one night, after he’s playing dress up as a satanist, he finally manages to summon one successfully.

Not that he knows that, all he knows is that Steve Harrington is knocking on his door all of a sudden.

Stupid puffy hair and goofy grin staring at him while he leans in.

“You called?”

And Eddie looks towards the phone slowly and back to Steve. Because no, no he didn’t.

He’s too tired and high to even pretend to be polite, just shutting the door in his face before leaning against it with a deep sigh.

But when he opens his eyes, Steve is stood there. In his trailer. As if Eddie didn’t just block his only way in and- okay, yeah. His eyes are fucking red.

He probably shouldn’t have used that book.

[carolinanadeau]

"this female character is underdeveloped" TO YOU. I can read subtext and I know all about her backstory and her rich inner life. also she told me personally

[keepcalmandwritefiction]

Writers: let's talk about how important it is to NOT take every bit of advice you see online. There will always be someone with a different process. Some people swear by plotting. Some people can't write if they plot things out in advance. Some people start with the characters, others start with the plot. What works for them might not work for you. If you want your manuscript to ever be finished, you have to take what serves you and leave what doesn't. 💜

– Beth Heyn (@/bethheynauthor)

[lasciviess]

I’m going to start posting writing updates to try and hold myself to account a little bit! I don’t know if can manage to write every day, but any progress is progress after such a long absence :)

off to a strong start today:

the glare of the morning light ch2: 4243 wc (+1,054 words)

[aslyran]

Visions

[ronanlynchusurper]

i don’t think we talk enough about declan being equally as down bad and ‘all or nothing’ with romance as ronan is. like yes ronan said he would start wars and burn cities for adam’s true smile, begged god for adam after he first saw him and fortuitously had all his objects of worship were in one downtown block etc but ronan had known adam atleast 18 months at this stage. whereas declan really risked it all to get tyrian purple overnight for a first date gift after ONE conversation…the man was discussing their marriage as a ‘when’ not an ‘if’ before we even saw them kiss like what’s his excuse lmaoo

[astralleywright]

spent like an hour trying to find a post abt the disparity of origin companion's content in bg3 and couldn't so, hey, this fucking sucks

[rednightmare18]

It's not even about the vindication of calling a ship, okay. It's that the supposedly anti woke studio wrote about 3 million words of medieval fiction centering the relationship of the two main characters who are in most ways (or in all ways if you follow the obvious canon momentum of the story) meant for each other, as counterparts who help each other survive the great travails of their lives and who challenge/complete the other to become fuller, braver, kinder people. It's so clear these two people are soulmates, platonically or romantically, something observed consistently by the world around them and by themselves.

Except their society (feudalism, Catholicism) dictates that they are intended to be completely incompatible by nature and divine law. Not just for the obvious fact they are both men, but they are separated by what is arguably an even steeper chasm of social class. Their existence even as friends utterly spites, interrupts, and threatens feudal order right down to its theological and philosophical roots. They should not see each other as human and yet.

It's the fact that they do. The fact that the entire story has been about this--that these two protagonists fit together, undeniably, and grow to love each other fiercely (a love that deepens superbly from their knee-jerk playful puppy-friend-love in kcd1 to something selfless and mature by the end of kcd2). And they do so despite the immense opposition by their world, their social circles, their faith, and indeed their fandom.

And yes, it really does fucking matter that all of this culminates into a deep onscreen romantic love (if you get out of the way and allow it to) between two fandom-beloved male main characters (not just side characters rammed in for an optional gay romance but THE main characters of the duology; the "you" as in the player character and your erstwhile dick-jokes bro you have perhaps grudgingly at first been invited as the audience to love) in a historical fiction story that has been wrongly touted by the worst of our contemporaries as the holy grail of cultural conservatism.

Holy shit. Warhorse -- y'all. I'm sorry I doubted you. So few game writers understand how love works and indeed how people work, let alone translate it so well onto the screen.

Calling this an "optional romance" is not technically incorrect, I suppose, because it's true you can opt out and choose to remain platonic friends. But this language feels like a disservice, as if Henry & Hans's romance is a typical RPG wham-bam fanservice makeout with a minor fan fave character who never interacts meaningfully with the player again. Or as if it's a Bioware-style "give this NPC the right gift and do their side quest and you get to see a jankly ugly-bumpin' montage" situation.

Kingdom Come: Deliverance is so very much not that. The "main, optional" romance scene in question is just one consummation event of two people who have been growing up and falling in love in front of us over the course of some 200-300 (or god knows how many) hours. The fact these protagonists openly love each other is very much not optional.

This is, sincerely, groundbreaking storytelling in this medium and this genre. How fucking cool that we all got to see it now.

[poorly-drawn-mdzs]

I came here for the silly haha doodles, but I've stayed for the absolutely blazing commentary in the tags. Your analysis of this story is so so so good! Thanks for all the work and thought you put into this!

I am just a silly little comics blog. I am not hiding anything in the tags, no way. Never.

[unifybullseye]

Akechi in third sem + his engine room death

I'm actually so sick at how Akechi purposely tried to keep Ren at arms length in third sem and allowed no vulnerability to slip through not only for Ren but for himself too. To not give himself the time to start to dwell on the fact that he's dead and will not get to have this. Nor to give himself the time to regret his suicide/sacrifice.

Maybe regret isn't the right word but. Dejection? Sorrow? The "what ifs" of if he got out of there with them? I think a lot about how Ren's desire is not flattering but sickening to Akechi not only because he believes Ren wanting him here is illogical and that he deserves nothing but death or cold, lonely atonement, but because of the fact that it was his one desire that was so strong it was the thing Maruki used against him, aka using Akechi as a puppet. He indirectly made him live yet again as a puppet, the torturous life that he freed himself from in the engine room. That he gave him more time to think about what happened in the engine room, that he gave him this will.

I refer to his death in the engine room as a suicide because it really is one to me but just can you imagine what it's like, willingly letting yourself die as a sacrifice, not wanting this death but accepting it, and then suddenly you're alive, and you're forced to be able to grieve yourself? He thinks his death was righteous, and he'd choose it over and over again- however, he's still a human boy who had the childish wish that he just wanted to play chess after school with ren. he still *wanted* in third semester. he wanted to live in the "what if" of if he and ren could just. be alive. together. But the thing he and Ren have in common is that they are both strong enough to put aside their personal desires for the justice they believe in. In every timeline Akechi would destroy Maruki's reality and Ren will let Akechi go to destroy it.

Wrapping back around it just devastates me thinking about the fact that, in Yusuke's words “he fought all this time, knowing he was going to disappear." The entire third sem he kept his head onto the goal ahead because indulging in anything else would be too devastating. He can't let himself feel the same sentimentality that Ren does because it *hurts.* It hurts so much that he's dead, and he's scared. He didn't want to die. He died as the lost player in a game by God, his every action leading up to his death ending up meaning nothing. He didn't want to die, he wants to play with Ren. Ugh. there's a reason why "no more what ifs" is his song. He wanted and was ready to be freed from everything. that everything- the revenge plan- was exhausting. but. he still had desire to live. his wish proves that. his refusal to be vulnerable too. just has no desire to live as a puppet- which was his only choice if he chose to live.

it hurts much more when you have the same perspective of the engine room scene as I do, which is the fact that I don’t see it as his last grand gesture of fighting back. I hate the interpretation that his sacrifice was this great good deed, that he died with fight for justice. he died in the palm of someone, still controlled by god. yes his sacrifice was inherently good but he did it cause he lost everything not out of kindness. it shows his character, how he falls, the contrast between the acts of him and the PTs, how easy it is to fall, etc; but is not a grand conclusion to his morality. He also went into it sorta knowing he was going to lose. He just selfishly didn’t want to be the only one to.

I was reading a post once about how if Akechi lives that it undermines his actions in the engine room, that he died being a great sacrifice who came to justice, and i couldn’t disagree more. He didn’t die a hero, nor die in just; him and ren were pawns to see who wins and he lost. he didnt win against fate. passing off the act of justice to ren was an act forced upon him, not willing. he realized then, that everything was for nothing, and if he was going to die, then at least he can selfishly give the job to someone else. He was forced to give up.

I really fail to see how death is meaningful in that moment for him. The engine room scene is powerful, but not in that way to me. Ren and Akechi were put in a “who will prevail and who will fall” situation by God, so then following that exact line of fate is meaningless, when the theme of p5 is fighting back. Akechi’s sacrifice also didn’t mean shit about fighting back LMAO. shido didn’t gaf and the PT’s were going to change his heart either way.

Akechi passing it onto the PT’s was also his desire for his actions to mean something. While I’m glad the beta third awakening was scrapped, I do wish they left some showing that Akechi is bitter about the engine room. He wanted to be the one to revenge Shido, more than he cared about the act.

So all in all, you are basically forced in a situation to commit suicide/make yourself a sacrifice, dying as a puppet where you failed your mother, you failed yourself, at least satisfied with the fact that it will all be over, but then you wake up again, with no memory of how you survived, lost and confused and why aren’t I dead I should be dead. Please let me rest. But the boy who should hate you the most wished for you to be here, and that’s so, so aggravating, it’s the most aggravating thing in the world, and yet you can’t help but to also wish you could be with him. You want to stay. You want to stay where you can be with him with your own free will. But you can’t. So the desire is meaningless, a sickening pit in your stomach. And you’re scared, you don’t know what will happen when it’s time for you to disappear. Will it hurt? You don’t want to die. You want to die. But you don’t want to die.

Grieving yourself and what you could’ve been must be a weird, weird feeling.