A Song Wren

Hi I'm Josie and this is my booklr! You can find my main blog here. I’m open to talk anytime! I am also available to edit any stories, fanfiction, etc. if you'd like. Happy reading!

[obscurus-sims]

SKIN N29 MAXIS MATCH overlay:  12 swatches, 3 tones from light to dark, 4 body styles, teen+, females only, placed in forehead

SKIN N29 MAXIS MATCH masks: 12 swatches, 3 tones from light to dark, facemasks and bodymasks with 2 different opacity, teen+, females only, placed in forehead, freckles and birth marks torso

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[fictionadventurer]

I think the Hunger Games series sits in a similar literary position to The Lord of the Rings, as a piece of literature (by a Catholic author) that sparked a whole new subgenre and then gets blamed for flaws that exist in the copycat books and aren’t actually part of the original.

Like, despite what parodies might say, Katniss is nowhere near the stereotypical “unqualified teenager chosen to lead a rebellion for no good reason”.  The entire point is that she’s not leading the rebellion. She’s a traumatized teenager who has emotional reactions to the horrors in her society, and is constantly being reined in by more experienced adults who have to tell her, “No, this is not how you fight the government, you are going to get people killed.” She’s not the upstart teenager showing the brainless adults what to do–she’s a teenager being manipulated by smarter and more experienced adults. She has no power in the rebellion except as a useful piece of propaganda, and the entire trilogy is her straining against that role. It’s much more realistic and far more nuanced than anyone who dismisses it as “stereotypical YA dystopian” gives it credit for.

And the misconceptions don’t end there. The Hunger Games has no “stereotypical YA love triangle”–yes, there are two potential love interests, but the romance is so not the point. There’s a war going on! Katniss has more important things to worry about than boys! The romance was never about her choosing between two hot boys–it’s about choosing between two diametrically opposed worldviews. Will she choose anger and war, or compassion and peace? Of course a trilogy filled with the horrors of war ends with her marriage to the peace-loving Peeta. Unlike some of the YA dystopian copycats, the romance here is part of the message, not just something to pacify readers who expect “hot love triangles” in their YA. 

The worldbuilding in the Hunger Games trilogy is simplistic and not realistic, but unlike some of her imitators, Collins does this because she has something to say, not because she’s cobbling together a grim and gritty dystopia that’s “similar to the Hunger Games”. The worldbuilding has an allegorical function, kept simple so we can see beyond it to what Collins is really saying–and it’s nothing so comforting as “we need to fight the evil people who are ruining society”. The Capitol’s not just the powerful, greedy bad guys–the Capitol is us, First World America, living in luxury while we ignore the problems of the rest of the world, and thinking of other nations largely in terms of what resources we can get from them. This simplistic world is a sparsely set stage that lets us explore the larger themes about exploitation and war and the horrors people will commit for the sake of their bread and circuses, meant to make us think deeper about what separates a hero from a villain.

There’s a reason these books became a literary phenomenon. There’s a reason that dozens upon dozens of authors attempted to imitate them. But these imitators can’t capture that same genius, largely because they’re trying to imitate the trappings of another book, and failing to capture the larger and more meaningful message underneath. Make a copy of a copy of a copy, and you’ll wind up with something far removed from the original masterpiece. But we shouldn’t make the mistake of blaming those flaws on the original work.

[readergirl711]

The sadness of finishing a book, going into the tags, and seeing almost nothing but reviews and people's artsy pictures of the book.

[nudityandnerdery]

[christinaroseandrews]

This guy knows what he’s talking about. He’s one of the lead writers for Leverage and if you ever watch the series on DVD, do yourself a favor and listen to him talk about how the scripts got written. Some of the advice he has is stuff I use all the time: 1. Don’t introduce an important plot person or thing after the first half of the story. 2. Always tie up loose ends. 3. Introduce important things in the middle of unimportant things. 4. If you have to infodump, find an emotion to tie it to and it will seem less like infodump and more like a motive rant. Seriously this guy knows how to write.

[cannibalize]

god my favorite part of knitting/crocheting/etc is watching string become fabric. crumpling it in my hands. this fabric would've never existed had I not willed it into being. it isn't fabric, it's time made physical. made material. isn't that the high of crafting? you mold time between your hands and put it into other people's hands. my least favorite part is when my cat tries to cram the whole yarn ball into his mouth

[callmebarbie]

girlie stop scrolling through tumblr you are one second away from crumbling under academic pressure

[writing-prompt-s]

You have been sentenced to death in a magical court. The court allows all prisoners to pick how they die and they will carry it out immediately. You have it all figured out until the prisoner before you picks old age and is instantly transformed into a dying old man. Your turn approaches.

[dycefic]

I think I’d have minded less if I’d committed a truly heinous crime. Something that warranted death. Or even if I was the kind of person who would enjoy flinging a last defiance at my execution.

It was all just a show, anyway. They did it every year. They brought out a selection of criminals, and the Sorcerer who ruled us showed his power by bringing about their deaths by magic. Just to show, every year, what happened to anyone who crossed him.

There was a time, probably, when the people he executed really were rebels or assassins. In latter days he had to take what the dungeons offered. I was dragged up in chains between a pickpocket, sobbing in terror, and a man who’d killed another man in a brawl. There were few criminals of any note, by then. So instead of choosing the wickedest criminals, they chose based on appearance. The man who’d been in the brawl had a face like a clenched fist, and looked like a ruffian. The pickpocket, aging and with hands beginning to tremble, was a different kind of example. As was I.

“There aren’t many pretty ones, this year,” the man who chose me had said, examining me. “But this one will do. Not young, but not old, a woman, well-favoured enough for the gallows… what was her crime?”

The warder shrugged. “She tried to kill one of the sheriffs.”

The man looked down at me and I shrugged. “I hit him with a washing stick, because he tried to extort money from me, and he was a baby about it.” I refused to treat this as anything but pathetic, even after my sentencing. “I didn’t even break any bones.”

“Treason, then,” the man said, nodding. “Attacking the servants of the law. That will look well on the list. Send her.”

I had been debating ever since what to choose. Something quick? Something painless? I considered demanding that I suffer the attack I supposedly made on the sheriff, but then I realized the Sorcerer would only give me what the man had said I was going to do, and that was not a pleasant way to die. I had all but decided on something swift and relatively painless. Beheading with the sharpest of blades sounded good. It would be quick. 

Keep reading

[gretchensinister]

Consider this (based on a conversation I had with some friends a while ago): Pride and Prejudice and Zombies for people who actually like Pride and Prejudice. Look–I tried to read Pride and Prejudice and Zombies and I got about 20 pages in before I came to the conclusion that the person who wrote it did so out of the belief that the original Pride and Prejudice was stuffy and boring. There were out of character vulgar puns. And the trailer for the movie did not convince me that I had missed anything by cutting short my reading experience. So, what I’m talking about here is this premise: the world of Pride and Prejudice, but if you die, it’s highly likely, almost certain that your corpse will get up and try to eat people. But no one dies in Pride and Prejudice, you might say. In fact, few or no people die in any Jane Austen novel. This is true. But people do get sick with some regularity. Imagine the tension added to Jane getting sick after going to visit Bingley if there was the chance that she would become a zombie after she died. Becoming a zombie in an eligible bachelor’s house probably would have seriously wrecked any chances of any of the living sisters ending up with him. Imagine Mr. Collins, as a minister, having the duty upon someone’s death of severing their head with a ceremonial plate or something that would prevent the corpse from rising. Obviously important, but this only makes him more self-important and obnoxious. And dangerous. For you see, in this version, Mr. Bennett, who stays in his office all the time, whose life is the only thing allowing Mrs. Bennett and her daughters to stay in the house–Mr. Bennett is definitely a zombie. He died at home, and Mrs. Bennett decided that, no way were they dealing with this, and so…just started faking it. Jane and Elizabeth know. The younger sisters don’t. In this universe, I think we have to go with zombies that are not any faster or stronger than the humans they were, and in fact tend to get weaker as time passes because their flesh is rotting. And…hmm, okay, how about they are pretty violent upon rising, and for about a week afterward, trying to bite people and spread the infection (even though most people are carriers anyway, but getting a nasty bite from a corpse will give you other stuff that will have you die while carrying the virus). But then they calm down and basically just start sort of attempting to act like they did in life, that is, taking habitual actions with no consciousness, in a depressing and desiccated way. So Mr. Bennett is a zombie, and Mrs. Bennett’s number one goal is to get her daughters married before anyone finds that out. And this, actually, makes Elizabeth’s refusal of Mr. Collins more frustrating for Mrs. Bennett–obviously Mr. Bennett didn’t tell Elizabeth that she could refuse Mr. Collins, because Mr. Bennett is dead, but Mrs. Bennett can’t say anything or the game would be up. Another question in this version–does Mr. Darcy find out about Mr. Bennett being a zombie somehow? Does Elizabeth find out that he knows and didn’t say anything and this is something that helps repair his earlier actions? Anyway, this is the Pride and Prejudice and Zombies that I was looking for.

[exigencelost]

Okay also: in the original, when Elizabeth walks through the rain all the way to bingley’s to care for Jane while she’s sick, it’s a very dramatic expression of both Elizabeth’s love for her sister and her penchant for flamboyant rebellion, but consider, if there is a chance Jane will wake up a zombie and Elizabeth knows it, how does that change the dynamic? Elizabeth might be going to help take care of Jane, or to *take care* of Jane should things take a more morbid turn…by killing her zombie sister.

This works especially well if zombieism is communicable prior to death; if mr. Bennett is a zombie and only the elder Bennetts know, that means Jane has been pre-exposed and is almost certain to wake up as a zombie should she die in the Bingleys’ care— which the Bingleys do not know. Elizabeth has to forge through the rain to be there in case things get ugly, because she knows that the Bingleys aren’t prepared.

[pretentioussongtitle]

Yeah you know what? I am 100% for this. A few additions:

*Mr. Collins self-importantly bragging to everyone that he is the one personally responsible for decapitating  Lady Catherine de Bourgh  should she fall victim to the devil’s touch and become a zombie, and that she specifically ordered her head to be burned in the grand fireplace at Rosings. 

*The ambiguity as to whether or not Catherine’s pale, sickly daughter is in fact a zombie herself, but Mr. Darcy is expected to marry her anyway for the sake of family and keeping up appearances. 

*Wickham is a necrophiliac, ‘nuff said

[rhube]

This is so much better than Pride and Prejudice and Zombies, which honestly just felt really lazy to me.

[terulakimban]

Lydia’s vivacity is encouraged by Mrs. Bennett in part because being having an outgoing, cheerful, lively child who socializes with a lot of people all the time helps counter the rumors about Mr. Bennett. Obviously she wouldn’t be so happy and flirtatious if her father were dead; he’s just always been a bit reclusive and Odd. Kitty is encouraged to follow her example in this for the same reason.

Mary is prone to sermonizing about zombiism and what one should or would do in the event of one’s own family members falling victim to it. 

[wisteria-lodge]

They *have* to pretend that Mr. Bennett is still alive. If they don’t, they lose the hose and Mr. Collins gets everything. Zombies fit perfectly in with the themes Jane Austen was interested in examining: putting on a good face at all costs, the problem of idle aristocrats… it works really well. 

Also, Lady Catherine’s daughter is DEFINITELY a zombie. I can’t decide if it’s better if A) Lady C is in complete denial about this, but she’s so high ranking that no one says a Damn Thing. or B) Lady C absolutely knows her daughter is a zombie… and STILL thinks she’s better than Lizzie.

[heywriters]

Do you have any tips on writing a mystery plot?

Good books don’t give up all their secrets at once. - Stephen King

Start with the end and work backwards.

Understand fully the complexities and tiniest details of the mystery, while also keeping in mind which character knows what. It’s just as easy to slip up and give something away too soon as it is to forget a single crucial detail. 

Timing is important. When will the reader need to know such-and-such detail?How long will it take for your character(s) to discover it? Should the timing of a certain event be obscured or emphasized?  

Other, More Educated Opinions on Mystery Writing

Taking the Mystery Out of How to Write a Mystery 

Plotting a Mystery (for Non-Mystery Writers)

5 Tips for Plotting a Mystery

Ten Rules for Mystery Writing

General References of the Helpful Variety

Dramatic Structure and Plot

Five Ways to Restore Tension 

Coincidences in Fiction: What You’re Doing Wrong

The Secret to Writing the Killer Plot Twist

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+ Buy me a coffee if you enjoy my content and find it helpful. Much obliged!

[elftwink]

i will defend improvised storytelling till the day i fucking die i think stories told by people under pressure to do it fast, stories told in collaboration…. that shits gorgeous and ALIVE. have you ever gone to a writing workshop and someone writes the rawest shit in the entire world during a ten minute free write? playing dnd and some dialogue is so moving it makes you wonder how it came from your dumbass friends? got really into one of those ‘one sentence at a time’ campfire story games and ended up making something— totally unrecorded, lost except to the people who were there— that should have been in the fucking moma?

people are full to the BRIM with stories and honing that storytelling into a specific practice (ex. writing) is for sure a learned skill that takes tons of practice to do effectively but…… it’s there. it’s there and anyone can tap into it if they’re given opportunity and an audience to say it to.

look, the point of telling stories is to connect with other people. and all we’ve ever done throughout human history is connect connect connect so is it any wonder when you put a human being in front of an outlet and you say ‘tell me a story’, no one stays silent? 

[seaoflove]

one thing i’ve learnt is that u can’t put your life on hold for that perfect idealized future moment. thats just condemning your present self to needless repentance and suffering. get that haircut now — not when you’ve lost x amount of weight. go get on that long drive out to the ocean NOW, not when u have that hypothetical daydreamy significant other by your side. you can’t save important life experiences for a self that ultimately doesn’t exist. all you have is you, right now, at this very moment. perfection is a myth anyway, just another perfect word for procrastination. please do not let your life wither away right before your eyes bc u were too busy putting it off

[navigatrixloves]

"If we wait until we're ready, we'll be waiting for the rest of our lives." -Lemony Snicket

[tulipscomeinallsortsofcolors]

folks, someday you are gonna be writing, and you're gonna put something on paper and hear a voice say "i know this is what you want, but will people like it?" and im here to tell you that is the DEVIL talking and you do whatever you damn well please

[copperbadge]

If fandom has taught me anything it has also taught me that there are at least five people in the world who will want it regardless of what it is, and they will find you.

[intj-confessions]

Every writing advice thing ever: Don’t get bogged down in details on your first draft. Just write! ☺️

Me: How I begin this scene hinges on whether cheese sandwiches were served with mayo in the 50’s.

[colourfullmess]

have not seen anything more relatable today >.<

[wufflesvetinari]

let me link the world’s most useful twitter thread. 

some excerpts:

there’s nothing to stop you from using the <get there> method for research details. in fact, i know many many writers who use it for just that.

[ellatholmes]

if you're a writer i wish u a very plot/story/character epiphany

[librarysilverfish]

ADHD tips for Writers?

Ok. Everyone who’s ever written anything has apparently developed executive dysfunction like the true ADHD-ridden school children scribbling in their notebooks during class we are, so let’s handle it like it’s ADHD-style executive dysfunction.

Break the task down. Can’t make yourself write? Understandable, writing is a lot. But can you open the word doc?

Yes I know there’s endless jokes about “i haven’t even opened the doc lol” but ask yourself: how much of that is that your brain knows that when you open the doc, you’re supposed to write? If writing and opening the doc are clumped together then is it harder to get the doc open? 

Is it easier to make yourself read than write? Start by re-reading your outline, re-read what you have already written. Use reading your WIP as your ramp up into it.

Everything is easier when you take the pressure off. Start with something easier and acclimate before tackling the main WIP. Try:

Opening a second doc next to the regular one, copy+paste the last stuff you wrote and write the new stuff into the new doc. This is your Fake Doc where everything inside gets deleted unless it turns out you like what you wrote and want to transfer it over.

Start by writing on stuff that’s related to your WIP but isn’t that important. Expanding the plot, doing backstories, writing posts of your WIP etc

Imagine you’re trying to explain what happens in the story to someone you want to know about it.

Contrarian hack: show someone the thing you left off on. Have them write your next line for you. Works best if they’re not good writers or are forces of utter chaos and make it a joke. Read what they wrote. Experience the “no I can do it better” impulse. Let that guide you.

Change the font, color, and size. Maybe change something for every paragraph. (this is a how to read hard things hack, too)

And my personal end-all-be-all: kick off a writing day with a highly-incentivized wordsprint. It’s a high-level forcing yourself to Do The Thing for however long your attention span can handle. I do 10 minutes to 25 minutes depending on the day. You go into it with the mindset that you’re just doing this to kick the dust off, and then you can get to the real writing. In the meanwhile, you’ve turned out a wordcount!

Yes I realize this isn’t an option for everyone. I do however recommend giving it an honest try, because I didn’t think I could make it work and now it’s my favorite way to do things.

Disclaimer: these are hacks for everyone that come from dealing with the same issues as a person with ADHD. You don’t have to Belong To The Group to use these :)

[iwhumpyou]

One of the best tips for writing descriptions of pain is actually a snippet I remember from a story where a character is given a host of colored pencils and asked to draw an egg.

The character says that there’s no white pencil.  But you don’t need a white pencil to draw a white egg.  We already know the egg is white.  What we need to draw is the luminance of the yellow lamp and the reflection of the blue cloth and the shadows and the shading.

We know a broken bone hurts.  We know a knife wound hurts.  We know grief hurts.  Show us what else it does.

You don’t need to describe the character in pain.  You need to describe how the pain affects the character - how they’re unable to move, how they’re sweating, how they’re cold, how their muscles ache and their fingers tremble and their eyes prickle.

Draw around the egg.  Write around the pain.  And we will all be able to see the finished product.

[horsechestnut]

Reasons The Hunger Games Works and None of the Knock-Offs Do:

I just reread The Hunger Games Trilogy, and I have some thoughts about why they work so well and so many others just don’t.

Katniss Is Lucky: At every turn Katniss gets lucky. This isn’t a “anyone could have done this but no one’s tried before” or “main characters is special in some way” story. If Katniss’s name had been called instead of Prim’s, she probably wouldn’t have won. If anyone other then Peeta had been called she wouldn’t have won. If Cinna had picked any other year to become a stylist she wouldn’t have won. If her father hadn’t been a hunter she wouldn’t have won. If Madge didn’t give her the pin (how Rue decided to trust her) she wouldn’t have won. I can’t really explain why this is so important to me, but it is. Katniss isn’t special or super powered. She’s lucky.

Katniss Is A Symbol and 13 Has an Army: Katniss is not a rebel leader. There isn’t a group of ragtag teenagers who follow her and take on a corrupt government all on their own. She’s a symbol to inspire the people in the districts to fight, but no one ever puts her in charge of an army. Why should they? She’s a 17 year old, traumatized, child. The only time we do see Katniss lead is at the end of Mockingjay, and then it’s a group of about ten people, most of who end up dead and the mission doesn’t succeed. More importantly, 13 beats the capital because they have a fully functioning, highly trained, military ready to go.

These Are CHILDREN: Yes, every young adult story focuses on a teenager, but so many of these stories seem to forge they’re talking about teenagers. They act as if they are twenty somethings, or in the society set up you are considered an adult at 16. The Hunger Games hammers you over the head with the fact that these are kids. Katniss goes to school. I do not know a single hunger games rip off where the main character goes to completely normal every day school.

The Death’s Aren’t Shock Value: Yes, Prim’s death is shocking. It’s heartbreaking. I knew it was coming and still cried. That’s not why it’s there though. The point is how far Coin is willing to go to make sure Katniss is on her side. Everyone else’s deaths also have a point. Finnick and the others on Katniss’s team show the sacrifice people are willing to make for the cause and for Katniss. Cinna to show Katniss what happens when she resists. Rue is the cruelty of the game. Madge, the cruelness of the capital.

The Goal Is Clear: Mazerunner comes to mind with this one. What was the actual goal after the first book? Hell if I know. In The Hunger Games series there’s no fancy plan or convoluted thing they need to do. The plan is simple. Hunger Games and Catching Fire: “Don’t die”. Mockingjay there’s a lot of background stuff happening, but for Katniss the goal is always one thing: kill Snow. Everything she does is a straightforward line to that goal for almost the entire book.

Gale and Peeta: Both Gale and Peeta are totally realistic and reasonable love interests for Katniss. Neither of them are always nice or always perfect, but it easy to see why Katniss struggles to balance the two of them. There is no clear choice between the two. More importantly, the choice is representative of a larger concept. Katniss herself makes the comparison, saying Gale is rage and Peeta is calm. It’s not just between two guys, it’s between two ways of life and what Katniss needs in her life.

She Picks Peeta: I can not stress enough how important this is. In any of the knock offs I guarantee you that she would have picked Gale. Or, more accurately what would have happened is they would have switched Gale and Peeta’s personalities. Peeta would have been the angry, tortured, mysterious guy, and Gale would have been the kind, artistic, best friend. In this case, she would have still picked Peeta, but the whole point would have been lost. For all intents and purposes it would have been picking Gale. But no. Katniss picks Peeta. She picks calm and peace rather then giving in to Gale’s anger.