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@dearlyregional
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The only person who can pull me down is myself, and I’m not going to let myself pull me down anymore.
C. JoyBell C. (via wnq-anonymous)
ITS BEEN LIKE THREE YEARS LET THIS POST DIE ALREADY
the “fine” arts, the “it’s whatever” arts, the “no don’t worry about it” arts, the “it’s okay i guess” arts
Some Tips and Tricks Inspired by Anne Lamott’s “Bird By Bird”.
Requiring me to read this book for school was the only reason I planned on doing it, but Lamott discusses a lot of essential points to writing. Some of them I found extremely helpful. Here are a few of my favorites:
Pay attention to the world around you. One of my friends writes down every good quote she hears in a passing-by conversation. This is how great stories start: from real life and real people.
Talk about what you want to write, not what you think others will want to read. Similar to the point above, your words will sound fresher and more authentic if you really mean them.
People watch! It will help you understand your characters as people and not figments. Take quirks from the stranger on the bench and incorporate it into one of your character’s ticks.
Write, write, write, write and write until your fingers bleed. You may have paragraphs and pages of complete shit in your writing, but maybe that very last line will be so beautiful and complete that I’ll remind you why you do this. This is where I got my idea for writing in raw thought.
Every so often, take a step back from your writing and make sure this is where your story should go instead of where you want it to go. Same idea with character development. The plot and characters you’re creating cannot grow if you’re cradling them like a mother with her firstborn.
Do not protect your characters. Similar to the above, your writing will feel dry if you protect your favorite character. They need to follow the plot line that already exists and just needs to be put into words, not the one you create for them to stay happy forever. As Lamott says, “Don’t pretend like you know more about your characters than they do, because you don’t...Characters should not serve as pawns for some plot you’ve dreamed up.”
Let your characters hold back some thoughts instead of using so much dialogue, and see where it takes them.
Do as much as you can to make your setting feel authentic. Lamott describes how one of her sets was a garden, so she met with an experienced gardener and they together drew out the setting. A key point to this was that every few months, she would call up the gardener to see how the plants had changed and use it in her story.
Know that there’s always going to be more work that can be done to perfect your story, but “perfectionism is the voice of the oppressor.” Know when to stop.
Drown out the voice of your mother when writing. Do not let her dictate how your character want to act, no matter how imbecilic or outrageous. If it is true to their personality, don’t shy away from making them who they are.
“...hypnotize yourself into believing in yourself, getting some work done, then unhypnotizing yourself and going over the material coldly.”
Carry around index cards to write on when inspiration hits you in the middle of a grocery store line or while your in the passenger seat on the way to your great-aunt’s 86th birthday party. It’s easy to forget inspiration quickly, so be prepared! They don’t have to be complex; just a phrase or even one word should be enough to jog your memory.
Use a person who will lie about your writing and tell you how great it is, how you shouldn’t change anything and how you’re the best writer who has ever lived to edit your writing. They will build up your self-esteem.
Use a person who will be completely straightforward with no second thoughts about how it may impact your emotional aspect. They will tell you exactly what to change from a second perspective. You don’t have to make all of their changes
Don’t make other people’s edits if they change it into something it’s not supposed to be.
Do not write to be published. Write because you love it, and sometimes you hate it, but write for the act of it rather than publicity. The best words will find themselves here.
I'm a non-fiction history junkie. As a result, I enjoy doing research for my Regency England novels . I love it but I realize it isn't...
written in raw thought #1
I know where you stand, silent in the Trees. And that’s where I am, silent in the Trees. Why won’t you speak where I happen to be? Silent in the Trees, standing cowardly.
A year ago, that lyric made me cry because it was sad. It was sad to me. The idea of knowing someone is standing next to you but won’t reach out when you need them, or maybe they need you but are either too scared or hurt or there is something keeping them silent. I don’t know who it hurts more. But you’re both hurting, and you’re trying to find help and the one person who can give it to you is right there and you’re reaching, reaching, the tips of your fingers are touching the closest far tree, but you can’t quite reach that person. It’s because they aren’t reaching, they’re leaning. Away. You can’t see them but you know they’re there, because you can feel them, you can feel their breath and you can hear them, but they won’t reach. They won’t even try.
A year later, the lyric is still the same. I’m not.
I know where you stand, silent in the Trees. And that’s where I am, silent in the Trees. Why won’t you speak where I happen to be? Silent in the Trees, standing cowardly.
I don’t know if I’ve matured or grown as a person, but some change inside of me underwent itself and now I think differently. I’m not quite sure if it’s good or bad. I hope it’s good.
It’s still not a happy song. You need help, and you can’t reach it. You’re not far enough, not stretching enough. It’s your fault because you can’t get there because if you had only taken those yoga classes last year, maybe you’d be able to reach that other person on the other side of that tree over there, Rory. But you didn’t and now you can’t. That person is still standing there, cowardly. Silently and blindly. But here’s a key part: you know they’re there. They haven’t left yet, have they? They’re still standing in the dark with you, just being with you. They’re there. Next to you. Maybe the help you need isn’t touch or sound or sight, maybe it’s just thought. Comfort. This person is not going to leave you in the Trees, because if they were they would have done it by now, by golly! They’re here to stay with you until the end, until the sun comes up or the trees are chopped down and you’re standing back in the open field.
“Regional At Best really is just a glorified mix-tape that we used as a background to solidifying fans, and it’s been kind of our follow through. When you start a band, you need to have some sort of music for people to go home with. I sat down in my studio, and man, I cranked out songs. I don’t know the ins and outs of being a professional engineer, but what was really cool is that when we went into the studio, there was a lot of the same programming, and even a lot of the same vocals. The vocals to “Holding Onto You” were ones that I recorded in my basement before we ever got signed or anything, so we were able to take those files and put them where they needed to be in the mix. I’m really excited for people to hear it.” —tyler joseph
crybaby // melanie martinez
Isle Of Flightless Birds - Live in Denver (x)