Na na na na na na nana Robin Hobb
It has been long ovedue, but I finally started reading Fool’s Quest today. After 600 pages I finally realized something: Fitz is... Batman!
"I'm Dorothy Gale from Kansas"
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@leafylofty-blog
Na na na na na na nana Robin Hobb
It has been long ovedue, but I finally started reading Fool’s Quest today. After 600 pages I finally realized something: Fitz is... Batman!
i fuckin
HATE
AMERICANS
All of us do, honey. But if someone with your name says something like that, then all of the little millennials out there might come to think that Americans are to love.
Think, please.
I’m gonna use a [redacted device] at a [redacted location] office to save humanity from transhumanists
Alternatives for 25 overused words in writing
1. Interesting- note worthy; thought-provoking; fascinating; attracting; appealing; attention-grabbing; captivating; gripping; invigorating; engrossing; engaging; electrifying.
2. Beautiful- striking; stunning; magnificent; lovely; charming; gorgeous; radiant; dazzling.
3. Good- acceptable, wonderful, exceptional; positive; brilliant; first-rate; notable; stellar; favorable; superb; marvellous; prime.
4. Bad- awful; lousy; poor; unacceptable; crummy; dreadful; rough; inferior; substandard; atrocious; appalling; dreadful; defective.
5. Look- glance; fixate; observe; stare; gaze; peer; scan; watch; study; browse; eye; glimpse; review; inspect.
6. Nice- lovely; superior; pleasant; satisfying; delightful; likeable; agreeable; correct; adequate; swell; fair; okay; approved.
7. Very- extremely; exceedingly; exceptionally; immensely; tremendously; abundantly; particularly; remarkably.
8. Fine- satisfactory; worthy; respectable; exquisite; suitable; well; imposing; decent; admirable; praise-worthy; decent.
9. Happy- cheerful; delighted; pleased; content; amused; thrilled; elated; thrilled; ecstatic; on cloud 9.
10. Really- genuinely; truly; honestly; actually; undoubtedly; certainly; remarkably; incredibly; downright; unquestionably; extremely.
11. Sad- miserable; gloomy; devastated; down at heard; distraught; distressed; dispirited; sorrowful; downcast; feeling blue; desolate.
12. Big- massive; huge; giant; gigantic; enormous; large; colossal; immense; bulky; tremendous; hefty; sizable; extensive; great; substantial.
13. Shocked- taken aback; lost for words; flabbergasted; staggered; outraged; astonished; astounded; stunned; speechless; appalled.
14. Small- tiny; petite; mini; miniature; microscopic; minuscule; compact; pocket-sized; cramped; puny; undersized; limited; meager; modest; minute; pint-sized.
15. Angry- irate; enraged; touchy; cross; resentful; indignant; infuriated; wound-up; worked-up; seething; raging; heated; bitter; bad-tempered; offended; frustrated.
16. Know- understand; comprehend; realize; learn; perceive; recognize; grasp; sense.
17. Change- alter; transform; replace; diversify; adjust; adapt; modify; remodel; vary; evolve; transfigure; redesign; refashion; advance; transition; shift; adjustment.
18. Old- aged; ancient; matured; elderly; senior; veteran; decrepit; seasoned; venerable; past one’s prime; doddering; senile.
19. Think- ponder; reflect; conceive; imagine; contemplate; consider; determine; realize; visualize; guess/assume; conclude; envision.
20. Funny- comical; ludicrous; amusing; droll; entertaining; absurd; hilarious; silly; whimsical; hysterical; joking; witty; facetious; slapstick; side-splitting; knee-slapping.
21. Go- move; proceed; advance; progress; travel; walk; journey; depart; exit; flee; make one’s way; clear out; get underway.
22. Give- grant; donate; hand-out; present; provide; deliver; hand over; offer; award; bestow; supply with; contribute to; send; entrust.
23. Get- acquire; obtain; receive; gain; earn; gather; collect; buy; purchase; attain; score; secure; take possession of; grab.
24. Easy- effortless; simple; clear; smooth; straightforward; uncomplicated; painless; accessible; apparent; basic; plain; child’s play; facile; elementary; cinch.
25. Fast- agile; brisk; rapid; nimble; swift; accelerated; fleeting; high-speed; active; dashing; winged; hurried; turbo.
if you only have time for one video, make it this one
wtf did i just watch
me to myself: write.
my brain: here are 10 ideas
me: cool! Write the story ?
brain: no write just idea!!!
The only good woman I ever met was the only woman sensible enough to cut me off.
Hold up - you mean there are people who watch Fight Club and don’t realise that Tyler Durden is meant to be full of shit?
I mean, his doctrine of radical individualism is a sham that ultimately reduces his followers to faceless conformity. This isn’t deep metatextual wankery - it’s the literal text of the film.
How do you see the film and not get that?
My ex didn’t get this. He loves Tyler durden. I’ve never seen fight club so I DIDN’T KNOW.
Yeah, in the film he’s a total con-man. His grand speeches sound good if you don’t think about them too deeply, but they’re not meant to be insightful - they’re meant to be a snake-oil salesman’s patter, calculated to bamboozle dumb, angry young men into doing his bidding.
Trouble is, they’re sufficiently well-written that apparently they work on the dumb, angry young men in the audience, too.
I’ve actually written about this academically! There’s a really specific genre I call bro cinema that includes fight club, all of kubricks work, some Scorsese, and Tarantino (all of which I love TBH.) These directors don’t explicitly condemn toxic masculinity and instead trust the audience to have COMMON SENSE and realize that Alex from A Clockwork Orange or Tyler Durden or Travis Bickle are horrific misogynists. But without the film telling the audience how to feel about these characters, men misinterpret the objectivity as glorification. Fight Club is about how shitty masculinity is, but it’s been warped by men grasping for justification for their misogyny
The real issue here, I think, is the passive consumption of media, and moreover, creators and critical viewers underestimating just how passive the average audience member is in their consumption of media.
In the book Nurture Shock, which is a child psychology book that identifies common parenting mistakes, the author spends a chapter on children’s television. The author specifically talks about how media designed to teach morals often backfires – children who watch morality lessons express *more* behavior problems and become *more* cruel.
Now the author says it’s because of how these programs are structured. First they depict bad behavior, and then they explain why the behavior is bad, showing consequences, and tying up the program with a moral.
Small children aren’t smart enough to understand the moral. Small children learn by emulating behavior they see. They see a bad behavior and they learn the bad behavior. Just exposing children to bad behavior is enough to make them internalize that the behavior is something lots of people do, and therefore something acceptable for people to do to do.
If you try to explain to them after the fact that the behavior is harmful and to be avoided, that message is too complicated and goes right over their heads. You can’t tell little kids “do as I say, not as I do.”
Now the author of this book says “small children aren’t old enough to understand the moral.”
But honestly? Adults have the exact same problem.
Tyler Durden loses in the end. That’s the moral of the movie. Unfortunately that moral is too complicated for the vast majority of the audience. The typical adult audience member does not think critically enough about film media to process this moral.
A critical viewer thinks – the point is that Tyler is wrong! The point is that Tyler is doomed by his own hubris! HOW CAN AUDIENCES HAVE MISSED THE ENTIRE POINT IF THE MOVIE?!?!?
Easily, considering the movie only really devotes 5% of its screen time to explicitly denouncing Tyler’s behavior, and that explicit denouncement only arrives at the very end of the film.
The other 95% of the screen time is spent watching Tyler Durden jerk off.
Look – you can’t film two hours of bareback sex followed by a five minute tutorial on how to correctly use a condom and a 30 second montage of miserable teen parents changing diapers, then call your film a safe sex PSA.
You did not make a safe sex PSA.
You made a porno.
You can try to argue that the bareback sex is an ironic subversive metaphor, and that the “real point” of your film is proper condom usage and an anti-teen pregnancy message, but the fact is, the majority of your audience is going to change the channel the moment the cumshot finishes.
Audiences, outside of our special little corner of fandom discourse, are by and large just straight up lazy. They can’t be bothered to think that hard about the media they consume.
via @sarcastrophesam #THIS IS WHAT I WAS TRYING SO DESPERATELY TO PIN DOWN IN MY ESSAY ON EX MACHINA #AND HOW THE DIRECTOR HAS THE RESPONSIBILITY TO CLEARLY SPELL OUT TO THE AUDIENCE#THE DIFFERENCE BETWEEN SUPPORTING A CERTAIN BEHAVIOR BY DEPICTING IT#AND CRITICIZING IT BY DEPICTING IT #BECAUSE USUALLY THE AUDIENCE DOES NOT PICK UP ON SUBTLE CRITICISM OR MORALES AT ALL
This is why I loved Fury Road so much, and also what I felt was so profoundly revolutionary about the movie. Fury Road is a movie about women escaping violent misogynists. Yet editor Margaret Sixel had the SHEER BRILLIANCE and AUDACITY to cut all the footage of misogynist violence out of the movie.
Mad Max: Fury Road proved that it is possible to denounce misogynist violence without depicting it.
Mad Max: Fury Road showed that refusal to depict misogynist violence is in and of itself a denouncement of misogynist violence.
We don’t need to show what victims went through to make victims sympathetic. In fact, voyeuristically depicting acts of cruelty only further objectifies victims. George Miller and Margaret Sixel understand this.
Similarly, George Miller made a point of using telling his videographers to use camera angels that focused on the action of the scene, instead of voyeristically zooming in the female castmember’s breasts/asses/legs – because he understood that when the camera ogles the female characters in an objectifying manner, the audience, who views the movie through the camera’s lens, is forced to ogle and objectify. George understood that sexist camera work creates a sexist perspective, and a sexist perspective tells a sexist narrative.
The thing is that the narrator is always sympathetic. Intimacy and familiarity breed sympathy. The audience is primed to feel sympathy for the narrator simply because they are speaking more than any other individual character.
No matter how unreliable, or morally dubious you make the narrator, they are still the hero or the story. Every villain is the hero of their own story. And when the villain is the narrator, the audience is hearing the version of the story in which the villain is the hero, and the audience is moved by that perspective.
We can give Fight Club the benefit of hte doubt and look at Fight Club as an intellectual experiment to see whether or not it’s possible to tell a story from the villain’s perspective and still denounce the villain’s actions.
But the fact is, the experiment didn’t work. It was a statistical failure. The vast majority of the audience did not recognize the film as a criticism of toxic masculinity, but rather, a romanticization of it.
Perhaps the author’s goal was for Tyler Durden’s death to be interpreted as a cautionary tale, but the author failed in that goal. He failed. Because by the time Tyler Durden dies in the movie, he has already been painted a hero in the eyes of the majority of the audience, and heroes don’t become cautionary tales when they die; they become martyrs.
I definitely think greater clarity in storytelling, and depicting good behaviour onscreen, is important.
But I also think films with unclear or mixed messages have a place in cinema, and that sometimes you need to let the audience draw their own conclusions even if those conclusions aren’t easy to reach. Hence it’s even more important to foster a greater level of critical thinking in both children and adults.
Like, okay, a six-year-old just plain won’t understand a moral lesson. If a 26-year-old doesn’t understand one - and even worse, can’t create his own moral lesson when it explicitly goes against the movie - this is a massive failure in his education.
As a film scholar and school librarian, I have the hardest time trying to convince teachers that hey, maybe films aren’t just there to show kids pretty pictures at the end of a long work week. Maybe they should actually be discussed.
Stop Objectifying Women (Objectifying Men is OK)
Possessiveness 101
Totally cool: “Hey, do you want to be exclusive?”
Red flag: “No one but me is allowed to touch you.”
Totally cool: “It makes me feel weird when you flirt with other people, can we talk about that?”
Red flag: “If you loved me, you would stop being friends with them. You KNOW it makes me jealous.”
Totally cool: “I hope we’re together forever. I’m so in this for the long haul.”
Red flag: “If you ever left me, I would kill myself.”
Totally cool: “Your mom is really unkind to me, can we try to minimize how often you bring me when you visit her?”
Red flag: “Your mom hates me, you need to stop talking to her. She’s trying to ruin our relationship.”
Totally cool: “I love you so much, oh my god.”
Red flag: “It’s a good thing I love you so much, because no one else would. You’d be alone forever without me.”
Other important red flags to keep in mind: someone who wants to jump into emotional/financial co-dependence very fast (like moving in together right away, or becoming each other’s only confidantes right away) and won’t take no for an answer; someone who tries to minimize how often you leave the house or interact with other people; someone who threatens you or themselves or your family or pets or possessions or financial future; someone who uses guilt to keep you from leaving a relationship.
Very important reminder: You do not need a reason to leave a relationship. Neither does the other person (or people). A relationship is over when one of the people in it says it’s over, period. Obviously it’s kind to take the end of a long relationship seriously, but abusers and manipulators have lost the right to that conversation. Lie if you need to–your safety is much more important than their feelings.
Trust your instincts!
I will reblog this forever
An essential list of short story competitions in 2016 for writers around the world, both established and emerging.
TOP : NATO phonetic alphabet (Current Usage)
BOTTOM: Military alphabets before 1956
READ MORE HERE
To counter one of the most abused words in (screen)writing, Go Into The Story has put together 115 word alternatives to the active verb “walks.”
Enrich your vocabulary with some more unusual synonyms to everyday words.
Cultus Aspect Aesthetics, [5/?], insp. [x] • Hel Conservation, goddess of plant necromancy, of mindful living, of knowing how to bring the earth and ourselves back from the brink.
Publishing for Fun and Profit
So there was a list going around tumblr for a while that made it to my dash of literary journals that accept open submissions (and will pay!), but upon inspection about half of them were closed indefinitely, and I found quite a few other places that looked interesting through further research, so I wanted to post my own list.
I tried to focus on things that paid professional grade (at least 6 cents per word), were friendly to speculative fiction, and specifically encouraged diversity and writing about marginalized groups.
(Please note that as of right now I have never submitted or been published with any of these, so if anyone has experience with them, good or bad, please feel free to message or reblog this with your experiences.)
Speculative Fiction
Strange Horizons — Speculative fiction (broadly defined) with an emphasis on diversity, unusual styles, and stories that address politics in nuanced ways. 8c per word. Up to 10,000 words, under 5,000 preferred. Responds within 40 days. LGBT+ positive.
Fantasy & Science Fiction Magazine — Sci-fi, fantasy, horror, etc. 7-12c per word. Up to 25,000 words. No response times listed.
Asimov’s Science Fiction — Primarily sci-fi but accepts fantasy and surreal fiction, but no high fantasy/sword and sorcery. Prefers writing that is character driven. 8-10c per word. 1,000-20,000 words. Responds in about five weeks.
Evil Girlfriend Media — Horror and urban fantasy centered on female empowerment and defying gender stereotypes. $100 flat payment. 4,000-7,000 words. No response times given. LGBT+ friendly.
Beneath Ceaseless Skies — Fantasy with a focus on secondary worlds and characters. 6c per word. Up to 10,000 words. Average response time 2-4 weeks.
Fantastic Stories — Speculative fiction with an emphasis on diversity and literary style. 15c per word. Up to 3,000 words. Responds within two weeks. LGBT+ positive.
Fiction Vortex — Serialized fantasy and speculative fiction. $300 for featured stories, $50 otherwise. 3,500 words or less. No response times given.
Shimmer — Speculative fiction with an emphasis on diversity, strong plots, vivid characters, and beautiful writing. 5c per word. 7,500 words or less (will consider longer words with query letter). Usually responds within two weeks. LGBT+ positive.
Clarkesworld Magazine — Sci-fi, fantasy, and other speculative fiction. 10c per word up to 5,000 words, 8c per word after. 1,000-16,000 words. Responds within days usually, gives a tracking number.
Apex Magazine — Speculative fiction of all kinds. 6c per word, +1c per word for podcast stories. Up to 7,500 words, all submissions over will be auto-rejected. Responds within 30 days.
Heliotrope Magazine — Speculative fiction of all kinds. 10c per word. Up to 5,000 words. Responds within 30 days.
Lightspeed Magazine — Speculative fiction of all kinds, with creativity and originality in terms of style and format encouraged. 8c per word. 1,500-10,000 words, under 5,000 preferred. LGBT+ positive. Submissions temporarily closed for their main magazine but is accepting for their People of Color Destroy Science Fiction special.
General Fiction
The Sun Magazine — General fiction, likes personal writing or writing of a cultural/political significance. $300-$1500 flat payment and a one year subscription to the magazine for fiction (also accepts essays and poetry). No minimum or maximum lengths but over 7,000 words discouraged. Responds in 3-6 months. Physical submissions only.
One Story — Any and all varieties of fiction, “unique and interesting” stories encouraged. $500 payment plus 25 contributor copies. 3,000-8,000 words. Usually responds in 2-3 months.
Camera Obscura — General fiction. $1000 for featured story, $50 for “Bridge the Gap” award, no payment for other contributors. 250-8,000 words. Response time vary, running just over two months as of now.
Flash Fiction
Daily Science Fiction — Speculative flash fiction (including sci-fi, fantasy, slipstream, etc.). 8c per word. Up to 1,500 words, but shorter stories given priority. Response times not listed.
Vestral Review — General flash fiction. 3-10c per word depending on length to a max of $25. Up to 500 words. Response within four months.
Flash Fiction Online — General flash fiction. $60 flat payment. 500-1,000 words. Response times not listed.
Novels/Novella
Riptide Publishing — Any LGBTQ manuscripts between 15,000 and 150,000 words. Currently especially interested in lesbian romances, trans stories, asexual/aromantic stories, romances with a happy ending, and genre fiction such as urban fantasy. Also has a YA branch. LGBT+ positive.
Crimson Romance — Romance stories of all kinds, currently seeking LGBT+ stories with a focus on emotional connections and relationships, especially m/m romance. Novel (55,000-90,000 words) or novella (20,000-50,000 words) length. LGBT+ positive.
Kindle Direct Publishing
Kindle Direct Publishing — Allows you to set your own prices, create your own cover art, and make royalties off of each sell. Any and all genres are welcome and if you’re prolific and smart about how you’re publishing you can make pretty good money.
General Guide to Kindle Publishing — Gives a good rundown of the publishing process on Kindle.
101 Guide to Kindle Erotica — Great guide with lots of resources about how to make money publishing erotica on Kindle.
Publishing Comics/Graphic Novels
Here is a list of potential comic companies and what kind of open submissions they accept.
Here is a list of literary agents who accept graphic novels.
How to be a Writer
Step 1: Hate everything you ever write ever.
Step 2: Keep writing.
The accuracy