Why Have I Not Seen Anyone Talking About How Fundamentally Nihilist No Man's Sky Is? Like.

Been playing Red Dead Redemption 2 recently, and boy did I miss this amazing game. My horse is named Buttercup and all the voices in my head are talking in Arthur Morgan's voice.

I want to write a book called “your character dies in the woods” that details all the pitfalls and dangers of being out on the road & in the wild for people without outdoors/wilderness experience bc I cannot keep reading narratives brush over life threatening conditions like nothing is happening.

I just read a book by one of my favorite authors whose plots are essentially airtight, but the MC was walking on a country road on a cold winter night and she was knocked down and fell into a drainage ditch covered in ice, broke through and got covered in icy mud and water.

Then she had a “miserable” 3 more miles to walk to the inn.

Babes she would not MAKE it to that inn.

that post thats like “you’re not unlovable you’ve just been spending a lot of time alone in your room” is true for everyone but me. i’m unlovable i’ve just coincidentally been spending a lot of time alone in my room

No tags needed for this reblog.....tissues, though, that's a different story....🥺🥺🥺

A bit of a palate cleanser for everyone.

You know, Valentine's Day is super overrated and objectively sucks, especially for me since I'm aroace, but like. My grandma did just send me $100 so maybe it's not that bad.

"Ice, is my character a stereotype?Is my story stereotypical?"

Lesson 6: "Let's Have a Talk, First"- Stereotypes, pt 1

Lesson 6: “Why’s she so rude?” (She’s Not)- Stereotypes, pt2

Lesson 6: "Is He the Threat (Or Are You?)"- Stereotypes, pt 3

Application Example: How to spot a Stereotype: An Example

Before you ask me this, I need you to read every lesson and click and search through every single link!

There are as many ways to accidentally (or purposely!) scribble up a stereotype as there are stories to tell. It takes our entire lives to learn and keep up with the ways media (fiction and nonfiction) will find ways to depict us negatively in a narrative. Why would it be any easier for you? 😅

If you actually want to develop the skill to see what and how stereotypes manifest in your media, you have to study it. It will take you time! You will have to read, and then you will have to apply what you've read! That's part of media analysis and comprehension! Because at the end of the day, I could present you with a surface level, lovely story containing a stereotypical narrative, but if you didn't know what to look for and why, you wouldn't see it.

And again, I will always tell you to engage with Black stories. Why do you want to put me in your stories, but you don't want to engage with anything created by me? Why do you want to know how to write my voice, but you're not willing to read anything spoken by my voice? How else do you plan on figuring that out? What is your intention, here? Let's ask ourselves these questions!

In the past fifty years, fantasy’s greatest sin might be its creation of a bland, invariant, faux-Medieval European backdrop. The problem isn’t that every fantasy novel is set in the same place: pick a given book, and it probably deviates somehow. The problem is that the texture of this place gets everywhere.

What’s texture, specifically? Exactly what Elliot says: material culture. Social space. The textiles people use, the jobs they perform, the crops they harvest, the seasons they expect, even the way they construct their names. Fantasy writing doesn’t usually care much about these details, because it doesn’t usually care much about the little people – laborers, full-time mothers, sharecroppers, so on. (The last two books of Earthsea represent LeGuin’s remarkable attack on this tendency in her own writing.) So the fantasy writer defaults – fills in the tough details with the easiest available solution, and moves back to the world-saving, vengeance-seeking, intrigue-knotting narrative. Availability heuristics kick in, and we get another world of feudal serfs hunting deer and eating grains, of Western name constructions and Western social assumptions. (Husband and wife is not the universal historical norm for family structure, for instance.)

Defaulting is the root of a great many evils. Defaulting happens when we don’t think too much about something we write – a character description, a gender dynamic, a textile on display, the weave of the rug. Absent much thought, automaticity, the brain’s subsconscious autopilot, invokes the easiest available prototype – in the case of a gender dynamic, dad will read the paper, and mom will cut the protagonist’s hair. Or, in the case of worldbuilding, we default to the bland fantasy backdrop we know, and thereby reinforce it. It’s not done out of malice, but it’s still done.

The only way to fight this is by thinking about the little stuff. So: I was quite wrong. You do need to worldbuild pretty hard. Worldbuild against the grain, and worldbuild to challenge. Think about the little stuff. You don’t need to position every rain shadow and align every tectonic plate before you start your short story. But you do need to build a base of historical information that disrupts and overturns your implicit assumptions about how societies ‘ordinarily’ work, what they ‘ordinarily’ eat, who they ‘ordinarily’ sleep with. Remember that your slice of life experience is deeply atypical and selective, filtered through a particular culture with particular norms. If you stick to your easy automatic tendencies, you’ll produce sexist, racist writing – because our culture still has sexist, racist tendencies, tendencies we internalize, tendencies we can now even measure and quantify in a laboratory. And you’ll produce narrow writing, writing that generalizes a particular historical moment, its flavors and tongues, to a fantasy world that should be much broader and more varied. Don’t assume that the world you see around you, its structures and systems, is inevitable.

We... need worldbuilding by Seth Dickinson

stop trying to make your draft perfect on the first try. your characters don’t care. your plot doesn’t care. even the imaginary readers in your head don’t care because they don’t exist yet. just write the terrible version. write the cringey dialogue and the scenes that go nowhere and the metaphors so bad they make you cringe into next week. because guess what? you can’t edit a blank page, but you can edit a hot mess. embrace it.

I need everyone to know that the ship Götheborg, the world's largest ocean-going wooden sailing ship, answered a distress call the other day.

Imagine waiting for the coast guard or whatever to show up and instead a replica of 18th century merchant ship pulls up and tows you to the coast.