Modern Storytelling

ALT

AnthonyHJ was the identity I used for my writing and for being 'official' when dealing with internet spaces related to my work as a writer or as a game-dev or as a game-writer. If I am talking to a player or a reader or a student, AnthonyHJ is the name of the person being open and accountable, speaking with the authority of my publisher or my studio or my academic team. AnthonyHJ has written for some big names, usually about games industry stuff.

I 100% use other names and identities (some known to be connected, others less so) for things that are not about my work, for things where I don't need that authority or gravitas. And sometimes, I don't want the associations that come with that or the obligations of tone and content.

He was 23 when his first novel was published. After six years of writing professionally every single day. The Carpet People was a lovely novel, from a lovely writer, but almost all of Terry’s iconic truth bomb lines come from Discworld.

The Colour of Magic, the first ever Discworld novel was published in 1983. Terry was 35 years old. He had been writing professionally for 18 years. His career was old enough to vote, get married and drink. We now know that at 35 he was, tragically, over half way through his life. And do you know what us devoted, adoring Discworld fans say about The Colour of Magic? “Don’t start with Colour of Magic.”

It is the only reading order rule we ever give people. Because it’s not that great. Don’t get me wrong, very good book, although I’ll be honest I’ve never been able to finish it, but it’s nowhere near his later stuff. Compare it to Guards Guards, The Fifth Elephant, the utterly iconic Nightwatch and it pales in comparison because even after nearly 20 years of writing, half a lifetime of loving books and storytelling Terry was still learning.

He was a man with a wonderful natural talent, yes. But more importantly he worked and worked and worked to be a better writer. He was writing up until days before he died.  He spent 49 years learning and growing as a writer, taking so much joy in storytelling that not even Alzheimer’s could steal it from him. He wouldn’t want that joy stolen from you too.

Terry was a wonderful, kind, compassionate, genius of a writer. And all of this was in spite of many many people telling him he wasn’t good enough. At the age of five his headmaster told him that he would never amount to anything. He died a knight of the realm and one of the most beloved writers ever to have lived in a country with a vast and rich literary tradition. He wouldn’t let anyone tell him that he wasn’t good enough. And he wouldn’t want you to think you aren’t good enough. He especially wouldn’t want to be the reason why you think you aren’t good enough. 

You’re not Terry Pratchett. 

You are you.

Here is a random quote from the nearest available Pratchett novel, chosen by opening the book and jabbing my finger at the page:

It was crowded in the guardhouse, with the Horde and the guards and with Mad Hamish’s wheelchair. One of the guards looked down at Hamish, glowering under his blanket. “What do you have there, grandfather?”

A sword came up through the cloth and stabbed the guard in the thigh.

That is a very ordinary passage from an unremarkable book. This particular section is mostly narrative connective tissue, getting the characters to the next bit of plot on time and taking the excuse for some slapstick and hijinks along the way, because these are humourous novels so they need plenty of jokes. Nobody is lovingly quoting the bit from Interesting Times where Hamish stabs a guard and then there’s a joke about old people going deaf. This is just the words that were written to get this bit out of the way, reasonably entertainingly.

We are denizens of a site which is ungovernable, wild and free and a little chaotic.

The aesthetics of the site are functional rather than slick, the corporate interests are constantly frustrated, but the connections are fairly honest. Staff know us, staff can be exasperated with us, but there's a kind of grudging respect there.

like i have seen men with BPD or HPD being told they're actually NPD or ASPD and that they can't be the former because those are "female disorders".

likewise, plenty of women with ASPD or NPD being told they're actually BPD or HPD because the former are "male disorders" and that they're too emotional to be them.

First time I saw it, I didn’t know the plot. I thought the king was dead.

So when the king woke and sat up I give a HUGE GASP like it was a zombie movie jump scare. That gasp echoed.

Being abused at home, bullied at school and lost in the world, the library and all the books I could escape to the most amazing worlds, kept me alive!

I would walk to the library, and spend all day, from 10 am to 9 pm reading there!! I got special awards for how many books I read, I wrote little blurbs on why i loved the books (probably why I love to BETA and do ARCs) 

PLEASE, PLEASE, PLEASE Just hit the green arrows and the reblog!!!

As a 50 year old woman, the library offers me so much. Digital art pads to borrow, 3D printing, book clubs that are face to face (yeah, the introvert likes face to face because a moderator will stomp on anyone getting snarky)

New books in LARGE PRINT! I’m visually challenged and as much as I love my kindle, The feel of a real book in my hands will always be a beloved feeling!

-bullet journalling was invented by a man with a learning disability (99% sure it was ADHD but his website now just says learning disability so I can't be 100%) as a system for organizing his life/way to work WITH his learning disability

-the general concept is bullet point the important things you need to do and use a simple system of symbols to mark whether it's done, rescheduled, cancelled, etc. with very little fanfare, keeping it all in one notebook so you know where to easily find the information at a glance

-people pick it up and it starts getting popular

-bullet journaling becomes an aesthetic movement largely populated by white neurotypicals

-bullet journaling has turned into creating an extremely pretty notebook that has some function, but largely depends on complicated decoration and aesthetic function that takes more time to set up than is tenable for the people it was created for

-new entries to bullet journaling feel pressure to shop at particular stores, use particular brands, purchase lots of stationery purely for its aesthetic value, and prioritize the artistry of the pages rather than the information being stored on them

-people who would massively benefit from the original system can only really find information on it from members of the aesthetic movement. There is now a barrier to entry for ppl with ADHD and other similar conditions, as bullet journaling now requires a focus and motivation to start that these same people often lack or struggle to maintain consistently

This is not news, but it is an important read, especially for people who were previously unaware of the trend of neo-Nazis stealing pagan symbols for their own.

If you are an anti-racist, anti-fascist pagan, keep doing what you are doing, you are keeping the fight alive

If you are an anti-racist, anti-fascist person who is not a pagan, help us spread the word of this, stand in solidarity with us as we kick the fascists out of our communities

If you are a fascist pagan, fuck off, this faith is a peaceful one

No platforms for fascists.

At the start, it's a religion of blood and hellfire. They're rooting out 'sinners' and generally on a bit of a crusade / inquisition kick. That's how they come into conflict with the protagonist. They hurt someone she's close to.

And so she hurts them back, but this is not the Castlevania anime; she's all but powerless.

What she does (while killing key members who she blames for the whole fiasco) is to create a set of prophecies. In fact, she works to make it sound like what she's doing is part of those prophecies. And because they are soldiers, crusaders, almost paladins, she creates a cult based on hope.

She invents a semi-messianic figure and casts herself as her prophet.

Not an alternative religion, no. She creates a figure in their own faith who punishes those who abuse their power over the weak. In essence, she lets the religion keep its virtue and status, but undermines the zealots within.

Being fantasy, she has advantages like longevity (her plan spans centuries) and magic (every cult needs its miracles) but it's about exploiting the corruption of the faith to burn it out.

Not everything goes as she means it to (boring story otherwise) but she manages to turn a rather patriarchal faith into one where the nurturing 'daughter' goddesses are more widely worshipped.

One of the most important aspects of the Puritan/Protestant revolution (in the 1590’s in particular) was the foregrounding of marriage as the most appropriate way of life. It often comes as a surprise when people learn this, but Puritans took an absolutely positive view of sexuality within the context of marriage. Clergy were encouraged to lead by example and marry and have children, as opposed to Catholic clergy who prized virginity above all else. Through his comedies, Shakespeare was promoting this new way of life which had never been promoted before. The dogma, thanks to the church, had always been “durr hburr women are evil sex is bad celibacy is your ticket to salvation.” All that changed in Shakespeare’s time, and thanks to him we get a view of the world where marriage, women, and sexuality are in fact the key to salvation. 

The difference between the structure of a comedy and a tragedy is that the former is cyclical, and the latter a downward curve. Comedies weren’t stupid fun about the lighter side of life. The definition of a comedy was not a funny play. They were plays that began in turmoil and ended in reconciliation and renewal. They showed the audience the path to salvation, with the comic ending of a happy marriage leaving the promise of societal regeneration intact. Meanwhile, in the tragedies, there is no such promise of regeneration or salvation. The characters destroy themselves. The world in which they live is not sustainable. It leads to a dead end, with no promise of new life.

And so, in comedies, the women are the movers and shakers. They get things done. They move the machinery of the plot along. In tragedies, though women have an important part to play, they are often morally bankrupt as compared to the women of comedies, or if they are morally sound, they are disenfranchised and ignored, and refused the chance to contribute to the society in which they live. Let’s look at some examples.

In Romeo and Juliet, the play ends in tragedy because no-one listens to Juliet. Her father and Paris both insist they know what’s right for her, and they refuse to listen to her pleas for clemency. Juliet begs them – screams, cries, manipulates, tells them outright I cannot marry, just wait a week before you make me marry Paris, just a week, please and they ignore her, and force her into increasingly desperate straits, until at last the two young lovers kill themselves. The message? This violent, hate-filled patriarchal world is unsustainable. The promise of regeneration is cut down with the deaths of these children. Compare to Othello. This is the most horrifying and intimate tragedy of all, with the climax taking place in a bedroom as a husband smothers his young wife. The tragedy here could easily have been averted if Othello had listened to Desdemona and Emilia instead of Iago. The message? This society, built on racism and misogyny and martial, masculine honour, is unsustainable, and cannot regenerate itself. The very horror of it lies in the murder of two wives. 

How about Hamlet? Ophelia is a disempowered character, but if Hamlet had listened to her, and not mistreated her, and if her father hadn’t controlled every aspect of her life, then perhaps she wouldn’t have committed suicide. The final scene of carnage is prompted by Laertes and Hamlet furiously grappling over her corpse. When Ophelia dies, any chance of reconciliation dies with her. The world collapses in on itself. This society is unsustainable. King Lear – we all know that this is prompted by Cordelia’s silence, her unwillingness to bend the knee and flatter in the face of tyranny. It is Lear’s disproportionate response to this that sets off the tragedy, and we get a play that is about entropy, aging and the destruction of the social order.  

There are exceptions to the rule. I’m sure a lot of you are crying out “but Lady Macbeth!” and it’s a good point. However, in terms of raw power, neither Lady Macbeth nor the witches are as powerful as they appear. The only power they possess is the ability to influence Macbeth; but ultimately it is Macbeth’s own ambition that prompts him to murder Duncan, and it is he who escalates the situation while Lady Macbeth suffers a breakdown. In this case you have women who are allowed to influence the play, but do so for the worse; they fail to be the good moral compasses needed. Goneril, Regan and Gertrude are similarly comparable; they possess a measure of power, but do not use it for good, and again society cannot renew itself.

Now we come to the comedies, where women do have the most control over the plot. The most powerful example is Rosalind in As You Like It. She pulls the strings in every avenue of the plot, and it is thanks to her control that reconciliation is achieved at the end, and all end up happily married. Much Ado About Nothing pivots around a woman’s anger over the abuse of her innocent cousin. If the men were left in charge in this play, no-one would be married at the end, and it would certainly end in tragedy. But Beatrice stands up and rails against men for their cruel conduct towards women and says that famous, spine-tingling line - oh God, that I were a man! I would eat his heart in the marketplace. And Benedick, her suitor, listens to her. He realises that his misogynistic view of the world is wrong and he takes steps to change it. He challenges his male friends for their conduct, parts company with the prince, and by doing this he wins his lady’s hand. The entire happy ending is dependent on the men realising that they must trust, love and respect women. Now it is a society that is worthy of being perpetuated. Regeneration and salvation lies in equality between the sexes and the love husbands and wives cherish for each other. The Merry Wives of Windsor - here we have men learning to trust and respect their wives, Flastaff learning his lesson for trying to seduce married women, and a daughter tricking everyone so she can marry the man she truly loves. A Midsummer Night’s Dream? The turmoil begins because three men are trying to force Hermia to marry someone she does not love, and Helena has been cruelly mistreated. At the end, happiness and harmony comes when the women are allowed to marry the men of their choosing, and it is these marriages that are blessed by the fairies.

What of the romances? In The Tempest, Prospero holds the power, but it is Miranda who is the key to salvation and a happy ending. Without his daughter, it is likely Prospero would have turned into a murderous revenger. The Winter’s Tale sees Leontes destroy himself through his own jealousy. The king becomes a vicious tyrant because he is cruel to his own wife and children, and this breach of faith in suspecting his wife of adultery almost brings ruin to his entire kingdom. Only by obeying the sensible Emilia does Leontes have a chance of achieving redemption, and the pure trust and love that exists between Perdita and Florizel redeems the mistakes of the old generation and leads to a happy ending. Cymbeline? Imogen is wronged, and it is through her love and forgiveness that redemption is achieved at the end. In all of these plays, without the influence of the women there is no happy ending.

The message is clear. Without a woman’s consent and co-operation in living together and bringing up a family, there is turmoil. Equality between the sexes and trust between husbands and wives alone will bring happiness and harmony, not only to the family unit, but to society as a whole. The Taming of the Shrew rears its ugly head as a counter-example, for here a happy ending is dependent on a woman’s absolute subservience and obedience even in the face of abuse. But this is one of Shakespeare’s early plays (and a rip-off of an older comedy called The Taming of a Shrew) and it is interesting to look at how the reception of this play changed as values evolved in this society. 

As early as 1611 The Shrew was adapted by the writer John Fletcher in a play called The Woman’s Prize, or The Tamer Tamed. It is both a sequel and an imitation, and it chronicles Petruchio’s search for a second wife after his disastrous marriage with Katherine (whose taming had been temporary) ended with her death. In Fletcher’s version, the men are outfoxed by the women and Petruchio is ‘tamed’ by his new wife. It ends with a rather uplifting epilogue that claims the play aimed:

To teach both sexes due equality

And as they stand bound, to love mutually.

The Taming of the Shrew and The Tamer Tamed were staged back to back in 1633, and it was recorded that although Shakespeare’s Shrew was “liked”, Fletcher’s Tamer Tamed was “very well liked.” You heard it here folks; as early as 1633 audiences found Shakespeare’s message of total female submission uncomfortable, and they preferred John Fletcher’s interpretation and his message of equality between the sexes.

Fucking.

The child naively believes that everything should be fair and everyone should be honest, that only good should prevail, that everybody should have what they want and there should be no pain or sadness. The child believes the world should be perfect and is outraged to discover it is not.

And the child is right.”