let's talk about Bridgerton tea, my ask is open
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@caitlin-elias
seeing my betas chilling and reading my book while i'm actively working on it is the best thing in the world. like y'all are using your free time to give me constructive critiques, grammar edits, and motivation because you want to? ugh i could kiss you i love writers i love readers i love my people
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are you okay i noticed you reblogging "a raven with a damaged wing. it can still fly with ease" again
third trimester really has me making vegan green bean casserole in august. i made green chicken chili and leek and potato soup last week i'm really out here just cosplaying fall
Writer confidence is not a thing you build and then have. It's a thing you have for about eleven minutes after writing something good and then it evaporates and you have to make more. There is no reservoir. There is no saving it up. You produce it fresh each time from scratch like some kind of emotional artisan bread and if you don't write for a few days you run out and have to start the whole process over again from flour.
There’s a certain folkloric idea that if you die at sea, your soul is sort of. Inextricably stuck in the sea. Because your body is irretrievable, your soul is also irretrievable, down out of the reach of the gods who look at the surface of the world. In Norse mythology, they said that the souls of sailors who died at sea are caught in the sea-goddess Rán’s net and dragged into her domain, a distinct and separate afterlife alongside Hel and Valhalla. Davy Jones Locker. The funayūrei. A lot of cultures agree that once sea has a hold on you, even when your body has rotted and dwindled and been made food for crabs, it still won’t let you go.
Do you think we’re going to wind up saying the same thing about astronauts.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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There’s a certain folkloric idea that if you die at sea, your soul is sort of. Inextricably stuck in the sea. Because your body is irretrievable, your soul is also irretrievable, down out of the reach of the gods who look at the surface of the world. In Norse mythology, they said that the souls of sailors who died at sea are caught in the sea-goddess Rán’s net and dragged into her domain, a distinct and separate afterlife alongside Hel and Valhalla. Davy Jones Locker. The funayūrei. A lot of cultures agree that once sea has a hold on you, even when your body has rotted and dwindled and been made food for crabs, it still won’t let you go.
Do you think we’re going to wind up saying the same thing about astronauts.
the thing they dont tell you about learning to "trust the process" is that you forget and relearn it every single time you make a new piece of art. unfortunately there is no cure either
a chart of what i mean for the visual learners in the audience
thank god vampirism is a flexible metaphor
it’s about being queer it’s about surviving assault it’s about alienation and most of all it’s about how everyone who loved you before might not be able to even look at you now, no matter how many times you try to explain that you didn’t ask to die and you didn’t ask for that death to leave you only half-eaten when it got bored of you.
This is without even mentioning the broader metaphorical implications of disease and contagion; foreign invasion; colonial or imperial violence; interpersonal abuse; generational trauma; religious trauma; violent cultural assimilation; repressed or suppressed desire; the fear of no longer being able to recognise or relate to someone you love; and on and on and on.
Vampirism is a flexible metaphor that reflects the anxieties and desires of its age and its authors, and I love that for it!
i just heard the phrase “if you wouldn’t trust their advice, don’t trust their criticism” for the first time and i don’t think i’ve ever needed to hear anything more
And once I was told "if you don't agree with their actions, why do you seek their approval"
screaming, crying, throwing up, as I force myself to write a story i'm very passionate about and love writing and have no obligation to write except that i want to
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Okay, we got a new one, boys.
Close enough welcome back Chekov's gun.
Prev you can’t bury this in your own tags
I also like the idea of showing something as a problem before it’s shown as a strength. Almost every character trait has two sides, and by showing the “bad” side first, it sets things up to not only make sense, but to also be very satisfying.
really specific trope i like that i feel like can only be explained in a diagram
You mentioned your DND friends in the post about your western wip, so I assume you play. I'd love to hear more about your current (or all-time fave) characters if you're willing to share.
All of my current writing projects are just various vignettes and short fictions about my many, MANY dnd OCs, and most of my current friends I made via dnd/ttrgs. So I very much understand the "my dnd friends are the ones who Get Me" feeling.
~ @memento-morri-writes
Hey @memento-morri-writes thank you for the ask! For some reason I don't get notifications for my tumblr inbox so I have nooo idea how long this has been sitting there (I'm very sorry.)
My current character is definitely the one I'm the most attached to! Private investigator Sloan Harding, a changeling warlock with a great old one pact to the Raven Queen, is tasked by their patron to investigate a string of murders happening Khorvaire. Sloan often puts themselves in harm's way in the middle of the battle, because (thanks to the durable feat) they receive visions from their patron when near death. Not to mention they're in love with the Raven Queen's human avatar, a Victorian gothic mortician named Cassandra. So it's kinda like a near-death meet-cute.
*lowkey they are the inspo for the next standalone after my weird western, a gothic alternative fantasy set in magical industrial revolution London, where a changeling shapeshifts themself to cover shifts for workers that are sick or injured on the job, and uncovers a vampiric conspiracy in the process*
Please please tell me about your favorite DND oc's!! I NEED TO KNOW (and that goes for all y'all reading this okay? xoxo)
Okay, hello! I am free from work and have eaten and can finally respond to this for real!
As for how long this has been in your inbox, probably a few months? Since whenever you posted or reblogged the project intro.
As for your character, I absolutely love Sloan so much. Changelings are great, warlocks are amazing, and GOO warlocks are FANTASTIC. Also the idea of being a GOO whose patron is the Raven Queen is very fun. The fact that they INTENTIONALLY put themself near death in order to get visions is so fun and so fucked up. And TRQ having a human avatar who's a mortician is SO cute.
And that upcoming WIP sounds awesome!!!
As for MY D&D OCs, I have a lot. Too many, tbh. Here's a link to an intro of the characters/campaigns who are most relevant / have been around the longest / have had the honor of getting prose written about them. And HERE'S a link to my D&D writing masterpost! Here's a link to an intro post on my personal blog (where I post most of my D&D stuff) that talks about some more of my characters/campaigns that I haven't written about yet / haven't made it onto the post on this blog. (And there's still some characters that haven't even made it on there yet. Specifically my own Great Old One warlock.)
If there's any that you're particularly curious about, please let me know! There's almost nothing I love more than talking about my babies (especially Rook and Carrion, but Avra and Morana are up there too).
If anyone sees me on here before the end of the month, unless its to message my beta readers, feel free to smack me. I need to shut up and write.
Someone tell me to stop research agents before the book is even done because I was going to pay an agent for development edits only to find out she's incredibly unprofessional and has dropped a bunch of clients. I was about to push myself 10x harder to get the draft done before August to submit to her before querying in Sept, and now I feel completely deflated.
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one of my worst writing sins is abusing my power to create compound words. i cannot write the sentence "The sun shone as bright as honey that afternoon." no. that's boring. "The sun was honey-bright that afternoon" however? yes. that sentence is dope as fuck. i do not care if "honey-bright" is a word in the english dictionary. i do not care if the sentence is grammatically correct. i will not change. i will not correct my erred ways. the laws of the english language are mine.
Not a sin at all!
This is what's called a poetic epithet, and it happens all the time in writing. Consider, for example, Homer and his wine-dark sea, or Shakespeare and his death-mark'd love.
If you were then to start using them instead of the word they're describing, you'd be making a kenning. For example, if instead of describing the sun as honey-bright, you said "the honey-drop in the sky". Kennings are best known from Norse writings, like "the path of serpents" for gold, or "Grímnir's lip-streams" for poetry itself.
So you're not sinning, you're participating in an ancient literary tradition!
Your dialogue is stiff because everyone is being too honest
Great dialogue can come from radical emotional honesty. But in most real conversations, people
dodge questions
answer indirectly
lie (badly)
change the subject
crack jokes to avoid serious answers
lie (convincingly)
say half of what they mean
tell the truth but get so anxious/angry/defensive others now think they're lying
If your dialogue feels unnatural, it might be because everyone is saying exactly what they think, or articulating their thoughts too well. Try letting characters hide things instead.
Subtext is where tension lives.
