what the heck

Back then, we began building Ellipsus out of a simple belief: writers deserve a place to create, collaborate, and share their work without handing over their words, their data, or their creative process to bad actors and Big Tech—a promise that matters now, more than ever.

Nearly 600k writers and counting are writing on Ellipsus because of this promise. We see everyday how writers are rejecting Big Tech's data mining model in favor of tools that respect user privacy and reflect our values.

We’re a small full-time team building, maintaining, supporting, and improving the tool every day. And to keep doing that sustainably—without compromising the promises that brought people here—we’re introducing Ellipsus Plus.

Plus is a set of optional features on top of free Ellipsus, designed to help fund the continued development of Ellipsus for everyone, free and paid; while helping us stay independent, ad-free, and working to improve the tool well into the future.

That means the Ellipsus you know is staying free: you can keep writing with unlimited documents, drafts, collaborators, and core features. Free Ellipsus will continue to receive updates, improvements, and new features too, including major work already planned (like offline syncing and native apps).

Plus features have been designed alongside community feedback, our pricing shaped by our users around what felt fair and sustainable.

Every Plus subscription leads to ultimate ownership of the tool. Not metaphorical ownership, but real ownership, including all future updates to the Plus plan. No endless subscriptions. Once you’ve paid, it’s yours. Really.

Our introductory Plus features are designed to be fun, creative, practical, and help you get the most out of the tool! We really hope you enjoy them. Here’s a quick overview:

Custom themes

Make your writing space feel like home with custom themes! Use any colors, gradients, images, or .gifs you love. Share with friends and readers. The choices are infinite.

Writing Insights

See insights into your writing process and spot patterns faster across ten AI-free metrics—like vocabulary diversity, sentence length, sentence rhythm, word frequency, and more. Writing insights are opt-in only, and run on local data, so your text never leaves the editor. 

Customizable Snippets

We all love snippets! Now you can give your words an extra personal touch. Customize your snippets with media backgrounds (GIFs, images), fonts, text colors, and custom themes—you can even add byline credits for authors and characters!

Emboss

Emboss is our AI-free proof-of-work layer for human writing. Show your readers the time, labor, and love that went into your work. Instead of relying on unreliable “AI-powered” “verifiers” that judge a piece after the fact, share your writing journey, with authorship metrics that help inspire trust. You can also show how your work evolved with snapshots of your version history. Emboss is fully opt-in.

We hope you’re as excited about Plus as we are! Try Plus free for 7 days, no payment required. You can read more (and sign up!) on our Plus page.

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Have questions about Plus? We’re hosting an “Ask the Team” doc where we’ll be answering your burning questions. Please make comments there! Now please, go forth and explore!

Like the command says "You Must Not Wet Your Hands With This Specific Substance", and there's one faction that has decided that since it's practically impossible to not ever touch the thing, your hands won't be touching it if you're wearing gloves. Another sect has decided that it doesn't count if you only handle the substance when it's frozen solid, so your hands don't get wet from touching it. A third one has figured out how to obtain or produce some substance that is essentially identical in every way, but has a slightly different chemical structure, so it's not the same substance.

There are going to be days (or weeks, or months) where you sit down to write and feel... disconnected. From your voice, from your characters, from your ideas. Like the person who used to write your stories just packed up and left.

They didn't. They're just tired. Here's how to keep writing anyway:

Lower the bar (Until it's on the floor) You are not here to write something brilliant. You are here to write something. A paragraph. A sentence. A single line of dialogue. Movement matters way more than quality.

Write around the story Don't force it. If you can't write the scene, try: ⋆ A character ramble / journal entry ⋆ A conversation that won't be included in the final draft ⋆ A list of things the character would never admit out loud ⋆ A messy summary of what should happen Engage with the story from a different angle.

Borrow a voice until yours comes back No, not with AI. Read something that feels close to what you want to write, or watch a scene that captures the tone, then write immediately after. Not to copy, to reignite your instincts.

Write the emotion, not the plot. What is your character feeling in this moment? What are they afraid of? What do they want but won't say? What's being kept from them? The emotion leads, the plot catches up later.

Stop trying to "feel like a writer" first. You don't write when you feel like a writer. You feel like a writer because you write.

Advice for Writing Characters: Design, Arcs, and the Role of Plot

Warning: hella spoilers for my Doctor/Amy/Rory 'verse because that's what I'm using as examples for this writing breakdown of sorts.

First off, thank you so much for the compliment to my writing! I have worked so hard on my characterization over the years and it means a lot to hear that you liked it.

But onto the actual writing breakdown:

So I'm going to sound like every basic English teacher you've ever had to suffer through with this opening piece of advice, but it really is about practice making perfect. I wrote disastrous dialogue/characterization when I started out writing in 2014 (when I was 14). Looking back at my old characterization it's hot garbage. Dead awful.

But I have improved a lot over the years. A lot of that has to do with about my ability to sit down and re-watch episodes over and over again and find the right music to listen to, but a lot of it also has to do with the three things I always look to/think about when writing characters.

To be honest, I still have my weaknesses as a writer. I don't always like writing settings and I'm still improving on my action scenes and my intimacy scenes but my favorite things to write have always been a good extended metaphor and diving into character POVs. I write because I like exploring characters. There's a reason why the most popular additional tags on my ao3 account look like this:

I love writing character-driven stories. Plot comes as a secondary device to link the character moments for me and not vice-versa (though I'm not gonna lie, I can occasionally come up with a decent plot twist, ala the Master, Clara-River-Ytroswinasleen, or Bill/Clara reveals). Writing characters is about exploring what threads twist themselves together to compel the character/story forward, whether that be backstory, current stressors, or what their motivations are to go forward.

For example, with the Doctors it's easy to explain because they're divided by era. To talk about Eleven, you have backstory: the ENTIRETY of Ten's character arc hope from Rose -> guilt/grief from losing her -> Martha/Donna helping him believe in himself/find joy again -> grief from losing Donna -> Time Lord Victorious leading into Adelaide Kane/him finally doing one kind thing for Wilf. Then, as shown in the only good moment in Let's Kill Hitler, his guilt over everything he did to those three. Then you have current stressors: the sheer loneliness he feels after regenerating alone/isolating himself, the guilt he feels after "abandoning" Amy as a child/leading to Rory's death, and the ever-present knowledge he has with every companion that humans do have a tendency to die/leave him.

Backstory and current stressors tend to play off of each other to lead to future actions, aka: Eleven freaking out and assuming that Amy and Rory will leave him after the baby is born and trying to cut them loose before he can or later, after we establish the Martha&Jack&the Master of it all (and the guilt that he still feels after how Ten handled All That Shit), it makes sense that he might go a little Time Lord Victorious when you find out that the Master was behind River's kidnapping because the Doctor finally has a family to get protective over.

And this is all just from one character point of view! It's also about how characters bounce off of each other- my absolute most favorite part of writing. It's what creates the most interesting parts of the story. When you have Rory's desire for a family/desire to do-no-harm/loyalty hitting up against Amy's desire to keep her family safe/the established ferocity of her love/her willingness to face danger in the face and not blink hitting up against the Doctor's fury of a time lord/guilt over doing things wrong the last time/desire to make things right not just for Martha and Jack and himself, but for Amy and Rory and River, things are bound to get not just messy but satisfying when you have Rory look the Doctor in the eye and tell him that he can't take that choice out of people's hands in the end. That the Doctor has to give River and Amy the choice that the Doctor didn't give Martha and Jack regarding the Master before.

Characterization is as much about a satisfying arc as it is digging into a character's mindset. As much as I love writing "character studies," that's only half of the battle when it comes to writing. Yes, you need to know where your character's head is at. But you also need to understand where they were and where they are going. Learning to figure out a satisfying bend to that curve is one of the greatest tools in an author's toolbox. I am constantly aiming to create as satisfying an arc as I can for every character, and this is usually the bit that fumbles most writers. You can come up with the coolest character design and then make their arcs either boring (sadly the case with a lot of Thirteen's companions in canon) or unsatisfying as hell (the case with Rory, River, and Amy's canon character arcs) because you don't plan them out well enough or just start and stop them within a single episode (everything regarding Mel/River Song in Let's Kill Hitler is a fantastic example).

The great thing about fanfiction is that since there are no limits for number of words or length of installments, I can throw words on the page regarding insights I have and figure out the order or how/where they fall later. I can rearrange episodes and give myself plots to bounce off of to develop characters. Because this is where plot comes in: it can give you an opportunity to explore a character in not just how they see themselves, or how they react to each other, but how they react to being challenged by their circumstances. That's how you get great moments in this series like exploring Eleven/Thirteen's unresolved loneliness with the Planet Sanatorium arc or Amy figuring out how to stop the mummy because of her own experience with war or Rory responding to the poisonous hallucinations or Amy getting closure by Eleven popping up as the voice interface or Thirteen seeing Rose in the Solitract or Amy's slow Doctorification thanks to how she reacts to Solomon/the TARDIS-as-Idris/the mummy/the pocket universe in Hide/the prison break situation or Bill figuring out the flesh in the database. You can only go so far with character motivations/their relationships with each other when you don't see how they react to conflict/challenge/separation. You can, however, use the challenges to directly lead into character arcs.

As a final example of all three elements coming together (motivation/character design, character interaction, and plot as challenge), I'll use Thirteen/Amy/Rory's arc. You don't get Thirteen, Amy, and Rory making up at the New Year's wedding if you don't have the arc of trust between them. The Cybermen are used entirely and only as a device to show their characterization/development off as characters. When they first appear, you get a glimpse into how the hundred-year separation has affected Thirteen and how her anger/fear/protective instinct go just as deep as Eleven, if not further, but also how she isn't sure if she can trust Amy/Rory yet, while you also get to see Amy's faith in the Doctor contrasting Rory's doubt but also the nuances of his position (loving her but not trusting her because she has revealed that Eleven didn't trust them). This leads into the Chameleon Arch plot which gives you Bill (my beloved) but also a view into Rory's changing opinion, both Amy and Rory's own development and their ability to hold their own, and the fact that the Doctor trusts them with her life. Then we get It Takes You Away and the realization that the Doctor would stay with Amy and Rory over anything, even Rose, then the wedding scene (kisses! rings! comms! Dr. Pond!). But then the Judoon come back after the Cybermen issue, prompting the TARDIS crash/the multidoctor fic where you get a stark contrast between Eleven at his worst and Thirteen at her best (fantastic place to explore characterization) where you also get to see Rory finally get closure/see that that he really does trust Thirteen. Then Thirteen giving herself up to the Judoon to protect innocent people AND because for the first time in the entire series she completely and fully trusts Amy and Rory to save her. The Cybermen as a villain don't truly matter in the end, other than some really fun imagery and exploring a bit of the mind control angle/just how far Thirteen is willing to go for Amy and Rory. It's about how Thirteen running against them provides the structure of sorts for her, Amy, and Rory's developing characters (and, hell, Bill, for that matter, regarding the Chameleon Arch/prison break plot), just as the Master provided an obstacle/structure for Eleven/Amy/Rory working through their own arcs.

...Whoops. That was a lot of writing. I'm almost sorry for all of that. But I hope that the three-step process made sense! I also recommend reading analysises of characters (and for a show like Doctor Who, I read analysises from both pro-Moffat and Moffat-critical blogs, same as with Chibnall) and just rewatching the show! You don't necessarily have to take notes or anything, just kind of take in thoughts you might not have thought of otherwise! For example, I got a lot from @tenmartha, @orpheustwelve, and @variousqueerthings, all of whom had completely interesting and different takes on Eleven, Amy, and Rory as canon characters!

Hope this gave you a good view into the process or even some advice for your own writing, and I hope you continue to enjoy my writing! (Right now I'm currently working on a much shorter, five-chapter AU to the end of Season 3 where Riley from "42" travelled with the Doctor/Martha for the last six episodes of Season 3, using these same three rules to explore the growing dynamic between Ten, Martha, and Riley, if you're interested.)

we're looking to create an AI policy, and when we were talking about this, my boss (older millennial) was genuinely shocked to hear that younger people do not (seem) to view AI positively (a la the recent commencement speakers being booed)

please rb for larger sample size!

Question 1/3

Thank you for helping with this data collection. Please rb for as big a sample as possible!

And who helped me with that? Not people calling for some nebulous revolution. Not people telling me that the system was useless. Not people preaching at me to grow my own food. It was a church food bank partially funded by the state of Texas that some southern hippies donated a bunch of Whole Foods nonsense to.

And you know what? I’m sick and tired of defeatism. What can we get done right now, huh? Are you gonna accept something a bit better to help people right now or are you waiting for your perfect utopia to come to you?