Home   •   Inbox   •   Archive   •   tags   •   twitter   •   livejournal   •   AO3   •   Theme Credit
July 2014
23
Via   •   Source

When I attended CatalystCon this spring, I received a lot of advice from older female sex writers, many of whom encouraged me to be careful as I started my career. I was just too young to understand the ramifications of my decisions, one woman in her early 50s stressed. I did not want to brand myself with a scarlet letter this early in the game. Her advice, while well intentioned, scared the shit out of me. But then I actually thought about the undercurrent of what she had said. It was a maternally protective gesture marked by fear: others will judge you for writing what you write, and you need to anticipate that.


Well I don’t want to anticipate that. I don’t want to accommodate a culture that will slut-shame me for writing thought-provoking, eloquent, and yes, sexy fiction and nonfiction. If my solid resume of clips and internships with gender and sexuality oriented publishing houses means I will not get a job I am fully qualified for in the future, fuck that.One of the central reasons I write feminist erotica is to change the culture, not to jack it off while comfortably existing within its patriarchal hang ups.

July 2014
13
Via   •   Source

If writing novels is like planting a forest, then writing short stories is more like planting a garden. The two processes complement each other, creating a complete landscape that I treasure. The green foliage of the trees casts a pleasant shade over the earth, and the wind rustles the leaves, which are sometimes dyed a brilliant gold. Meanwhile, in the garden, buds appear on the flowers, and colorful petals attract bees and butterflies, reminding us of the subtle transition from one season to the next.

 - Haruki Murakami (via writersrelief)
#writing   
July 2014
07
Via   •   Source

thenearsightedmonkey:

For your summer grooving pleasure from Marlys!

#halloween   #writing   
July 2014
04
Via   •   Source

Because so much of fantasy takes place in settings that in no way resemble the real world, featuring species that in no way resemble human, fantasy writers often have trouble dealing with regular people. This is something that, I think, isn’t as much of a problem for mainstream writers, because they can simply describe the world around them and come up with a reasonably accurate representation of humanity. They can also fall back on the plethora of real-world terms used to describe human beings, racially and otherwise. But using these terms makes no sense if you’re dealing with a world that doesn’t share our political/cultural context. You can’t call someone “African American” if your world has no Africa, no America, and has never gone through a colonial phase in which people of disparate cultures were forcibly brought together, thus necessitating the term in the first place.

That said, it’s equally illogical to populate your fantasy world with only one flavor of human being, which is what far too many fantasy stories default to. Granted, many fantasies take place in confined cultural spaces — a single small kingdom in a Europeanish milieu, maybe a single city or castle within that city. (But how did that castle get its spices for the royal table, or that lady her silks? What enemy are the knights training to fight? Even in the most monochromatic parts of the real Ye Olde Englande, I can guarantee you there were some Asian traders, Sephardic or Ashkenazic Jewish merchants, Spanish diplomats or nobles partly descended from black Moors, and so on.) I get that lots of countries on Earth are racially homogeneous, so it makes perfect sense that some fantasy settings would be too. But whiteness is the default in our thinking for Earth-specific cultural/political reasons. So while it’s logical for fantasy realms to be homogeneous, it’s not logical for so many of them to be homogeneously white. Something besides logic is causing that.

So. It’s a good idea for all fantasy writers to learn how to describe characters of color. And I think it’s a good idea to learn how to describe those characters in subtle ways, since they can’t always rely on Earth terminology. Now, doing subtle description increases the chance that the reader might misidentify the character racially — and to a degree, I think there’s nothing you can do about that. You’re working against a lifetime of baggage in the reader’s mind. But you can still insert enough cues so that when combined, they’ll get the idea across.

 - N.K. Jemisin, blogging on Describing Characters of Color for Magic District.  (via audreymgonzalez)
June 2014
22

fille-lioncelle replied to your post: magdalyna said:I think this count…

I have on occasion wondered that too!

The funny thing is that I’ve NEVER wondered it, and now I’ve been thinking about it intensely for a couple of hours since I got this ask!  Not about George POV specifically, but why I write narratives with feelings as colors.  It’s definitely not supposed to be synesthesia, though, it’s just… I don’t know, the best way to describe feelings, I guess, for me.  I have no idea!  Now I want to know, too!

#fille-lioncelle   #**   #writing   
June 2014
22

magdalyna asked

I think this counts as a Genisis question but it could fit for most of your George stuff - do you write him as having Synesthesia or is the descriptively lush flow a style choice?

That’s actually REALLY interesting and I’ve never thought about it before!  No, I don’t write George as having synesthesia, but you’re totally right that I’ve tended to write him as inhabiting headspaces that correlate emotions with colors.  I’ve never really thought about it specifically, because in my head that’s just how I write narrative, but it does seem to be more pronounced in the way(s) that I’ve written George.  It’s just a style choice, I guess!

#genesis   #writing   #magdalyna   #**   
June 2014
12
Via   •   Source
humansofnewyork:

A glimpse into the journal of a (quite intelligent) 16 year old girl. Photographed, with permission, in Central Park. 

humansofnewyork:

A glimpse into the journal of a (quite intelligent) 16 year old girl. Photographed, with permission, in Central Park. 

June 2014
04

I GOT INTO THE HAMLINE MASTER OF FINE ARTS FOR CHILDREN (AND YOUNG ADULTS) WRITING PROGRAM!

I GET TO STUDY YA LITERATURE UNDER E.LOCKHART!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

(AND OTHER AMAZING PROFESSORS LIKE SWATI AVASTHI AND ANNE URSU AND GENE LUEN YANG!!!)

YOU CAN TELL I’M EXCITED BECAUSE OF ALL OF THE EXCLAMATION POINTS!!!

May 2014
26
Via   •   Source

silentstep:notbecauseofvictories:therobotmonster | moniquill | siderealsandman | friendlytroll | prokopetz | mikhailvladimirovich | bogleech |

It’s funny how science fiction universes so often treat humans as a boring, default everyman species or even the weakest and dumbest.

I want to see a sci fi universe where we’re actually considered one of the more hideous and terrifying species.

How do we know our saliva and skin oils wouldn’t be ultra-corrosive to most other sapient races? What if we actually have the strongest vocal chords and can paralyze or kill the inhabitants of other worlds just by screaming at them? What if most sentient life in the universe turns out to be vegetable-like and lives in fear of us rare “animal” races who can move so quickly and chew shit up with our teeth?

Like that old story “they’re made of meat,” only we’re scarier.

HOLY SHIT THEY EAT CAPSAICIN FOR FUN

YOU GUYS I HEARD A HUMAN ONCE ATE AN AIRPLANE.

A HUMAN CAN KEEP FIGHTING FOR HOURS EVEN AFTER YOU SHOOT IT

humans are a proud warrior race with a pantheon of bloody gods: Ram-Bo, Schwarzenegger, etc.

REMOVING A LIMB WILL NOT FATALLY INCAPACITATE HUMANS: ALWAYS DESTROY THE HEAD.

WARNING: HUMANS CAN DETECT YOU EVEN AT NIGHT BY TRACKING VIBRATIONS THROUGH THE ATMOSPHERE

WARNING: HUMANS CAN REPRODUCE AT A RATE OF 1 PER SPACEYEAR. DESTROY INFESTATIONS IMMEDIATELY

THE HUMAN MOUTH HAS OVER THIRTY OUTCROPS OF BONE AND POWERFUL JAW MUSCLES.

HUMAN BITES CAN BE FATALLY INFECTIOUS EVEN TO OTHER HUMANS

WARNING: HUMANS CAN AND WILL USE IMPROVISED WEAPONS. SEE CLASSIFIED DATA LABELED J. CHAN.

HUMANS CAN PROJECT BIOWEAPONS FROM ALMOST EVERY ORIFICE ON THEIR BODY. DO NOT INHALE

OH GOD THE HUMANS FIGURED OUT DOOR HANDLES OH GOD OH GOD

More seriously, humans do have a number of advantages even among Terrestrial life. Our endurance, shock resistance, and ability to recover from injury is absurdly high compared to almost any other animal. We often use the phrase “healthy as a horse” to connote heartiness - but compared to a human, a horse is as fragile as spun glass. There’s mounting evidence that our primitive ancestors would hunt large prey simply by following it at a walking pace, without sleep or rest, until it died of exhaustion; it’s called pursuit predation. Basically, we’re the Terminator.

(The only other animal that can sort of keep up with us? Dogs. That’s why we use them for hunting. And even then, it’s only “sort of”.)

Now extrapolate that to a galaxy in which most sapient life did not evolve from hyper-specialised pursuit predators:

  • Our strength and speed is nothing to write home about, but we don’t need to overpower or outrun you. We just need to outlast you - and by any other species’ standards, we just plain don’t get tired.
  • Where a simple broken leg will cause most species to go into shock and die, we can recover from virtually any injury that’s not immediately fatal. Even traumatic dismemberment isn’t necessarily a career-ending injury for a human.
  • We heal from injuries with extreme rapidity, recovering in weeks from wounds that would take others months or years to heal. The results aren’t pretty - humans have hyperactive scar tissue, among our other survival-oriented traits - but they’re highly functional.
  • Speaking of scarring, look at our medical science. We developed surgery centuries before developing even the most rudimentary anesthetics or life support. In extermis, humans have been known to perform surgery on themselves - and survive. Thanks to our extreme heartiness, we regard as routine medical procedures what most other species would regard as inventive forms of murder. We even perform radical surgery on ourselves for purely cosmetic reasons.

In essence, we’d be Space Orcs.

Our jaws have too many TEETH in them, so we developed a way to WELD METAL TO OUR TEETH and FORCE THE BONES IN OUR JAW to restructure over the course of years to fit them back into shape, and then we continue to wear metal in out mouths to keep them in place. 

We formed cohabitative relationships with tiny mammals and insects we keep at bay from bothering us by death, often using little analouge traps. 

And by god, we will eat anything. 

  • We use borderline toxic peppers to season our food. 
  • We expose ourselves to potentially lethal solar radiation in the pursuit of darkening our skin. 
  • We risk hearing loss for the opportunity to see our favorite musicians live. 
  • We have a game where two people get into an enclosed area and hit each other until time runs out/one of them pass out
  • We willingly jump out of planes with only a flimsy piece of cloth to prevent us from splattering against the ground. 
  • Our response to natural disasters is to just rebuild our buildings in the exact same places. 
  • We climb mountains and risk freezing to death for bragging rights
  • We invented dogs. We took our one time predators and completely domesticated them. 
  • On a planet full of lions, tigers and bears, we managed to advance further and faster than any other species on the planet. 

Klingons and Krogan and Orcs ain’t got shit on us

We drink ethanol (in concentrations high enough to be used as an effective as microbicide or a solvent!) for the express purpose of achieving blood toxicity and disrupting normal brain function… AS A RECREATIONAL ACTIVITY!

On the same subject, we also deliberately incinerate assorted substances and then inhale the particulate-heavy smoke and vapor resulting for the same effect. EVEN IN THE FACE OF SAID SUBSTANCES BEING CARCINOGENIC, BECAUSE WE JUST DON’T GIVE A FUCK.

Humans do not have biological castes. Kill their commander and another will take its place. Soldiers left alone on a planet will start farming and manufacturing to survive. Farmers and manufacturers will take up arms and kill you if pressed. Just because two humans look different doesn’t mean they cannot do each other’s jobs.

Breeding does not kill them. A single human can mate dozens or hundreds of times in a lifetime. They often do so as recreation. Xenobiology team six believes they do not have a mating season but this is too strange to be true.

Their appendages are not designed for hitting, so they developed special training to make them very good at hitting anyhow. 

The proteins making up their bodies are toxic and cause prion disease. Do not touch anything humans have touched. Do not consume earth foods. Fire does not adequately remove this contamination.

Humans perceive sixteen times the colors we do. Do not hide in bushes or vines from humans. They can distinguish your pelt from the foliage with ease.

We tried venting waste gas into the tunnels to kill the humans when they attacked. Turns out they breathe it. 

Everything on their planet came from a single biological strain. They developed comprehensive genetics BEFORE they developed space travel. 

They lack radio receptors and cannot be brought into compliance with right-thought simply by broadcasting to them. Even after we learned how to translate it into sound-waves one of their hatchlings drove the Great Authority mad by responding to every demand with a single question: “Why?”

#an individual human being is actually a microbiome in its own right—you are dealing with a legion each time you approach them     #they carry pathological agents inside their deep tissues and this is advantageous to their health     #one of the most widespread and resilient viruses on their planet is treated as mildly hazardous—even though it causes     #massive disruption to the body’s homeostasis     #(their young offspring endure multiple rhinovirus infections EACH YEAR yet they seem unperturbed by this)     #they have developed such long lifespans that now their primary threat is their own body’s degeneration     #humanity has literally figured out how to survive so long that their body gives out under them     #and they are not satisfied with that     #stupid willful vengeful survivalists who treat mortality like a challenge     #sarah’s ongoing love letter to humanity     #(this is my favorite post of all time I swear)    (via notbecauseofvictories)

#i love this   #scifi   #writing   
May 2014
16
Via   •   Source

Adults look at the children’s books of their youth with nostalgia. The Secret Garden, they remember, is a beautiful story of a girl and a boy who transform themselves as they transform a garden, and also there’s a robin. They don’t remember that Mary Lennox’s parents are selfish and awful and leave her to be raised by servants, that they and the rest of her household die in a cholera epidemic, that she is found in the house alone. And they don’t remember that Mary is completely obnoxious, and that the tragic death of Colin’s mother has ruined both son and husband. That light at the end of the secret garden is earned, not through sentimentality, but through tragedy and struggle. That’s why it’s a classic.

#ya lit   #mg lit   #kidlit   #books   #writing   #media awareness   #death tw   #illness tw   
May 2014
11
Via   •   Source

REBLOG IF YOU ARE A WRITER ON TUMBLR

pimp-eridan:

IT DOES NOT MATTER WHAT KIND OF WRITER YOU ARE YOU CAN BE WRITING: POEMS, FANFICS, IDK NORMAL FICS, NOVELS, SHORT STORIES, IDK ANYTHING!! JUST REBLOG!!!

#writing   
May 2014
04
Via   •   Source
fixyourwritinghabits:write-like-a-freak:rashaka:



SO FUCKING TRUE

Okay, I want to talk about this. This will also be known as “Why I Say Things Like ‘Help My Characters are Mutineers’”
I have no idea what prompted this tweet, or if it was within a conversation, but just based on the above statement (and statements/arguments I’ve heard from others), I’m going to discuss this weird character/writer relationship.
You’ll often hear me complaining about how my characters don’t behave, how they take control of my story, blah blah blah. You’ll hear a lot of writers say that. 
But I’m not sure why people get so frustrated and say “You’re the writer! You control the character. Stop saying the characters are out of your control!” (And I’m not saying that’s what the tweet above is tonally implying, but the sentiment is the same)
And, like, yeah, the characters are in my control. I can write them however I like. But often writing my characters how I like would be dishonest to who they are. What follows is purely my personal experience with writing and characters. Some other writers have very similar experiences, some have very different experiences. It’s cool—we chill
When I begin writing, no amount of planning a character—prostrating them over a character profile or dissecting them via a chart of personality traits—allows me to really get a feel for a character. That’s just how I am. As I write a character, actively write her, she reveals herself to me. So as we go along, I am discovering her just as the reader will discover her.
Now, the character is in my head, obviously. She is a mixture of my conscious and subconscious, just as the above tweet implies. But often conscious and subconscious are dynamic and complex. They are each layered and fluid and ever-conversing. 
I often learn things about my character’s backwards. My character goes to a restaurant and has to order food. What would he order? I ask myself—and the answer is obvious right away. Grilled chicken and vegetables. Then I stop and think (because my default is to stop and think), Okay, why did he order grilled chicken and vegetables? And I realize that it’s because he’s a health nut and grilled chicken/vegetables is a meal that is extremely low in fat and bad carbs, and very high in protein/nutrients.
Now, what happened just then was some complex interaction between my conscious and my subconscious where my subconscious processed a lot more information than my conscious did and spit back out its conclusions only after I probed it. (If that doesn’t make sense, it’s okay)
Maybe I’d been planning on that character eating a lot of unhealthy food that then made him throw up so that I could put him in the right situation for the plot to progress as I’d planned. But then, as I was writing, as I was discovering more about my characters, I realized that wasn’t realistic. My character heard me tell him to stuff his face, politely yet insubordinately said ‘no,’ and although I could still make him eat unhealthy food, it would be dishonest. That’s not who he is. And, as I’ve only just discovered that, I now have to rethink everything.
It feels like my characters are moving around without my consent. To an extent, they are. As I take in knowledge and experience and as I exercise  intimacy with my characters, they grow. They change and become more real and dynamic and complex, often without my knowledge. That’s what I mean when I say my characters aren’t behaving. And that’s why there’s really very little I can do about it.

There is a huge difference between learning more about your character in the process of writing as you go on and putting yourself in a position where you ‘can’t control the character’ because ‘they won’t do what you want.’ The difference, mainly, is in how you think about it. Yes, you will learn more about your characters and yes it will change your story, but you the writer are always the one putting that to page. You do, in fact, still control your character.If the character does or says something because it’s in character, it’s your job to fully lay out the consequences of that. If those consequences aren’t what you want or messes up your story, go back and change the situation the character is in. Find another way. YOU are in control.

fixyourwritinghabits:write-like-a-freak:rashaka:

SO FUCKING TRUE

Okay, I want to talk about this. This will also be known as “Why I Say Things Like ‘Help My Characters are Mutineers’”

I have no idea what prompted this tweet, or if it was within a conversation, but just based on the above statement (and statements/arguments I’ve heard from others), I’m going to discuss this weird character/writer relationship.

You’ll often hear me complaining about how my characters don’t behave, how they take control of my story, blah blah blah. You’ll hear a lot of writers say that. 

But I’m not sure why people get so frustrated and say “You’re the writer! You control the character. Stop saying the characters are out of your control!” (And I’m not saying that’s what the tweet above is tonally implying, but the sentiment is the same)

And, like, yeah, the characters are in my control. I can write them however I like. But often writing my characters how I like would be dishonest to who they are. What follows is purely my personal experience with writing and characters. Some other writers have very similar experiences, some have very different experiences. It’s cool—we chill

When I begin writing, no amount of planning a character—prostrating them over a character profile or dissecting them via a chart of personality traits—allows me to really get a feel for a character. That’s just how I am. As I write a character, actively write her, she reveals herself to me. So as we go along, I am discovering her just as the reader will discover her.

Now, the character is in my head, obviously. She is a mixture of my conscious and subconscious, just as the above tweet implies. But often conscious and subconscious are dynamic and complex. They are each layered and fluid and ever-conversing. 

I often learn things about my character’s backwards. My character goes to a restaurant and has to order food. What would he order? I ask myself—and the answer is obvious right away. Grilled chicken and vegetables. Then I stop and think (because my default is to stop and think), Okay, why did he order grilled chicken and vegetables? And I realize that it’s because he’s a health nut and grilled chicken/vegetables is a meal that is extremely low in fat and bad carbs, and very high in protein/nutrients.

Now, what happened just then was some complex interaction between my conscious and my subconscious where my subconscious processed a lot more information than my conscious did and spit back out its conclusions only after I probed it. (If that doesn’t make sense, it’s okay)

Maybe I’d been planning on that character eating a lot of unhealthy food that then made him throw up so that I could put him in the right situation for the plot to progress as I’d planned. But then, as I was writing, as I was discovering more about my characters, I realized that wasn’t realistic. My character heard me tell him to stuff his face, politely yet insubordinately said ‘no,’ and although I could still make him eat unhealthy food, it would be dishonest. That’s not who he is. And, as I’ve only just discovered that, I now have to rethink everything.

It feels like my characters are moving around without my consent. To an extent, they are. As I take in knowledge and experience and as I exercise  intimacy with my characters, they grow. They change and become more real and dynamic and complex, often without my knowledge. That’s what I mean when I say my characters aren’t behaving. And that’s why there’s really very little I can do about it.

There is a huge difference between learning more about your character in the process of writing as you go on and putting yourself in a position where you ‘can’t control the character’ because ‘they won’t do what you want.’

The difference, mainly, is in how you think about it. Yes, you will learn more about your characters and yes it will change your story, but you the writer are always the one putting that to page. You do, in fact, still control your character.

If the character does or says something because it’s in character, it’s your job to fully lay out the consequences of that. If those consequences aren’t what you want or messes up your story, go back and change the situation the character is in. Find another way. YOU are in control.

April 2014
27
Via   •   Source

Anonymous asked

I've seen a lot of pressure on tumblr for writers to include colored people in their works. But I find it a burden, because I have no idea how to write them! I also don't see anywhere they could fit in, my books are about sophisticated people, usually rich, intellects and royalty. And I don't think it would market very well because readers don't care about the ghetto life :/

thewritingcafe:

Is…is this a joke?

I’ve answered a question similar to this before, but I’m going to break down your message and go all out because people still aren’t getting it:

"include colored people"

It’s 2014. Why are people still using “colored”? If you’re not black, do not use this word. It has a negative and derogatory history. The preferred and inclusive term is POC, which stands for “person of color”. Common related terms are WOC: woman of color, MOC: man of color, QPOC/QWOC: queer person/woman of color, and COC: character of color.

"But I find it a burden, because I have no idea how to write them!"

Writing a character with a skin tone other than yours is not some big mystery or a chore. You are writing a character. Just like any other character, they should have a personality, a background, likes, dislikes, development, faults, and a part in the story. However, you still need to research characters of color in fiction for various reasons. Go through the “characters of color” tag on my tags page to educate yourself and do some of your own research.

my books are about sophisticated people, usually rich, intellects and royalty.

A person’s intelligence is not defined by race. However, in a racist society, a person’s race or culture may affect their access to education and it may affect how educators see them or treat them. The Ann Arbor decision is an example.

Sophisticated people are knowledgeable and experienced. What makes a person sophisticated varies by culture. They are often stylish, refined, organized, confident, and have manners. Anyone can be sophisticated.

People can acquire wealth in many ways. It could come from luck (the lottery, oil on their property, etc.), their career or business, or inheritance. While race can, unfortunately, affect a person’s chances of getting a job and their pay, wealth is not exclusive to white people. I don’t know where you would get an idea like that.

Royalty is worldwide. There have been kings, queens, princes, princesses, noble people, emperors and empresses, and other rulers found everywhere. If you’re thinking about European royalty in the past, POC have married into European royal and noble families.

And I don’t think it would market very well because readers don’t care about the ghetto life :/

I really don’t have anything to say other than the obvious “not all black people live in a US ghetto” when it comes to that assumption.

There is an audience for stories that talk about life among communities that would be considered a “ghetto”, but you are not the person to write it. That much is obvious from your message. People come from different backgrounds and that background can be anything in fiction, especially in fantasy and sci-fi.

Readers want to read good stories and good characters,but they also want to see people like themselves in stories because representation matters:

This doesn’t end with race. Maybe if I had seen a male bisexual or gay character who was not portrayed as being murdered or hurt because of his sexuality, who was not used as a punchline, who was not a stereotype that I felt I had to live up to, and who was not subject to other forms of homophobia, biphobia, and bi erasure, then maybe I wouldn’t have spent five years freaking out about being bisexual and maybe I wouldn’t (to this day) be afraid of bringing up the subjects of bisexuality and representation (outside of the internet) due to not knowing how other people around me might react. I can’t even talk about it with my parents or any straight people I know.

Straight people are either afraid of writing queer people because they don’t want to mess up or they don’t want to write queer people out of spite, hatred, or ignorance. Queer people are afraid of writing about their experiences because of the discrimination they face and because they haven’t seen themselves in mainstream media and therefore believe that it is not “marketable”. This cycle continues until someone steps up and challenges this system. The same thing happens with race. When this cycle is broken, the people who are receiving this media can be inspired, can have higher self esteem, and can be more confident in who they are. This doesn’t mean this cycle is completely broken. It’s far from being completely broken.

Now, when you say:

I’ve seen a lot of pressure on tumblr for writers to include colored people in their works. But I find it a burden, because I have no idea how to write them! I also don’t see anywhere they could fit in, my books are about sophisticated people, usually rich, intellects and royalty. And I don’t think it would market very well because readers don’t care about the ghetto life :/

you are saying:

"I see these people as inferior, whiny, and not worthy of representation because they have not proven their humanity to me, because they are so different that I cannot possibly relate to them, and because their feelings of anger, fear, and other negative emotions as a result of bad representation, or lack thereof, make me feel guilty."

*I’d like to add more to this previous post of mine because you mentioned the same thing as the anon in that post and because I forgot to add this bad analogy to the other post:

Let’s say you’re in math class and you just cannot understand what is going on. You get frustrated, you give up, and you fail. But, let’s say you go in for extra help and your teacher helps you see it a different way. Your teacher may be angry about this, maybe because they’ve explained it so many times and students aren’t getting it or maybe because they’re tired, but you can go elsewhere for help too. You can go to a previous teacher, you can look it up online, you can look in your book, you can ask a friend, or you can see a tutor.

Suddenly you understand it. You may be excited to do it because you now know what to do, where you went wrong before, and what not to do. Then you see your classmate having trouble as well and you decide to help them. They end up understanding it and the great pressure to pass the class will be lifted because you understand what you are doing. And even if you make a few mistakes at first, there will be overall improvement and your teacher will be more willing to help you fix those tiny mistakes. Later, when half the class fails the test and your teacher sits down in disappointment, you know that your teacher is not mad at you specifically because you passed the test. Maybe after that you’ll start a study group to help other people, which will raise your grades while also relieving your teacher of frustration and making the class more enjoyable for everyone.

The same effect applies to writing misrepresented and underrepresented groups. If you understand the problematic portrayals, the stereotypes, the effects of bad representation, and what not to do, you will know how to write these characters and you will want to write these characters. You will show other people that they can do the same. You won’t be under this pressure because you took the steps to lift it.

April 2014
24

deceptivedirection asked

Hiiiii! (I already sent you this question a week ago or so, but I think it might have got lost? Sorry (//: ) You're my fave fic writer and a big inspiration ♥ I was wondering if you could talk a bit about the writing process in your collabs with Lucy? Like, do you meet up or do you Skype or do you just write a part each or what else? I'm really interested because I tried writing with a friend but it didn't quite work out... hope you've got some tips! Love you xx

Thank you so much!  I don’t remember seeing an ask from you, so I think it did get lost. :(

Lucy and I have never met in person!  We’ve also only heard each others’ voices once!  We write together on Skype.  We alternate sentences or short passages of lines, and that works great for us.  But when I wrote with Zee, we wrote on GDocs and would write paragraphs or scenes back and forth. I personally prefer Skype to GDocs because it flashes when something has been added, but there are pros and cons to both.

I think co-writing methods are probably really dependent on your actual relationship with the person you’re writing with.  There are people I LOVE and get along with SO WELL but we just can’t write together… but the first time I ever spoke to Lucy, we wrote that first Harry/George fic!  So it all depends.