First of all, WHOA, people did the thing, that is SO NOVEL, y’all are AWESOME, way to help me procrastinate.
Okay, so, ANYWAY.
12: (truth) What are your five favorite girls’ names and five favorite boys’ names? (dare) Copy and paste the 14th line of text from the last document you worked on in Word or Google Drive.
I’m going to go dare because…uh…otherwise it would take thought. “It
hurt,” Jupiter Two protested, and
their hushed tone trembled with humor.
but they remember everything. They forget appointments and anniversaries, but remember what you wore, how you smelled, on your first date… They remember every story you’ve ever told them - like ever, but forget what you’ve just said. They don’t remember to water the plants or take out the trash, but they don’t forget how to make you laugh.
Writers are forgetful because they’re busy remembering the important things.
when I start feeling insecure about my lack of creativity when it comes to naming things I like to think about how Victor Hugo wrote a novel about poverty and the sociopolitical struggles of 19th century France called The Miserables and called the lead character John Mcjohn
So I wrote a short story that I’ve been posting on here bit by bit (I WILL POST THE NEXT SECTION, I SWEAR TO GOD) and I happened to have written it for a class and I brought it in to be critiqued and I just. I can die happy, because I straight-up witnessed a room full of Very Serious Critical Authors (yes I am a little derisive of my Very Pompous College Peers) get into a violent ship war. It escalated to shouting, the teacher looked horrified, and at least two people had brought in copies of the story annotated to support their ship–and these two came in armed and loaded for bear. Or heteronormativity, but same difference.
And so after class I came back to my dorm room and burst through the door and announced to my roommate:
“I have thrown the golden apple of ambiguous lesbianism among the masses and war has broken out.”
And honestly I’ve never been so proud of a sentence that ever came out of my mouth.
So my time is running down to bitch about this writing class (I CAN SEE THE LIGHT AT THE END OF THE TUNNEL, THE END OF THE YEAR IS SO CLOSE, GOD, I CAN PRACTICALLY TASTE FREEDOM) and I need to get some stuff off my chest here. An open letter to my class under the cut for ranting and cursing and general miscellaneous bullshit.
Why is it that evil villains always find poison to inject into their victims like just literally fill the syringe with air and just stick the needle between their toes or something. It’ll mimic a heart attack and the victim will die pretty quick and NO ONE WILL ASK MANY QUESTIONS BECAUSE IT’LL LOOK LIKE A HEART ATTACK
first of all how do you know this information i feel like the government doesnt want you to know that
But what if the princess was in the tower because she was the dragon?
Like the queen gives birth and oops it’s this adorable little scaley lizard with tiny wings that she can never quite seem to fold right
None of the King’s advisors or doctors can explain it, no one can remember anyone who might have cursed the royal family, plus sire she’s clearly yours still I mean look at those eyes
They just kind of accept it and keep her in a tower so no one tries to slay her
The queen or castle servants reading bedtime stories to the toddler princess, who’s made a nest of her favorite toys and some jewelery she stole off her mother, and when she laughs little puffs of smoke come out of her mouth
The king being so proud when she flies across the room for the first time
And once the princess comes of age, confused knights breaking into the tower to find a twenty foot long dragon sitting at the vanity getting her horns polished by her handmaidens
and the “kidnapped” princess is her girlfriend?
this feels like a minotaur myth gone amazingly right.
Okay, who brought this back? Because I haven’t seen notes on this thing in literally months.
She goes flying around the surrounding kingdoms, just watching and listening.
And pretty soon she has a dozen girls sharing the tower with her.
Some were being pushed to marry, or promised in marriage to someone they hated. Some were already married.
Some were poor, or hunted, or enslaved.
Some were thrown out, abandoned, banished.
There’s a princess there, yes, one who would rather sit in the solar and read books than marry a boorish prince and interact with her subjects all day.
There’s a wizard-student who fled her university after one of the professors tried to curse her for disagreeing with him.
There’s a girl who ran away to be a knight, and a girl who was thrown out for being pregnant, and a wife who ran out the door with her toddler carried in her broken arms, her belly swollen and unwieldy, and stories circulate from the bar the next day about how the dragon swooped down and stole away a man’s wife.
Probably ate her, he says. Good riddance.
There’s a formerly-wealthy merchant wife, cast out by her husband in middle age so he can wed someone young and pretty.
There’s an elderly grandmother who’s outlived her family and her usefulness.
A street child, rag-clad and starving. A baby, left abandoned on a hillside.
It begins to filter through the land, spoken from fathers to daughter, husbands to wives, employers to servants: if you are bad, the dragon will take you. if you are stubborn, or willful, or refuse to marry, the dragon will find you. if you are useless, or slovenly, or disobedient, you will be thrown out and the dragon will pluck you up in its claws and take you back to its lair filled with bones.
They do not understand that this is not a threat but a promise.
They do not know that the version their servants tell each other, their wives tell their daughters, their mothers tell circles of friends, is “if you are desperate, the dragon will find you. if you want out, the dragon will rescue you. if you pause outside, and tell your fears to the soft beating of wings somewhere in the sky, you will fly, and the dragon will carry you home.”
There are bones, but they are surrounded by living flesh.
The tower, the Princess’s Tower in the central kingdom, is hidden by the finest spells and left alone by longstanding tradition. The nature of the Princess’s curse is a matter of speculation, but most likely, people say, she is under some fairy’s enchantment, and she will sleep for a hundred years until the right prince finds the way in.
The wizard-student was fairly advanced in her studies, and is quite good at teaching the runaway scullery-maid and the young unmarried mother turned out when her belly showed. The gates to the far reaches of the tower grounds open to a hillside two kingdoms away, and to an alleyway in a major city, and to a deep tideswept cave near a fishing village and a harbor, and to a storage room in the oldest wing of the Princess’s home palace.
The rich former merchant’s wife sorts through the dragon’s hoard of gold and gems, and delivers instructions to the runaway postulant and the worn old farm wife; dressed as a young clerk and a common tradesman, they go to call on this merchant who sets the best prices, and that factor who has misplaced goods available for a low price, and this manufacturer of looms and that seller of books.
The farm wife knows the best sheep to buy at market, the ewes who will bear twins and the lambs which will have the finest wool. Another country over, this time in the company of “his” elderly “father,” she buys cows that will give good milk, and chickens that will lay good eggs.
An elderly wizard visits a university, and inquires after their library; she is let in, and watched as she pages through books filled with arcane topics in languages she can’t understand; back at the tower, the wizard girl and her students capture the pages in a scrying crystal.
A pretty young fishwife smiles at the vegetable-seller as her daughter clings to her skirts, and soon the girls and women of the tower have seeds to plant. Looms hum, and dyestuffs are boiled, and even the poorest in their former lives wear bright dresses, or breeches and tunics if they prefer.
The dragon brings back a pirate woman from the harbor, stolen from the hangman’s noose while the crowd cheers; she knows where there is treasure stored, and soon the young girls have gems to play with, and the girl who ran away to be a knight has someone to learn proper swordwork from.
The little girl whose first flight was in her mother’s broken arms wants to be a blacksmith; when a swordblade breaks, the dragon breathes on it, as long as needed, while the child determinedly hammers it back together.
The dragon princess surveys her kingdom with approval. It is small, and tonight she will fly over a small town, where she heard breaking crockery and yelling last night, to see if someone steps out into the darkness and wishes for a better life, and tomorrow there may be one more.
It seems like the first rule of magic, or at least the first limitation mentioned, is usually ‘you can’t bring back the dead.’
And I know it makes sense from a writing standpoint, but I also wonder if it comes from somewhere else. If that’s just the first, most common human response to hearing that magic is possible.
Maybe the first question was, ‘Are the dead still going to stay dead?’ for so long that people stopped needing to say it, that it just got answered right away. Yes, the world will still hurt. Chin up, you can make fire from your fingertips. Maybe you can hurt it back.
Anonymous asked: “What would be the best way to write a character who develops PTSD? She was abducted for a couple of weeks, and I thought it’d make the story more realistic. She’s a pretty strong character, but I’m also stuck with how her colleagues, especially one who’s particularly close to her, could help her.
This is a very good question. Writing a character with a psychological disorder can be confusing and difficult at first, it is definitely not impossible.
A tip you often hear is, “Write what you know.“ That’s great, but sometimes you want to write something that you don’t know. Rather than producing a very inaccurate/unrealistic depiction of a serious mental disorder, it’s best to learn everything you possibly can about it. That said, I’m glad you asked!
I want to give you something to chew on:
Fiction is the means by which we can escape reality by immersing ourselves in it.
You are taking on the task of creating a character who develops a very human disorder, because you want it to be true-to-life, to be realistic. Great! Realism is a worthy aspiration. I’d be worried if a character who was abducted for two weeks showed absolutely no signs of damage from the experience.
The first thing I would encourage every writer to do—no matter what kind of character you are creating—is research. Always, always, research. We have an article pertaining to writing mental disorders. Hopefully that can answer some parts of the question, so once you’ve read that, proceed (or ignore us and proceed anyway)!
In this article, we will try to examine writing PTSD specifically, starting with how to research psychological disorders. Yes, that was plural. It is possible for a person to have more than one psychological disorder after experiencing a trauma. That is why it is important to brush up on a variety of disorders related to PTSD. You want to pinpoint the character’s symptoms so you can best depict her experience with the disorder.
Find someone qualified. Do you know anyone (family/friend/acquaintance) who is a qualified social worker/therapist/counselor/psychologist? If you do, reach out to them. They not only possess experience in working with people who have psychological disorders, they can fact-check the realism of your story.
Find someone who lived/lives it. If you know someone who is willing to talk about his or her PTSD, that person would be a terrific resource for you. Be very careful, however, of the way that you approach the treatment of a person’s mental disorder, especially in a dialogue face-to-face. Prepare specific questions, vet these questions through another person who knows your resource personally to be sure that they don’t cross a line, and remember that, while you strive to write something fictional, your resource actually lived/lives their trauma. Behave yourself and be respectful.
Google! Search terms like “Post Traumatic Stress Disorder,” “Mental disorders,” and “Survivors of assault”. It’s important to learn about the disorder itself, and the people who actually experience(d) it. There are support groups online. We don’t want to say infiltrate them, but there are good resources and first-hand accounts of experiences with it that may benefit your writing.
Read up. Books covering a wide range of mental disorders can be found in most any book store–the most famous being the DMS-IV-TR. Self-help books are also a valuable place to look, although PTSD is best when treated with help from a trained professional. See also: Every TV show that brings in counselors after a traumatic event occurs. Not everything you see how TV is accurate, but that part is at least worth watching.
Researching the disorders in question will allow you to consider your character more realistically, which leads to more realistic writing.
Secondly, you need to research your character. That must sound odd, because unless this is a fan fiction piece and you can look up a backstory or biography, your character is original, a.k.a. created by you. Trust me, you’ve got plenty to do.
Questions to ask yourself on this front:
What was the character like before the abduction? Was she very outgoing and gregarious? Shy and reserved? Understanding your character is key in terms of understanding how she will react to trauma. Let’s take a look at the meaning of psychological trauma, as explained by Dr. Kathleen Young:
Psychological trauma is the result of extraordinarily stressful events that shatter your sense of security and result in you feeling helpless, alone and vulnerable in a dangerous world. (x)
This is important because experiencing trauma in any case causes a change in the victim. It can impede the emotional development in adolescents, and snap an adult into a depressed, sometimes child-like state. You want to show that change in the character. Perhaps, your character is facing the hardships of piecing herself back together in the aftermath of the abduction – being “strong” as she was, the experience will undoubtedly be a blow to her perception of herself.
What’s the character like after the abduction? How do you show these changes? In many cases, the effects are obvious (anxiety, nightmares, etc.) There will be more subtle differences as well. For example:
Eva Mendez Kor, a Holocaust survivor (check out the documentary, Forgiving Dr. Mengele.) She experienced PTSD after her experiences in Dr. Mengele’s despicable twin research endeavors. Friends and family notice long-term effects from the trauma she sustained at Aushwitz. These include: a heightened sense of resourcefulness and never leaving her plate with food left on it.
So, maybe your character is more alert of her surroundings, more jumpy, very sensitive to what are called “triggers” or, things that can set off the disorder such as; yelling, being touched, hearing about abductions, hearing a phrase or term used by her abductors, etc.
Now for that close friend of your character’s. Support is very important to the recovery from a disorder like PTSD. I would encourage you to go through the same research process that I outlined for researching the disorder to find resources on what a loved one can do to help a friend coping with PTSD.
A couple of suggestions:
Can this person be a confidant? Maybe he/she is the first person your character really opens up to about the abduction – that’s a great way to show that there is trust in the relationship.
Is this person silently observant? Maybe this person takes special note of the changes in her character after the abduction and they have some kind of “unspoken trust” about it, where the moment she begins to falter, the friend is at her side.
Or, of course, whatever you think of as an alternative.
Once you are equipped with all of your shiny new knowledge about your character and PTSD, the next feasible step is to write! Implement what you learn into your story.
“This is your daily, friendly reminder to use commas instead of periods during the dialogue of your story,” she said with a smile.
“Unless you are following the dialogue with an action and not a dialogue tag.” He took a deep breath and sat back down after making the clarifying statement.
“However,” she added, shifting in her seat, “it’s appropriate to use a comma if there’s action in the middle of a sentence.”
“True.” She glanced at the others. “You can also end with a period if you include an action between two separate statements.”
