worldwatcher-d
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Latest Posts by worldwatcher-d
YOU!! YES, YOU!! GO WRITE THAT FANFIC YOU THINK NOBODY BUT YOU WILL READ!!
Why Haven’t You Killed Your Character yet?
A couple of years ago, I wrote a post during NaNoWriMo titled “Make Your Deaths Mean Something.” It’s the most popular post I’ve ever written (on this blog or any of my other blogs) and I was looking at it the other day and decided it was time to look at the other side of the discussion. You need to get your act together and kill your character.
I’m probably the worst person to write about killing off characters since it’s not something I do often in my own writing, but I think my perspective can help you and maybe help my own writing as well. So let’s talk about the benefits of a good death in your narrative.
Killing a character can start a story
This is a bit of a cheat, but I can’t resist using it. In the Princess Bride, we meet Inigo Montoya. (I know this isn’t a story about Inigo alone, but stick with me here.)
When he is a small child, Inigo’s father is killed by a mysterious man with six fingers on his right hand. Inigo swears vengeance and dedicates his life to learning the art of sword fighting. If the Princess Bride were just about Inigo, then this would be the start of the book/movie.
A better example might be found in The Graveyard Book by Neil Gaiman. (Hope you don’t mind the reference @neil-gaiman.) In that story, a shadowy figure enters a house to kill everyone inside. His quest is successful, except for the youngest member of the family. This small child manages to crawl out of the house and finds his way to the cemetery where is adopted by the ghosts that live there. This is also the beginning of his quest for vengeance.
Killing your character can advance the story
Were you one of the people that were upset when Dumbledore died? I don’t get that. Dumbledore’s death made the story that much better. Until that moment in the series, Harry treated the head of Hogwarts like a crutch. Dumbledore had all the answers and explained every important plot point. (And stole Harry’s candy, but only that one time that we know of for sure.)
It was the death of Dumbledore that made Harry realize that he needed to strike out on his own and take an active approach to fighting Voldemort instead of just hiding out in “safe houses.” (Remember those Dementors? Feels quite safe doesn’t it?)
Another good example is Luke Skywalker in A New Hope. If his aunt and uncle hadn’t been wiped out, in the search for R2D2 and C2PO, he might not have left his home planet with Obi Wan. Where would Star Wars be then?
Remind people that your story is similar to reality (even if it isn’t completely true)
Even in the most unusual of tales, we need to have a way to connect to the reality around us. Without some form of connection, your readers won’t be able to get into the story.
Consider Alice in Wonderland and Through the Looking Glass by Lewis Carrol. (Keep in mind that they are very different stories and worlds.) Carrol manages to create bizarre worlds with a narrative flow that can be confusing to many readers. So why is this story embraced by so many readers, writers, directors, and producers?
It’s because there’s something in these books that people can connect to. We all know someone like the Red Queen, full of bluster and shouting. We’ve dealt with an overly educated egghead like Humpty Dumpty. Regardless of the bizarre natures of the characters, they are familiar to us.
Oh yeah, death- so the point I’m trying to make is that death is a thing that happens and having a death in your story can bring your narrative back to reality, at least for a moment or two.
Change the character dynamics
Let’s say you have a group of characters you have been working with. There is a group dynamic that they share. What happens when one of those characters is gone from the group? That changes who the group is and how they relate to each other.
This happens frequently with television shows. Let’s consider Buffy the Vampire Slayer. How many romantic interests does Miss Summers have that die to create a change in the story. (and it’s not just Buffy that has this happen-not Tara!) When not overused, this can be an important way to address issues tht are often associated with dying. (brevity of life, mortality, unfairness, injustice, etc)
Give your story some extra meaning
Be careful with this one. You can’t just kill a character and then expect it to mean something. Death is a thing that happens and it is meaningful, but it doesn’t mean as much if you don’t know the person. Consider the difference between the following scenes.
Rebecca looked at her watch and then looked up the tunnel. She was going to be late. Where was her train? The familiar change in pressure signaled the arrival of another train. She heard a shout and turned towards the sound in time to see a tall lanky many dressed in an baggy suit step off the platform in fall in front of the train.
now this one
Kelly looked at her watch and looked up the tunnel. He was going to miss the train. She’d been waiting here for ten minutes now and her brother still hadn’t shown up. She heard a shout and turned to see what was happening. It was her brother running towards her. She ran to meet him, but the crowd was moving forward as the train approached. Brian was pushed forward by the crowd until he was at the edge of the platform. she watched as he lost his footing and fell in front of the train.
Now this was a bit of a cheat since we really don’t know much about either Kelly or Rebecca, but hopefully you get the point. The first death is a complete stranger to the character and so there is less meaning to it, but we can attach some meaning to the death of Kelly’s brother right away.
Add a sense of immediacy
Your character(s) have a goal to accomplish, or they had better have one. Even in the most dire of situations, you might get complacent and get distracted by non essential concerns. Sometimes the death of an important character in the story can motivate the remaining characters to get back on track.
Consider the graphic novel, Watchmen, (or the movie if you missed out on the GN) Almost all of the vigilantes have given up on their quest to fight crime after all the complications of the politics of vigilantism. It is the death of the Comedian that causes them to don their masks anew and search for the answers they have been ignoring. There is a sense of need that was missing from their lives before now.
Show they mean business
So far we have only talked about deaths that impact the story line because they are a point against your main character, but what about your character trying to prove a point? We haven’t thought about that have we? There’s no reason your character has to be such a goody two shoes that they can’t use death to make a point of their own, right?
Let’s look to comic books again for this one. Consider some of comic’s most popular antiheroes (I’m thinking the likes of Wolverine, the Punisher, and Deadpool to name a few.) They take the initiative to make their point and intentions clear with the use of a death or two if they have to, and sometimes even if they don’t.
Wrap up
We could go on forever with this topic, but I think that’s enough for now. Hopefuly this will give you some motivation to go out there and kills some characters. As always, let us know if you have any other questions.
Request~ short comic in which luffy cooks for his brothers but it looks horrible and ace and sabo stomachs the food because they love lu too much
who let this boy into the kitchen
Any tips you’d give to other pantsers/discovery writers?
hi anon!
so without much ornamentation, let me tell you this: being a pantser/discovery writer doesn't make you any less of a writer. it doesn't make you less passionate, serious, or committed to writing. you are a writer if you're writing; you are one even if you're only brainstorming or carrying a few characters in your head. you are a writer if somewhere in your heart you feel like you are one. don't let anyone tell you otherwise!
now for a few tips to help you feel less confused and alone in the process of writing your book –
it is okay to not know where you're going. the journey you're embarking on will be beautiful beyond your expectations, so try to loosen up a little and let go of your anxieties.
if you're still anxious, try to take it one step at a time. you don't have to constantly be thinking about the ending/destination. try to figure out what lies right in front of you. what's the next scene? what's a character relationship that you want to explore? what dialogue would you like to include? take small steps that will eventually lead you to the end and be mindful of them.
expect to be blank. sometimes, you can be completely out of tune with your book and it doesn't mean it's going to be like that forever. writing your book is important but it's equally important to take breaks, listen to music or watch shows that remind you of your book, stay hydrated, eat that meal, reward yourself for the things you've done, and do nothing.
when things aren't working out, let it rest for some time. a fresh brain is essential for a pantser because you need so much headspace (or bandwidth as i like to call it) to be able to daydream your own book into existence.
do not laze around too much. if you're a pantser, you might fall into the trap of just waiting for the muse to hit you, but the truth is, it won't. get started on the book, sit down to work on it, immerse yourself in the world as much as you can. make an effort to bring your story to life.
allow yourself the time it needs to write your book. it is okay if you can't write a book in thirty days. or months. or years. every story needs its space and every writer takes their time. don't rush it.
being a pantser means you're testing out the waters as you go, so here's a little pat on the back for being brave and strong and unapologetically you!
– ann.
Some advice as a discovery writer is to outline.
I update my outline after every scene because I make everything up as I go and change everything, but I need to know where I'm going in order to know how to start a scene.
Only do the major plot beats if you really can't outline, but try it. Some benefits may include:
Strong pacing
Confidence in scenes
Knowing your subplots
Foreshadowing
Less editing
Less writer's block/easier to overcome
It can also take a bit of practice and finding what works best for you, writing doesn't have rules.
My goal for this year is to take everything I've learned over the last 15 years, put it together, and start working towards publication. With that in mind, I've been doing some research into magazines that pay for fiction.
I figured it might be of interest to others, too, so I wrote a short article with links to the relevant magazines submission guidelines to streamline the process.
One of the best writing advice I have gotten in all the months I have been writing is "if you can't go anywhere from a sentence, the problem isn't in you, it's in the last sentence." and I'm mad because it works so well and barely anyone talks about it. If you're stuck at a line, go back. Backspace those last two lines and write it from another angle or take it to some other route. You're stuck because you thought up to that exact sentence and nothing after that. Well, delete that sentence, make your brain think because the dead end is gone. It has worked wonders for me for so long it's unreal
Reign's Writing Tips
Pt 1 - General advice
I just want to say first, as a disclaimer, that I don't regard myself as the authority on 'good' writing, I've just gotten quite a few people asking for help and people expressing curiosity for my creative process.
Please don't consider this as a checklist and feel like you're doing things wrong, this is just a way for you to get a sense of where to begin and conceptualise where you'd like to be. We're all on different paths and those paths are not more or less valid than others.
This guide will include examples from my own works and hypothetical ones, using only written fics (smaus have their own guide, please find it in my navigation). This also doesn't tackle how to write fanfiction specifically, just general fictional writing.
These are formatted based on the questions I received in my messages and inbox.
Content:
༯ How to show and not tell ༯ How to write dialogue ༯ How to increase word count and why you might want to ༯ Other advice ༯ Paragraph structuring ༯ Punctuations ༯ How to fix up typos ༯ How to get better generally ༯ Final disclaimers
How to show and not tell!
༯ Beginner writers, and indeed, established ones too, often forget the very important rule of showing and not telling. This rule, of course, refers to the idea of building up descriptions or hinting to a certain thought so that the readers may reach that conclusions themselves.
༯ It's important you trust your readers to be able to follow along on their own. Sometimes if you tell them what to think it can cause a disconnect between your writing and them.
༯ This is also a good way of varying your sentences and not coming off as repetitive.
Emotions
༯ Let's go through some examples via the art of expressing emotions.
Example: Pathetic piner!Gojo
Pathetic piner!Gojo asks, voice rough and distorted, “Did you sleep with him? Do you love him?”
༯ Here, we can see that there is no definitive emotion asserted. I didn't write 'Gojo asks, upset' or 'Angry, Gojo asks'
༯ Instead, I am describing his voice. Using the adjectives 'rough' and distorted' allows the readers to figure out for themselves how he's feeling without being too simplistic.
༯ Often, expressing emotion in this way is better than simply saying he's sad or confused because those words can't capture the complexity of his feelings.
༯ Now, let it be known that it can be just as good to be direct about a character's feelings. It is simply all about intention. What are you trying to convey here?
༯ Another important thing to note is that if your work is written in a certain narrative voice, i.e. first person, you should limit information to what that character could only know realistically.
༯ In the context of the above example, it is 'y/n' who is perceiving Gojo, thus it would only make sense that they'd have a limited understanding of how exactly Gojo is feeling. So, instead of them catching on immediately that he's upset, they instead can only note down these things that are out of the ordinary.
༯ Use body language to describe their emotional state.
More examples:
The corner of his mouth curved up = smiling, finding humour in something
His brows furrowed = confusion, concentration, tension
Her lips pursed = dissatisfaction, barely restrained anger
Hand flexed, jaw ticked, teeth bared = anger, thoughts of violence
Sniffled, bottom lip trembled = about to cry, sad, trying not to be
How to write dialogue!
༯ Vary your sentence structures
Example: Homecoming
“Sorry, Si.” He swings his arm around the back of your thighs, encouraging you to straddle him. “You just look so good.” He hums, letting you get settled in his lap whilst he rubs his thumb over the skin of your hip almost as if he can’t help himself. “Can look as much as y’ want, lovie. ‘m all y’rs.”
༯ You can have speech at the beginning and at the end of a paragraph. Not in the middle though — it's messy and confusing if written in the middle because the dialogue gets lost in the paragraph (but note that you can do as you please. It's just one of those 'rules' that aren't really 'rules')
༯ You also don't need to use say/said and other variations of that. It's enough to simply have the speech enclosed.
༯ A good rule of thumb when using say/said/other variations is if there's something significant about the way in which it was said.
Example: A Cursed Forest
His amber eyes cut through yours, and with disdain, he orders, “Finish your food, and do not question me anymore.”
༯ Here, I introduce the speech with 'orders' to show that Sukuna (the character referred to as 'he') is not speaking kindly or like they are equals. It reasserts the power imbalance between the two characters. I also say that it is being said 'with disdain' to emphasise the tension between them, to give some kind of understanding as to his feelings towards the other character.
༯ It is also a way for me, as the writer, to add depth to the other character: she is able to recognise disdain because she has faced it her entire life.
༯ Another thing to be aware of when making dialogue is restrict one paragraph to one character's speech. Please don't do multiple people speaking in one section. It's very messy, confusing and not 'proper.' Again, if that is how you like things, perfectly fine! It's your style, but if you care about doing things 'right' then yeah, one person's speech per paragraph please.
How to increase the word count!
༯ I didn't actually know to phrase this so I'll just yap about what I mean
༯ There are going to be instances where you'd like to space out dialogue so it's not coming off like a script.
Example:
He said, "You need to do your homework." "I don't want to." "You must, young lady." "Says who?" "Go to your room!"
༯ Try to avoid, as much as possible, having lots of clusters of these one sentence conversations.
༯ Once in a while is fine and can be effective in expressing something like the speed at which these words are being exchanged, exploring their tense dynamic.
༯ But if snappiness isn't what you're going for and you find that you're having lots of these clusters then fill the spaces between dialogue with details and descriptions.
Example:
Tired yet insistent, he said, "You need to do your homework." "I don't want to." "You must, young lady." Clare's father was always nagging at her. She thought it unfair, considering she had just turned sixteen and ought to be treated like the young lady that she was. Capable and intelligent, she could decide for herself how she was to spend her evenings. "Says who?" "Go to your room!" He roared. Her legs took her upstairs faster than she could process the fright he had given her. Never in all of her life had her father ever raised his voice like that; she knew not what to do. He was a mild-mannered man, not timid or passive, but rather, calm and rational. To see him in a fit of rage so volatile, shook Clare's constitution to no end that night.
༯ Use body language descriptors, describe the weather, the room they're in etc.
༯ What are the characters seeing and experiencing?
༯ Don't write it as if you're a fly on the wall if you've taken on a specific pov. Embody the character. See what they see, hear what they hear, feel for them. They aren't 2D characters, bring them to life with anecdotes, with thought processes, anxieties and fears.
༯ Another instance where you'd like to fill up the word count might be if you're trying to give the sense of time passing.
Example: In Sheep's Clothing
“Well, you should still afford me the decency of leaving my home when asked.” “Your home? Didn’t know the old lady gave it away.” You gulp, clutching the thick blanket even tighter. “You knew my grandmother?” He grunts. Well aware you really ought to kick him out, you’re ashamed at the realisation that you can’t bring yourself to. It’s awfully terrible outside and there’s no doubt the elements would claim him if he he’s left out with no shelter. And if he wanted to kill you, he could have done that before. And at any rate, it’s too late to do anything about it now. He knows you’re alone and there’s nowhere you can run to before the snow freezes your limbs. “Is it good?” You ponder. Settling back down onto the sofa, you just watch him eat. He’s grabbed a second helping.
༯ This example is actually not the final product. It was my first draft where wolf hybrid!toji is eating and conversing with a woman/y/n he has found himself stuck with during a snow storm.
༯ I thought it awkward in showing that he's eating. Sure, it could seem like he's eating really fast but it felt unrealistically fast, even given the context so I knew I wanted to fill in the space.
༯ Instead of talking on and on about how he's eating, I chose to dedicate this section with y/n's thoughts.
༯ One, descriptions of someone eating gets boring very fast
༯ Two, it would be extremely unrealistic for reader to just accept that this man will be staying with her with just one paragraph of thinking.
༯ Three, the concept of being hybrid needed to consistently matter in the story. So I chose to fill the details with exposition on that aspect of the story
Here is the final product:
“Well, you should still afford me the decency of leaving my home when asked.” “Your home? Didn’t know the old lady gave it away.” You gulp, clutching the thick blanket even tighter. “You knew my grandmother?” He grunts. Well aware you really ought to kick him out, you’re ashamed at the realisation that you can’t bring yourself to. It’s awfully terrible outside and there’s no doubt the elements would claim him if he he’s left out with no shelter. Though, that really shouldn’t be your responsibility and there is still, of course, the glaring concern of his ability to kill you. One sweep of his figure and you know this towering man, tall and muscular, could snap your neck with one hand. Or worse. Not to mention, he’s a hybrid. You can tell by the twitching of his ears and his nose, like he’s hearing and smelling things inscrutable by the human senses. You wonder what he is. He has no triangular ears or fluffy tail like a dog, he doesn’t have eyes like a cat, no scales that you can see, but his teeth, when he scrapes them along the spoon, you know they’re much sharper than you’d like to ever find out. If he wanted to kill you, he could have done that before. And at any rate, it’s too late to do anything about it now. He knows you’re alone and there’s nowhere you can run to before the snow freezes your limbs. Settling back down onto the sofa, you just watch him eat. He’s grabbed a second helping, enjoying the meat more than the potatoes and carrots in there but that’s expected of a man. It does mean, though, that he’s not a herbivore hybrid. You wonder if he likes the taste of a woman’s flesh. “Is it good?” You ponder.
༯ Hopefully, in this example you can get a sense of how 'rambling' can be useful in delivering specific effects.
༯ Note: too much dialogue can be bad. We need description and details to fill up the mind. Don't be afraid to give the details you'd like to give if you think it's important.
༯ Alternatively, not enough dialogue can also be bad. Too many thick paragraphs can disengage a reader and many people look forward to dialogue because it's much easier to process than chunks of information.
Other advice!
Paragraph structure
༯ Vary your paragraphs with one sentences and longer sections. Having too many thick paragraphs can be quite boring. Apart from aesthetics, these different length sections can provide a function.
Example: Lying To Himself
The guys at work know better than to open their fat mouths around him when he turns up with an extra wrinkle and a ticking in his jaw. Toji is somehow even more sadistic and violent and eager for blood. Even finally accepts their invitation to go out for drinks and drowns himself in the extra strong shit. Assuming he just woke up on the wrong side of the bed, they don’t question his sour mood. But what they don’t know is that you texted, just a day before you’re set to come back, to let him know you’re staying another week. Fucking texted. Didn’t even get to hear it from your own voice.
༯ Longer paragraphs can cluster all these actions, detailing the things Toji has gotten up to and summarising how an unspecified time has passed. By condensing his days into one decently sized paragraph, a reader can gain the sense that his days have been monotonous and repetitive without even needing to read every part of it.
༯ The short, two word line is impactful and has been separated from the paragraph before it to deliver the punchiness. Here, Toji is angry. You can get this a) from the swear word but also from b) the fact that it's a two word sentence.
༯ It mimics the way one would grit out as they repeat information they dislike. Readers can very easily picture his face and his mental/emotional state just from two words.
༯ Another thing is to vary your paragraph openings.
A bad example:
He walked up to me, upset and clearly with choice words to deliver. No one else in the diner spared him a second glance. But I have no choice. I'm shaking with fear. He looks ready to punch me. The way his hand is balled into a fist is damn near pushing me to piss my pants. Surely, he wouldn't hit me here, right? There are witnesses. It would be stupid.
A better variation of this:
Walking up to me, upset and clearly with choice words to deliver, no one else in the diner spares him a second glance. But I have no choice. Fear shakes me from within. He looks ready to punch me. Hand balled into a fist, I'm damn near pushed to the edge of pissing my pants. Surely, he wouldn't hit me here, right? Witnesses are around us. Stupid. It would be stupid. Right?
༯ Words like he/she/they/the/it/then are overused sentence openers. They are perfectly fine to use, of course. I am not saying avoid them altogether.
༯ What I am saying, however, is change it up to make it interesting.
༯ Begin a sentence with an action verb like walking rather than simply 'he walked.'
Punctuations
༯ Try to use semi-colons, colons and dashes but read up on how to use them correctly. It's easily Googled. It's not a major issue, it's just a way of varying your writing and making it more interesting.
༯ When using quotation marks, commas and full-stops go before the quotation.
Like so:
"Pick me. Choose me. Love me."
"I love you," she confessed.
Quivering, he asks, "Do you hate me?"
༯ Again, not major issues, but just for cleanliness.
How to fix up these typos and messiness
༯ I write in my Notes app first and then I paste my work in Word just to see the blue and red underlines. It allows me to visualise where there are mistakes so that I don't have to read every word with great focus, I can just skim as I proofread
༯ You can also use things like Grammarly, though I generally wouldn't want to encourage you to use AI to edit your work for you. It's just an option if you need it.
༯ The best trick is to just learn how to follow these rules to do with syntax and language. Watch tutorials online and when reading works online or books, think critically about how things are formatted.
༯ This leads me to my next and final advice in this part
How get better generally
༯ Read more!
༯ But don't just absentmindedly consume media, engage critically.
༯ Ask yourself these questions:
What is it about this piece of work that you like?
What's the style of writing the author has chosen? Is that their general style or have they chosen something specific for this work?
Why is this work more popular than another?
How do their sentences begin?
Is the writing full of prose?
Is it too much prose for my liking?
Oh, there's a particular bit that made me feel scared and uncomfortable, how did they do that? Is it their sentence structure? The adjectives they chose? Is it the build up of tension? If it's the tension, how did they achieve that in the previous paragraphs?
That made me giggle, how did they manage to be so funny?
Is that how I would have written it? If I had done it my way, would the impact still have been the same?
What if I try writing in their style?
Final disclaimers!
༯ You don't have to follow all of this or even any of this. Just having read this and reflected on your writing is a great place to start. If you know who you are as a writer, then you'll be much better placed to express your ideas
༯ Writing is a journey. Most people will look back on their beginning and think damn I was so bad at writing. But that's just a great way of knowing you've come far.
༯ There is no wrong or right way to write, no matter what people say. Even if you write unconventionally and make lots of typos and errors, there might still be many people who enjoy your works.
༯ Don't try to be someone else. It sounds cheesy to say be yourself, but it's true. We need more diversity in writing. My favourite works, the ones who left a mark on me, who shaped me, are all so different from each other.
༯ Don't be afraid to experiment and try something new. Find yourself however it takes.
༯ If you're writing on here or a similar platform, you'll be opening yourself to being perceived. Establish your boundaries from the start. Are you open to feedback? It's completely fine if you are not. Some people aren't here to 'get better,' they're just here to have fun.
༯ And if you are open to feedback, it's absolutely okay to feel upset by what you hear/read. Just remember that a lot of these critiques are founded on preferences and some critics might have just misunderstood your works. There is no supreme authority on right and wrong here. No one knows everything. No one is perfect.
If you have any questions, things you'd like covered in a next part, please share them. Thank you to everyone who contributed to this by asking questions and being candid about their struggles.
I hope this helped and I wish everyone the very best in their writing journey
Happy writing!
How Do I Make My Fictional Gypsies Not Racist?
(Or, "You can't, sorry, but…")
You want to include some Gypsies in your fantasy setting. Or, you need someone for your main characters to meet, who is an outsider in the eyes of the locals, but who already lives here. Or you need a culture in conflict with your settled people, or who have just arrived out of nowhere. Or, you just like the idea of campfires in the forest and voices raised in song. And you’re about to step straight into a muckpile of cliches and, accidentally, write something racist.
(In this, I am mostly using Gypsy as an endonym of Romany people, who are a subset of the Romani people, alongside Roma, Sinti, Gitano, Romanisael, Kale, etc, but also in the theory of "Gypsying" as proposed by Lex and Percy H, where Romani people are treated with a particular mix of orientalism, criminalisation, racialisation, and othering, that creates "The Gypsy" out of both nomadic peoples as a whole and people with Romani heritage and racialised physical features, languages, and cultural markers)
Enough of my friends play TTRPGs or write fantasy stories that this question comes up a lot - They mention Dungeons and Dragons’ Curse Of Strahd, World Of Darkness’s Gypsies, World Of Darkness’s Ravnos, World of Darkness’s Silent Striders… And they roll their eyes and say “These are all terrible! But how can I do it, you know, without it being racist?”
And their eyes are big and sad and ever so hopeful that I will tell them the secret of how to take the Roma of the real world and place them in a fictional one, whilst both appealing to gorjer stereotypes of Gypsies and not adding to the weight of stereotyping that already crushes us. So, disappointingly, there is no secret.
Gypsies, like every other real-world culture, exist as we do today because of interactions with cultures and geography around us: The living waggon, probably the archetypal thing which gorjer writers want to include in their portrayals of nomads, is a relatively modern invention - Most likely French, and adopted from French Showmen by Romanies, who brought it to Britain. So already, that’s a tradition that only spans a small amount of the time that Gypsies have existed, and only a small number of the full breadth of Romani ways of living. But the reasons that the waggon is what it is are based on the real world - The wheels are tall and iron-rimmed, because although you expect to travel on cobbled, tarmac, or packed-earth roads and for comparatively short distances, it wasn’t rare to have to ford a river in Britain in the late nineteenth century, on country roads. They were drawn by a single horse, and the shape of that horse was determined by a mixture of local breeds - Welsh cobs, fell ponies, various draft breeds - as well as by the aesthetic tastes of the breeders. The stove inside is on the left, so that as you move down a British road, the chimney sticks up into the part where there will be the least overhanging branches, to reduce the chance of hitting it.
So taking a fictional setting that looks like (for example) thirteenth century China (with dragons), and placing a nineteenth century Romanichal family in it will inevitably result in some racist assumptions being made, as the answer to “Why does this culture do this?” becomes “They just do it because I want them to” rather than having a consistent internal logic.
Some stereotypes will always follow nomads - They appear in different forms in different cultures, but they always arise from the settled people's same fears: That the nomads don't share their values, and are fundamentally strangers. Common ones are that we have a secret language to fool outsiders with, that we steal children and disguise them as our own, that our sexual morals are shocking (This one has flipped in the last half century - From the Gypsy Lore Society's talk of the lascivious Romni seductress who will lie with a strange man for a night after a 'gypsy wedding', to today's frenzied talk of 'grabbing' and sexually-conservative early marriages to ensure virginity), that we are supernatural in some way, and that we are more like animals than humans. These are tropes where if you want to address them, you will have to address them as libels - there is no way to casually write a baby-stealing, magical succubus nomad without it backfiring onto real life Roma. (The kind of person who has the skills to write these tropes well, is not the kind of person who is reading this guide.)
It’s too easy to say a list of prescriptive “Do nots”, which might stop you from making the most common pitfalls, but which can end up with your nomads being slightly flat as you dance around the topics that you’re trying to avoid, rather than being a rich culture that feels real in your world.
So, here are some questions to ask, to create your nomadic people, so that they will have a distinctive culture of their own that may (or may not) look anything like real-world Romani people: These aren't the only questions, but they're good starting points to think about before you make anything concrete, and they will hopefully inspire you to ask MORE questions.
First - Why are they nomadic? Nobody moves just to feel the wind in their hair and see a new horizon every morning, no matter what the inspirational poster says. Are they transhumant herders who pay a small rent to graze their flock on the local lord’s land? Are they following migratory herds across common land, being moved on by the cycle of the seasons and the movement of their animals? Are they seasonal workers who follow man-made cycles of labour: Harvests, fairs, religious festivals? Are they refugees fleeing a recent conflict, who will pass through this area and never return? Are they on a regular pilgrimage? Do they travel within the same area predictably, or is their movement governed by something that is hard to predict? How do they see their own movements - Do they think of themselves as being pushed along by some external force, or as choosing to travel? Will they work for and with outsiders, either as employees or as partners, or do they aim to be fully self-sufficient? What other jobs do they do - Their whole society won’t all be involved in one industry, what do their children, elderly, disabled people do with their time, and is it “work”?
If they are totally isolationist - How do they produce the things which need a complex supply chain or large facilities to make? How do they view artefacts from outsiders which come into their possession - Things which have been made with technology that they can’t produce for themselves? (This doesn’t need to be anything about quality of goods, only about complexity - A violin can be made by one artisan working with hand tools, wood, gut and shellac, but an accordion needs presses to make reeds, metal lathes to make screws, complex organic chemistry to make celluloid lacquer, vulcanised rubber, and a thousand other components)
How do they feel about outsiders? How do they buy and sell to outsiders? If it’s seen as taboo, do they do it anyway? Do they speak the same language as the nearby settled people (With what kind of fluency, or bilingualism, or dialect)? Do they intermarry, and how is that viewed when it happens? What stories does this culture tell about why they are a separate people to the nearby settled people? Are those stories true? Do they have a notional “homeland” and do they intend to go there? If so, is it a real place?
What gorjers think of as classic "Gipsy music" is a product of our real-world situation. Guitar from Spain, accordions from the Soviet Union (Which needed modern machining and factories to produce and make accessible to people who weren't rich- and which were in turn encouraged by Soviet authorities preferring the standardised and modern accordion to the folk traditions of the indigenous peoples within the bloc), brass from Western classical traditions, via Balkan folk music, influences from klezmer and jazz and bhangra and polka and our own music traditions (And we influence them too). What are your people's musical influences? Do they make their own instruments or buy them from settled people? How many musical traditions do they have, and what are they all for (Weddings, funerals, storytelling, campfire songs, entertainment...)? Do they have professional musicians, and if so, how do those musicians earn money? Are instrument makers professionals, or do they use improvised and easy-to-make instruments like willow whistles, spoons, washtubs, etc? (Of course the answer can be "A bit of both")
If you're thinking about jobs - How do they work? Are they employed by settled people (How do they feel about them?) Are they self employed but providing services/goods to the settled people? Are they mostly avoidant of settled people other than to buy things that they can't produce themselves? Are they totally isolationist? Is their work mostly subsistence, or do they create a surplus to sell to outsiders? How do they interact with other workers nearby? Who works, and how- Are there 'family businesses', apprentices, children with part time work? Is it considered 'a job' or just part of their way of life? How do they educate their children, and is that considered 'work'? How old are children when they are considered adult, and what markers confer adulthood? What is considered a rite of passage?
When they travel, how do they do it? Do they share ownership of beasts of burden, or each individually have "their horse"? Do families stick together or try to spread out? How does a child begin to live apart from their family, or start their own family? Are their dwellings something that they take with them, or do they find places to stay or build temporary shelter with disposable material? Who shares a dwelling and why? What do they do for privacy, and what do they think privacy is for?
If you're thinking about food - Do they hunt? Herd? Forage? Buy or trade from settled people? Do they travel between places where they've sown crops or managed wildstock in previous years, so that when they arrive there is food already seeded in the landscape? How do they feel about buying food from settled people, and is that common? If it's frowned upon - How much do people do it anyway? How do they preserve food for winter? How much food do they carry with them, compared to how much they plan to buy or forage at their destinations? How is food shared- Communal stores, personal ownership?
Why are they a "separate people" to the settled people? What is their creation myth? Why do they believe that they are nomadic and the other people are settled, and is it correct? Do they look different? Are there legal restrictions on them settling? Are there legal restrictions on them intermixing? Are there cultural reasons why they are a separate people? Where did those reasons come from? How long have they been travelling? How long do they think they've been travelling? Where did they come from? Do they travel mostly within one area and return to the same sites predictably, or are they going to move on again soon and never come back?
And then within that - What about the members of their society who are "unusual" in some way: How does their society treat disabled people? (are they considered disabled, do they have that distinction and how is it applied?) How does their society treat LGBT+ people? What happens to someone who doesn't get married and has no children? What happens to someone who 'leaves'? What happens to young widows and widowers? What happens if someone just 'can't fit in'? What happens to someone who is adopted or married in? What happens to people who are mixed race, and in a fantasy setting to people who are mixed species? What is taboo to them and what will they find shocking if they leave? What is society's attitude to 'difference' of various kinds?
Basically, if you build your nomads from the ground-up, rather than starting from the idea of "I want Gypsies/Buryats/Berbers/Minceiri but with the numbers filed off and not offensive" you can end up with a rich, unique nomadic culture who make sense in your world and don't end up making a rod for the back of real-world cultures.
I kind of suck at tagging, so I made this infographic to help make it easier.
5 Tips to Avoid Burnout as a Neurodivergent Writer
When taking on a project as big as writing a novel, you may run into the risk of burnout. NaNo Participant Joana Hill gives some tips on avoiding burnout as a neurodivergent writer.
Burnout. As writers, we all know it. For neurodivergent writers, burnout can be even more damaging than usual. We can be much more sensitive, both mentally and emotionally, than our neurotypical friends and family.
This means avoiding burnout, and taking care of it when it does happen, can be even more important for us. I’m here today to provide some tips for my fellow neurodivergent writers to tackle just that.
1. Write What Interests You
Write what interests you rather than what you think you ‘should’ be writing. Many of us get caught-up in pleasing others. For neurodivergent people who’ve spent much of their life masking, or hiding their true personality and needs because of fear of rejection, it can be a hard habit to break.
If you want to write a 50k slow burn coffee shop AU of your favorite fandom, an epic space opera starring ants, or a main character with ADHD, autism, dyslexia, or any other disorder or condition you have, go for it.
2. Get A Support Network
For neurodivergent people, we’ve often lived our lives with special interests no one wants to hear us talk about. It often results in us not talking about them at all before someone can tell us they don’t want to hear about it.
Whether it’s offline with friends and family, or online here at NaNoWriMo or other sites, having people who are actively interested in listening to you and helping you plot and write can be a game-changer.
3. Celebrate As Many Victories As You Want
Many years, my personal goal is that I can get the new Pokemon game, which always comes out around the middle of November now, once I hit 50k. But you don’t need just one grand goal.
Get a bag of your favorite candy and say you can have a piece every so many words. Find something on Amazon you want (and can afford to get!) and say you’ll get it once you hit the halfway point. Whatever motivates you to keep going, set it into motion.
4. Plan For Flexibility
That may sound like an oxymoron, but hear me out. Neurodivergent people often love to have a plan. I know I can get frustrated and upset when I’m expecting something to happen and something different does. For a big goal like writing a novel in a month, a lot of things can end up going wrong.
Carry a notebook and pen or tablet with a keyboard case in case an errand takes longer than expected. Back your writing up to several places in case your main writing device crashes. Make sure at least one of those is a cloud service in case you end up writing on a device that isn’t yours. The more contingency plans you have, the better prepared you are when life happens.
5. Be Kind To Yourself
Some days you may not get the minimum goal, or you might not write at all. You may feel like you just can’t do it because you’re behind on your word count, or you decide you don’t like what you’ve written.
I get it. But don’t beat yourself up about it. Take a break. Play your favorite game or read your favorite book. Go for a walk. And remember that you’re awesome. No one can write this story like you can.
Joana Hill is a writer of young adult stories, as well as novellas inspired by Japanese light novels and anime. You can find her books, social media, and anything else you could imagine wanting to know about her on her LinkTree. Photo by Andrea Piacquadio
It is the duty of a writer to give to others the stories they never had themselves. The stories they needed to hear but no one was willing to tell.
4 Tips for Autistic Writers
Autistic writers can face unique challenges when it comes to writing. NaNo Participant Auden Halligan has tips to handle some of those challenges!
So, you’ve just sat down at your desk, all ready to work on your next chapter, but you just can’t seem to start. Something is itching at your brain, and no matter how hard you think, you can’t figure it out. For autistic writers, that itch might be even harder to get around when compounded with autistic inertia, introspection issues, and sensory processing disorder — even if we were super excited to get started, sometimes the stumbling blocks are enough to keep us from going anywhere at all.
Here are four tips to identify your struggles and work around them rather than against them as an autistic writer!
Keep reading
Some advice as a discovery writer is to outline.
I update my outline after every scene because I make everything up as I go and change everything, but I need to know where I'm going in order to know how to start a scene.
Only do the major plot beats if you really can't outline, but try it. Some benefits may include:
Strong pacing
Confidence in scenes
Knowing your subplots
Foreshadowing
Less editing
Less writer's block/easier to overcome
It can also take a bit of practice and finding what works best for you, writing doesn't have rules.
I recently started world-building for a new story idea (I know—bad when I'm supposed to be in the middle of revising my current project) and in trying to figure out the level of technology and feeling of my new world I got lost in google searches about the different punk genres.
So I decided to make a master list.
According to Wikipedia (a highly reputable source by all accounts) a punk genre can be described as “a world built on one particular technology that is extrapolated to a highly sophisticated level (this may even be a fantastical or anachronistic technology, akin to retro-futurism) a gritty transreal urban style, or a particular approach to social themes.”
There are so many (so so many) and some people roll their eyes at every new addition but I think the names and distinctions are interesting and fun (I mean, Magicpunk may just be regular fantasy, but it sounds so much cooler). I love the idea of scientific fantasy, and of blurry the lines between the sci-fi and fantasy genres. Who’s to stop you from mixing the culture of the Japanese samurai with an epic space opera in the stars?
This is an incomplete list. I've organized it by time period (loosely, because some overlap or can go anywhere). I've also provided an example of a published work (for those that have them).
Established Fantasy Punk Genres: An Incomplete List
Magicpunk/Dungeonpunk: Fantasy punk genre where the “one particular technology” that the world is build on is magic. You have trains running on lines of sorcerer-fueled energy and ships powered by wind magic and computers running on sub-dimensional energy from the demon realm. Popular examples include The Sleeping Dragon by Jonny Nexus and The War of the Flowers by Tad Williams.
Aetherpunk: Subgenre mix of Magicpunk/Dungeonpunk where the magic source of the technology is specifically the element of Aether. Often, if not always, also has Steampunk elements. The Aeronaut’s Windlass by Jim Butcher is the only example that comes to mind.
Mythpunk: A punk genre that is inspired by or incorporates myths and legends. These aren’t usually a retelling of a popular myth, but rather one that includes elements of the myth, or twists and changes the story around to it’s own ends. Popular examples would be American Gods by Neil Gaiman or Deathless by Catherynne Valente.
Stonepunk: Set in the stone age, this genre is characterized by the use of non-technology as technology, creating pseudo-tech and modern inventions with natural, basic resources like stone, wood, water, fire, clay, and rope. The Flintstones would be the best example.
Sandalpunk: Sandalpunk is on thin ice as a punk genre. Rather than being inspired or defined by a technology, it instead focuses on the period of time of the ancient world before the Middle Ages, often set in Greece or Rome. There aren’t many examples of it. But the name is cool.
Steampunk: Arguably the most popular punk genre (after Cyberpunk) featuring science fantasy stories set in Victorian era, with advanced technology powered by steam engines and clockwork mechanics. Doctor Who perhaps described it best, “The Victorian Age accelerated. Starships and missiles fueled by coal and driven by steam.” There are many examples, both in literature and film, including His Dark Materials by Phillip Pullman, Mortal Engines by Philip Reeves and The Parosol Protectorate by Gail Carriger.
Clockpunk: Close-cousin subgenre of Steampunk, characterized by a lot of clocks and inspired by the pre-steam energy period of the Renaissance and Baroque eras. Pasquale’s Angel by Paul J. McAuley is more Clockpunk than Steampunk.
Silkpunk: Silkpunk is another subgenre of Steampunk, one generation removed. While steampunk is defined by it’s Victorian era brass and steam aesthetic, Silkpunk is inspired by East Asian culture during the period of the Silk Road. Examples include The Dandelion Dynasty by Ken Liu and The Tea Master and The Detective by Aliette de Bodard.
Cattlepunk: Yet another subgenre of Steampunk, Cattlepunk is the across-the-ocean-bastard-cousin set in the wild west of early America. Cowboys, bank robberies, and train heists meet robots, warmechs, magic, and super-weapons. The Wild Wild West and Firefly verse are classic movie examples. Book examples would be the Mistborn Era II series by Brandon Sanderson and The Dark Tower series by Stephen King. (And I didn’t realize until I just did all this research but based on examples this is like my favorite punk.)
Dieselpunk: This genre is set in the aesthetic of the 1920s-1950s era and is characterized by the use of diesel-powered technology. Commonly incorporates alternate history elements, as well as themes surrounding the Great Depression and World War II. It’s been called the darker and dirtier version of Steampunk with an emphasis on air travel and combat, dirigibles, and air pirates. Examples include The Iroon Dream by Norman Spinrad, Dreadnough by Cherie Priest, and Pirate Utopia by Bruce Sterling.
Atompunk: A retro-futuristic punk genre set in during the Cold War and characterized by atomic nuclear technology, ray guns, robots, hover cars, and interdimensional travel. Atompunk often deals with the themes of nuclear power gone wrong and alternate versions of the Cold War. The most popular example of this would be the Fallout games by Bethesda.
Capepunk: Capepunk is just superhero fiction set in the modern-era world where people have powers. Example would be any superhero story ever. I just think the name’s cool.
Gothicpunk: Gothicpunk is also usually set in the modern-era, but incorporates The Goth. Generally characterized by an underworld of supernatural creatures lying in wait and secretly controlling the workings of our world where humans are but cattle. This is basically dark Urban Fantasy, but it’s popular enough to get a distinction. Anne Rice’s Interview With a Vampire is an okay example. The movies Priest and Daybreakers are much better ones.
Cyberpunk: Cyberpunk, the grandfather of all of the punk genres. Characterized by dystopian and cynical future world in which technology has brought about cultural nihilism and a crap society. Often combined with Film Noir or detective fiction. (Fantastic Noir is a fantasy version of Cyberpunk). Heroes are most prone to be some form of hacker, rebel, or antihero fight against a totalitarian police state or corporate empire oppressing the people. Examples Neuromancer by William Gibson and the movie Blade Runner.
Post-Cyberpunk: This is Cyberpunks chipper, more optimistic sibling. It has all of the vision of a scientifically advanced cyber-culture without the gritty, dark, and edgy world elements. It still share’s the Cyberpunk elements of analyzing how technology interacts and impacts with society, just without such a grimdark view of humanity. Examples would be Agent G by C.T. Phipps and The Peace War by Vernor Vinge.
Biopunk: Biopunk is Cyberpunks genetically engineered half-sibling. This punk centers around organic technology with a healthy smattering of bio-augmentation and biotechnology. Examples include In the Courts of the Crimson Kings by S.M. Stirling, West of Eden by Harry Harrison, and Wolfish Nature by Vladimir Vasilyev.
Nanopunk: Also a subgenre of Cyberpunk with characterized by the use of nanites and nanotechnology as the predominate form of technology. Examples are Tech Heaven by Linda Nagata and Micro by Michael Crichton.
Solarpunk: Solarpunk is a genre characterized by it’s environmentally friendly technology meshed with African and Asian cultures and an emphasis in community, art, and a bright solar future where humanity has found a balance between technology and nature. Can also include many elements of Biopunk, but with a much more optomistic, for-the-future-of-species-and-environment outlook. Example works include Zahrah the Windseeker by Nnedi Okorafor, Maurai by Poul Anderson, and Songs from the Stars by Norman Spinrad.
Apunkalypse: This genre is defined by the collapse of civilization where society is replaced by lawless bands of roving scavenger gangs or cities collapsing into decay or the rise of punks overthrows the rules of the past. Examples include Mad Max and Mortal Engines by Philip Reeves (which is also Steampunk, so it’s a good example of book incorporating more than one punk genre).
Desertpunk: Punk genre characterized by sand. Who doesn't love a good desert planet? Often features roaming tribes, wandering heroes, desert bandits, and sand storms. Can be combined with Cattlepunk, for a Western desert, or Apunkalypse, for an-after-the-end-of-the-world setting. Examples include Dune by Frank Herbert and Railsea by China Mieville.
Oceanpunk: This punk is set on the high seas. Often features floating cities of wood and iron lashed together and mighty nations fighting for dominion of the watery world and may also feature civilizations and cultures below the waves in underwater cities. Sometimes called Pirate Punk, because nothing breed pirate stories like ocean cities and sailing ships. Examples include The Scar by China Mieville, Tranquilium by Andrey Lazarchuk, and Dark Life by Kat Falls.
Did I Miss a Punk? Can you guys think of any other punks to add? Either ones you've thought up, or any you've heard of that I don't have listed. I'd love to keep this list updated. I find it's useful to look through when creating a new world to get the overall feeling of what I'm going for with the story and world-building.
What punk are you writing in for your current WIP?
Let me talk Mythpunk
I know, I know, I did not do a lot of Punk'o Clock over the last few weeks, but I am trying to get back into it. So, let me talk about Mythpunk.
Mythpunk can be something very specific or very vague, depending on who you ask. Though I would argue that a lot of the stuff I originally have written with my novels and such could be considered Mythpunk.
The basical concept of Mythpunk is to take aspects from mythology and folklore and mixes them with modern storytelling techniques. But, let's be honest. Most of Mythpunk is just a splinter genre from Urban Fantasy. Yes, there is non-Urban Fantasy Mythpunk, but really, most of the genre is within the Urban Fantasy genre. It should be added that there are also stories that are considered Mythpunk that are more about the aesthethic of mythology, without going into real mythology.
While the term was originally coined by the author Catherynne M. Valente, I personally would argue that the best known stuff from the Genre is a lot of the things Neil Gaiman has written. American Gods in my view is very much Mythpunk. As is Good Omens.
But if you have followed this little series for a while, there is obviously the next question: Is it really punk?
Because... Well, I would argue that a lot of the stuff I have written (including my one published book) very much is Mythpunk - but looking at the genre in general I would argue that... a lot of Mythpunk does not really feature any punk themes.
To remind you, punk is in general about fighting a system that is bad for people. Be it for your own freedom - or the freedom and prosperity of the masses. I would argue that a story about finding community and working as a community also can qualify as punk.
Now, you can absolutely tell punk stories within a mythpunk framework. For example, take the gods as a metaphor for people who oppress people. Or take gods and myths and frame things like colonialism through that lense. It is absolutely possible. But I would argue that a lot of mythpunk does not really do that.
Which is kind of a pity. I think if you really go into mythology there is a lot of interesting stories you can tell.
One just has to try.
The Punk-Factor of Punkpunk Genre
So, when I posted my history of Solarpunk, someone (probably not in good faith) asked: “So, what about the punk in all the other punk genres?!” towards my request to put the punk back into Solarpunk. And given that my autistic brain obviously cannot just let that stand… You know what? Let me talk about the other punk genre and in how far they are “punk”. I tried to be as exhaustive as possible, though there is a good chance, that I might have missed some of the punkpunk genre. So feel free to add.
Trying to judge the punkiness I do not assume punk as simple counter culture, but a specific ideology. Quote from Wikipedia:
[Punk ideology] is primarily concerned with concepts such as mutual aid, against selling out, hierarchy, white supremacy, authoritarianism, anti-consumerism, anti-corporatism, anti-war, imperialism, conservatism, anti-globalization, gentrification, anti-racism, anti-sexism, class and classism, gender equality, racial equality, eugenics, animal rights, free-thought and non-conformity
Most of the artwork here has been taken from concept art of either of the examples listed.
Sorted from most futuristic to pre(historic). Yes, the list is long.
Cyberpunk
We start with the OG punk genre, the one after which all other punk genre were named. Yes, you could argue that in fact the two genre following are more futuristic – but Cyberpunk kinda just had to start the list.
As a genre: Given that Cyberpunk had its start completely in literature it is the best defined in this regard. Taking place in a late stage capitalist dystopian world in which most is owned by megacorps who don’t follow anyone’s laws but their own, the protagonists usually are social outcasts fighting against their own oppression, trying to keep themselves alive in a world hostile to them. With cybernetics always being a core of the genre, it also tends to deal with the question of humanity in a “ship of Theseus” sort of way. How much can the human body be altered, before the human vanishes?
As an aesthetic: Cyberpunk is the most punk in terms of aesthetics, really. There is a lot of punk and grunge going on in terms of character design. Neon hair colors, fishnets and thorn up jeans jackets can be found here. As well as of course cybernetics on the characters. The world usually is a megacity with a stark divide between rich and poor, tons of neon signs, a slight Japanese influence, flying cars and somehow a constant downpour of rain.
Punk-Factor: Cyberpunk is the one punk genre, where the “punk” was chosen very knowingly as a name. Usually the protagonists are “punks” fighting for their place in the world against a suppressive capitalist system. (Also, they usually fit the punk aesthetic, if they don’t wear leather dusters.) It should be noted however, that especially in newer western Cyberpunk often the punkiness vanishes more and more – for the same reason we have so little Solarpunk: media that outright confronts the problems of capitalism is just less supported.
Examples: Neuromancer (1984), Mirrorshades: The Cyberpunk Anthology (1986), Snow Crash (1992), The Matrix (1999), Dredd (2012)
Biopunk
As a genre: As a genre biopunk is still fairly ill defined, as it mostly shows up as a subsection of Cyberpunk. Rather than the characters having cybernetic implants (or additionally to it) they are augmented on a genetic level. This can be all sorts of augmentations, changing anything from appearance to giving characters higher strength and agility, giving them claws or night vision, or in some cases even “magic” powers. Usually the genre tends to be set in worlds similar to Cyberpunk. In fact it might well be set in a cyberpunk world, only that characters with bioaugmentations exist parallel to those with cybernetics. Additionally, though, there is a subsection of this genre, that concerns reproductive rights.
As an aesthetic: Ironically biopunk is even less defined as an aesthetic. There is not a lot of biopunk art out there and most that exists can go in different directions. As such it often mixes elements from other punk aesthetics – like Cyberpunk, Steampunk or Dieselpunk – with an assortment of bodyhorror elements.
Punk-Factor: It is hard to define the “punkiness” of a genre, that barely exists for the most part. Usually, when it is set against a Cyberpunk backdrop, it might be very punky, but in other settings those punk elements vanish.
Examples: Ribofunk (1995), Altered Carbon (2002), Bioshock (2007), The Windup Girl (2009)
Nanopunk
As a genre: Like Biopunk Nanopunk mostly exists as a subsubgenre to Cyberpunk, often being set in a mostly Cyberpunk world, only that instead of or additionally to Cybernetics, the technology used to alter the human body is nanites. These serve the same function as the genetic manipulation in Biopunk, giving the human in question more strength and agility and at times more or less magical abilities. There is one common plot that comes up again and again, with an AI or megacorp turning the nanites against the people they inhabit or trying to control them.
As an aesthetic: Aesthetically Nanopunk does not have much in terms of its own identity. Most artworks relating to Nanopunk feature a similar aesthetic to Cyberpunk, with megacities and lots of neon.
Punk-Factor: This genre is so small, that it is kinda hard to judge the exact punkiness.
Examples: The Diamond Age (1995), Prey (2002)
Solarpunk
As a genre: Being another genre, that started as such, Solarpunk is a bit better defined. Solarpunk usually takes place in a world post-strive. It is post-capitalist and decolonial in its settings, usually featuring a world that has either formed against the backdrop of preventing climate collapse or in the aftermath of it. A lot of it features people rebuilding – or alternatively building communities. It always features elements about living in harmony with nature or trying to do so. So far, the genre is mostly defined by short stories, partly because there is still disagreements within the movement, how far a conflict can be taken to still qualify as Solarpunk.
As an aesthetic: Solarpunk has a very strong aesthetic definition, mostly featuring all sorts of cities and urban areas, that incorporate natural elements into the urbanity, with greenery growing on roofs and concrete car-centric streets being replaced with more natural, walkable areas. The character design aesthetic is not quite as clearly defined, but usually features natural materials and patterns usually seen within indigenous art.
Punk-Factor: Contrary to what many say, Solarpunk is fairly punk, as it very much embraces the entire anti-hierarchical, anti-capitalist mentality. With the big difference, that the punk mentality is no longer counter culture, but the mainstream culture.
Examples: The Dispossessed (1974), Nausicaä (1984), Laputa – Castle in the Sky (1986), Princess Mononoke (1997), The Summer Prince (2013)
Lunarpunk
As a genre: Lunarpunk is pretty much a subsubgenre of Solarpunk, just as Nanopunk and Biopunk are sprung off from Cyberpunk. It is so far ill-defined as a genre, but the general consensus is, that it is set in solarpunk-esque worlds, but with a heavier focus on mysticism or spiritualism, at times outright including magic. It also tends to feature a lot darker places, being set in underwater or underground settings – or alternatively at night.
As an aesthetic: Lunarpunk is far more of an aesthetic than a genre so far. It features dark places, often with bioluminescent elements in it. Often featuring a mixture of black and dark blue with lighter blue, violet or light green elements shining in the middle of it. Mushrooms – especially glowing mushrooms – feature repeatedly in artwork.
Punk-Factor: Given that Lunarpunk is barely defined as a genre it is hard to estimate the punkiness in it. If it gets more stories, will those still feature the anti-capitalist and anti-hierarchical messaging we see in Solarpunk? This should be the defining factor. Some of the artworks use little aesthetics from the punk scene, but nothing much more.
Examples: Bioluminescent: A Lunarpunk Anthology (2023)
Hopepunk
Honestly, I had no idea where to put this one, given that it might technically be set at any time and place.
As a genre: Hopepunk is very much a genre, not an aesthetic. It has been defined as the opposite of grimdark by its “inventor/name-giver” Alexandra Rowland. The basic idea is to create fiction that instead of taking a dystopian, defeatist and violent approach, takes one defined by hope and to some degree pacifism. As such the genre can be set in any setting, real or fantastic. It mostly is defined by the protagonists taking opposition to cruelty and violence, fighting for a better world and, crucially, also partly archiving it. Other than in usual Cyberpunk, where the best possible ending, tends to be, that the protagonists get to live a somewhat better life themselves, Hopepunk aims to better the life at least for groups of people.
As an aesthetic: Being fully a genre, Hopepunk has no aesthetic associated with it.
Punk-Factor: Hopepunk is punk less in the sense of the protagonists or things happening within the story, which might or might not be punk, but was named such rather because it is considered counter cultural towards the gross of media at the moment, that often strives for a “realistic, gritty, grimdark” outlook on the world. Basically it is saying: “Hope is punk.” I will not make any judgement on whether or not this is true.
Examples: The Long Way to a Small, Angry Planet (2014), Mad Max: Fury Road (2015), The Good Place (2016)
Mythpunk
As a genre: Another one, that does not really fit into a temporal sorting system, because once again it can be set anywhere between the stone age and the far future. The basic idea is, that the story interweaves postmodern storytelling with elements from mythology or folklore. This can mean mythological, genre-traversing retellings, but it can also mean, that mythology seeps into any given story bit by bit. As such the genre with probably the most media in the subgenre is Urban Fantasy, which often borrows from mythology and incorporates these elements.
As an aesthetic: Mythpunk as an aesthetic is a bit strange. There is definitely a mythpunk aesthetic that exists, often mixing familiar elements with elements from mythology and folklore (at times also including quasi-folkloric works of literature, such as Alice in Wonderland and the Wizard of Oz). Often just a bit dark and twisted.
Punk-Factor: To be perfectly frank, for the most part, there is not a lot of punk to be found in this genre. While there have been definitely punky stories told within the genre, this is more a story decision than something inherent to the genre.
Examples: Pan’s Labyrinth (2006), Over the Garden Wall (2014), Inscryption (2016)
Dustpunk / Rustpunk / Desertpunk
As a genre: Kinda grouping those above all together, because people argue about what they might entail and in some interpretations they kinda are similar: Post-apocalyptic stories set in a world of sand and rust. Often featuring a loner character, having to go up against everyone to ensure his own survival – and at times being forced to learn, that the lonerness might not win him (and most often it is a him) anything.
As an aesthetic: Aesthetically this tends to be very much post-apocalyptic, maybe in some cases with some more classical punk elements added to characters and surroundings.
Punk-Factor: Given that there is neither a system to rage against – nor a new, less hierarchical system – usually there is not that much punk outside of some aesthetic choices. Neither tend those stories go into constructing worlds of mutual aid or working against oppression.
Examples: Anything Mad Max should count for this.
Atompunk
As a genre: Atompunk usually deals with themes connected to the cold war – in some cases directly, in some indirectly. Often it overplays the American ideals that were pushed for during the cold war era and portrays scenarios in which American Exceptionalism slowly reveals itself as the dystopia most punks already know it to be. Outside of this vague idea for the setting, the genre is less described, as there is less of a clear script an Atompunk story might follow. So, little description of who might be the protagonist and what their role is.
As an aesthetic: The aesthetic of Atompunk borrows heavily from the Raygun Gothic aesthetic. So, futurism, as it was imagined in the 1950s and 1960s, with heavy influences from late pulp age science fiction art.
Punk-Factor: The aesthetic in this is definitely not punk. The stories often have some vague punk ideas of recognizing how fucked up the world has become, but given the genre is fairly wide in terms of stories, it is hard to give a definite answer to how “punk” it is. One can definitely tell punk stories within this genre, though.
Examples: Hitchhiker's Guide To The Galaxy (1978), Fallout (1997), Futurama (1999)
Dieselpunk
As a genre: Dieselpunk is once again an example of “strong aesthetic, but no clear genre identity”. Generally, Dieselpunk is concerned with the interwar period, but might cover either of the world wars. In some cases the genre features alternate timelines, in which one war happened and not the other, or in which another faction won, with the technological development being influenced by this as well. But as a genre it is not much defined. A lot of stories building on Lovecraft’s legacy feature Dieselpunk in some regards. And there is definitely a subsection of Dieselpunk stories centered around “what if Nazis won” or “what if Nazis somehow went underground and did their own technological development after the war”. Also, there are a lot of stories about pilots of war planes in this genre.
As an aesthetic: As an aesthetic Dieselpunk is more clearly defined. A lot of bare metal and the sorts of technology you would expect from this era, often with retro-futurist and art noveau elements in between. A lot of the fashion within the genre is defined by pilot and military clothing of the times, but at times also dipping into “roaring 20s” fashion styles.
Punk-Factor: In this genre I would generally say: “If the story involves punching Nazis, you might get a couple punk points – but otherwise this is not really punk.”
Examples: The Iron Dream (1972), Brazil (1985), Dark City (1998), Iron Sky (2012), Bitter Seeds (2010)
Teslapunk
As a genre: Yet another one of these, that exists mostly as a vague idea, with no clear definition. The basic idea is a world, that works on Tesla’s inventions. And as those of you, who watched Doctor Who, might know, Tesla sorta, kinda already invented the internet or had an idea of what it could be and how it could work. So a Teslapunk world is based in an alternate timeline, but might in fact go into light futurism. There is not much in this genre though with a unique thematic identity, as stories that use Teslapunk as a backdrop rarely have coherent themes.
As an aesthetic: The aesthetic of Teslapunk is basically “Steampunk, but with Tesla-coils and electricity”. Which is not a big surprise given that Tesla came from the same era that would also be the inspiration for Steampunk. So, we have a lot of Victorian fashion, maybe some light augmentation, airships, and – again – all the tesla coils you can muster.
Punk-Factor: As, again, I think punk is more about themes than aesthetic, this is once more not really possible to judge, because there do not seem coherent themes within the genre so far.
Examples: The Prestige (2006), Sherlock Holmes: A Game of Shadows (2011), Bioshock Infinite (2013)
Arcanepunk
Another one of those that do not neatly fit into the timeline…
As a genre: Arcanepunk takes place in a world, where both magic and technology have developed. In some cases both developed side by side, in others, we might have a technological world, that suddenly discovers magic by some happenstance. The fact is, though, that both exist parallel to each other or might at times be intertwined, with technology being powered by magic. This can exist at different technological stages, usually featuring settings inspired by the late 19th or early 20th century. But usually futuristic stuff that includes magic might be considered Arcanepunk, just as might stories that mix 18th century technology with magic. While also a vague genre, there is a repeating theme of magic being hoarded by those in powers and the poor and downtrodden finding ways to still use it in their own advantage.
As an aesthetic: Given that Arcanepunk’s setting is defined by the co-existence of magic and technology, rather than a specific technology, Arcanepunk has less of a defined aesthetic. Never the less, we have a part of punk aesthetics that often come up, as a surprising amount of Arcanepunk features characters with neon colored hair.
Punk-Factor: Another genre that is rather thin, yet, there is a surprising amount of stories featuring some punk ideas of fighting against an oppressive system and being counter culture to a main culture build around suppression.
Examples: Too Many Magicians (1966), Shadowrun (1989), Bartimaeus (2003), Arcane (2021) duh
Steampunk
Steampunk was the second genre to pick up the “punk” suffix and hence is as much responsible for the punk-punk as Cyberpunk as the originator.
As a genre: Being named as early as it has been, Steampunk kinda suffers the same issue as Cyberpunk itself. There is a lot of ideas there, but some are only vaguely defined. In general, though Steampunk always takes place in a world where the steam engine became the defining technology and was never replaced with the combustion engine. As such cultural aspects from the steam era, especially Victorian England and the Belle Epoche, still carry over for longer, than they did. So often we will see noble households based around similar values as the puritan Victorian English families, while the very poor are made to work in workhouses. At times we might also see themes of colonialism here. In some cases magic might exist in these worlds, as might electricity for some aspects. There is often a heavy inspiration from Jules Verne and H.G. Wells. Though it is still hard to define the “stereotypical steampunk story”, given that Steampunk offers a wide variety of stories, from adventure stories and romances, over to stories where people rise up against the Victorian-esque society.
As an aesthetic: Steampunk as an aesthetic is very much influenced by Victorian aesthetics and the time period of the late 19th century, mostly in the USA, Great Britain and France. But as all other punk genres it knows very well: “If it is worth doing, it is worth overdoing,” so steam-related elements are added to everything. Could
Punk-Factor: In the original idea for Steampunk was a lot of punk. “What if we took Cyberpunks ‘rage against the unjust system’ and made it 19th century” they asked. But given that the genre branched out so much, it is not necessarily there in all the stories. There is a ton of stories where people rage against that steam powered Victorian machine – but also a ton in which the Victorian world gets idealized and romanticized.
Examples: Thief (1998), The League of Extraordinary Gentlemen (1999), Wild Wild West (1999), Clockwork Century (2008) – also half of all Sherlock Holmes adaption made after 2000 in any medium usually use Steampunk elements
Silkpunk
As a genre: Silkpunk is hard to define, despite there being a clear definition. The reason for this is, that the person who coined the term – Ken Liu – had a very specific idea in mind. He explains that the idea is of a world that has technology as language. In which form is as important as function, is made to speak a language all of its own. Inspired by ideas from W. Brian Arthur and Chinese philosophy. However, what the wider Science Fiction and Fantasy community made from it was “Steampunk but East Asian!” But given he coined the term (and also the alternative feels vaguely racist) I am going to go with Ken Liu for this. While Silkpunk will usually be set in an East Asian inspired world, the central idea is about the duality of technology, which will also be addressed within the stories.
As an aesthetic: As said above, the idea Liu had for it was a world that features some technology, but technology that is as much about form and communication through it, as it is about function. So the technology here has strong visual ideas. At least that was, how Liu intended it. Once again, the wider community made “Steampunk, but East Asian” out of it.
Punk-Factor: There is not a lot of stuff in this genre for now – however so far I do not manage to see a lot of punk ideas in it, even though some of Liu’s stories definitely feature the concept of challenging a higher power.
Examples: Dandelion Dynasty (2015), The Black Tides of Heaven (2018), The Tea Master and the Detective (2019)
Clockpunk
As a genre: Once again storytelling in this genre is not really defined, but the worlds diverge a bit before the wide adaption of steam, instead featuring mechanical devices powered by coils and springs and somehow kept alive, often at least implied through some form of arcane magic that gives “live” to these mechanical inventions. Most examples of Clockpunk, however, tend to show up as settings for parts of fantasy stories. Any fantasy world might have this “Clockpunk” area, where protagonists might travel. Especially games tend to feature this. While there is definitely a trope of the “mad inventor” often going along with this, few other tropes stand out.
As an aesthetic: The aesthetic of Clockpunk tends to take some inspiration from the early 19th century, but tends to add a lot of gears to everything, with even city wide gear constructions keeping things working. We often will find mechatronic characters, such as wind up soldiers or wind up dancers.
Punk-Factor: Once more, there are so few stories told, that it is kinda hard to speak about how punk this is. Most stories told so far, however, do not feature punk elements.
Examples: The Great Mouse Detective (1986), Hugo (2011), Clockwork Planet (2017)
Whalepunk
Please note: This is one of those genre, I would love to see more in, though so far it is barely explored.
As a genre: And you might ask: “Why do you even name those genre, that exist mostly in theory?”, to which I might answer: “Because I am a nerd.” As all these retrofuturists genre, Whalepunk imagines mostly an alternate historical timeline, where the technology that became defining was based around whale oil. This means that in Whalepunk often whalers or harbors play a big role, though as the genre is again very thinly spread, it is hard to say what “THE whalepunk” formular is. It seems there is a tendency, to mix some mysticism or magic into the genre, though, as the idea of hunting sea monsters often plays into it as well. Good chance that it could at some point merge with Cthulupunk (which I did not name separately, because most of it is either covered in Whalepunk or Dieselpunk).
As an aesthetic: The aesthetic of Whalepunk is basically “Steampunk, but with more sailors, ships and sea monsters”. There is definitely a bit of Oceanpunk mixed into it as well, with some aesthetics being somewhere between Steampunk and Dieselpunk. (Which is kinda ironic, because whale oil was mostly used in the early 19th century.)
Punk-Factor: And again. There so far is not a lot of connective thematic tissue within that genre, so exploring themes is kinda hard.
Examples: Dishonored (2012), Dredge (2023)
Oceanpunk / Piratepunk
As a genre: It really is hard to divide the Piratepunk out of the Oceanpunk, though some might call it different. The idea here is that this genre features stories mostly set on the ocean and often more heavily leaning into fantasy, than science fiction. While the worlds might feature technological elements, they will almost certainly feature magical elements of some sort. The characters will usually be seafaring one way or another and stories might involve any sort of adventure. There might be a storyline, though, about one company or nation trying to control the seas – often times through magical means – with the characters often unwillingly being made to oppose them. This genre might also take place in a post-apocalyptic setting with a flooded planet.
As an aesthetic: While the aesthetic is not clearly defined, there is a good chance that it borrows heavily from the late 17th and early 18th century and the golden age of piracy, when it comes to both ships and fashion sensibilities.
Punk-Factor: Pirates, at least as far as modern media imagines them, tend to be very punk, as they tend to inherently oppose any sort of government and what not. While the punk is not there in all of the stories, a lot of the most popular stories from the genre will feature at least lightly punky elements.
Examples: One Piece (1997), Pirates of the Caribbean (2003), Assassin's Creed IV: Black Flag (2013)
Dungeonpunk
As a genre: So, the idea of the genre is basically “What if Cyberpunk, but Dungeons & Dragons?” Usually set in a vaguely medieval world, this world still shows the same corporate corruption as your usual Cyberpunk world. Adventurers are just another resource to be exploited by the system, their day job involving going on yet another dungeon crawl. For this there might be some technology entirely powered by magic, with those magic items taking over the same functions technology might have in a Cyberpunk world. And yes, indeed some brave dwarf, elf or halfling might rise up and challenge the corporate dungeon syndicate. (As you might sense: Yes, this genre tends to be at least partly a bit of a parody of the punkpunk idea. Though it also can be played straight as “Cyberpunk conflicts, just that all technology is somehow magic.”)
As an aesthetic: This is once again one of the examples, where there is a clear idea behind it – but absolutely no clear aesthetic, as this genre might cover anything from medieval settings to a lot more modern stuff.
Punk-Factor: The base idea, being heavily inspired by the base idea of Cyberpunk, just from a very different perspective. But too many people read the genre as “Magic Technology, yay”, in which case, no, it is not punk.
Examples: Dungeons & Dragons can be played this way, also Final Fantasy VI – XIII definitely counts.
Sandalpunk
As a genre: I mostly include this for the sake of it, because this genre tends to boil down to “fantasy set in ancient Greece or Rome, but with vaguely anachronistic elements”. It might also include alternate history stories (even going so far as Science Fiction) based on the idea “What if Ancient Rome/Ancient Greece never fell?” There is no real overarching themes, even though I could imagine some interesting way one could build those up. So far, though, it is mostly a vague gesture towards: “SciFi Fantasy, but with more ancient civilizations.”
As an aesthetic: The aesthetic is usually just Ancient Rome or Ancient Greece, but with more magic or anachronistic elements.
Punk-Factor: Given the super vague nature of the genre and the fact that it seems more like a genre of hindsight (with most media being declared this having been released even before 2000)… Nobody wrote those stories to be punk. The one punk thing I can see about several of these stories is people challenging Gods, but… That’s about it.Examples: Hercules: Legendary Journeys (1995), Xena: Warrior Princess (1995), God of War (2005)
Stonepunk
As a genre: The basic idea of Stonepunk is, that it is set in a stone age world, but with the technology being pressed towards a very anachronistic end, which is often played for laughs. Basically it gives stone age people a modern seeming world, though not really. Often enough this is used to make a point about the modern world and parody it in some regard. An argument can be made for stories, that feature stone age technology people being somehow subjected to modern technology (for example through time travel or space travel) also possibly falling into this genre.
As an aesthetic: Usually the aesthetic of Stonepunk is one of an overplayed stone age setting. The clothing characters might wear are not what we know is historically more accurate but really just “everyone wears a pelt around their shoulders”. Meanwhile stone age tools get spun to be used as all sorts of modern technologies.
Punk-Factor: The genre does usually not feature punk themes. However, the nature of parodying and challenging the modern world tends to be punk in its own merit, I assume?
Examples: The Flintstones (1960), The Croods (2013), Horizon: Zero Dawn (2017)
That's it. That's the list.
Feel free to add to it.
WHAT'S TODAY'S SPECIAL?
✩ THE GREAT GATSBY
: a few luxurious vanilla bean scoops, alongside a bright pistachio scoop and a drizzle of some quintessentially american hot fudge to top it off.
I’ve seen Gatsby: An American Myth at the ART two times now, and it’s been such a pleasure both times, with it quickly becoming my favorite show I’ve ever seen or witnessed in my entire life. At this point, there’s no real breakdown of the songs or story yet, and I wanted to detail my own thoughts on the score of the musical. So, here’s my review and summary of every song from Gatsby: An American Myth, in the best way I could possibly articulate it.
— SPOILERS FOR THE GREAT GATSBY BY F. SCOTT FITZGERALD AND GATSBY: AN AMERICAN MYTH AHEAD. read the better version of this on my substack !!
WELCOME TO THE NEW WORLD
NICK, ENSEMBLE
Welcome To The New World is our opening number, and it’s a phenomenal entrance to the story and themes of The Great Gatsby. It starts with NICK, explaining who he is, why he left for New York, and the general vibe of New York as he arrives, and transforms into a full company performance. The choreography really carries this song, but the detailing of New York and its culture at the time of the story is done so well in the lyrics, really emphasizing the passion and energy in the city and state. what i love most is that the song opens on the common people of New York, those that attend GATSBY's parties but are not a part of the “elite,” with clear references to those characters in the company being immigrants, from out of the country and from other parts of the country itself. This idea of the song being sung by the average person in New York really lends itself to the introduction of TOM, DAISY, and JORDAN, who, during the song, are watching the company dancers from a higher level of the stage. as the song concludes, TOM says something along the lines of “quiet down” or a comment about the amount of noise from the other side of the pond, forming a line of class before the show even truly begins. crazy fun beat, crazy fun choreography, and such a captivating start that really draws you into the world of the great Gatsby, despite its weakness in catchiness.
a solid opening number, being incredibly fun with fantastic and dynamic choreography, although not the best song on its own in comparison to other gatsby: an american myth tracks or other musical openings. won’t be a super interesting listen for those who only have access to the score, but will be a super fun watch for everyone who sees the show, and a great start to an even better show!
GOLDEN GIRL
DAISY
Golden Girl is DAISY’s first solo, and it’s good. for context, the scene previous to this is DAISY confronting TOM about taking a phone call, presumably from a woman or mistress, while they are hosting dinner, and demanding he hang up. he hangs up the phone and hurts her hand in the process, to which she crumbles in pain, with TOM then telling her that she is “being a bad host,” which leads into the song. Detailing DAISY’s emotions of always feeling the need to be perfect, and feeling as though she was pushed from being a debutante directly into being a bride, Golden Girl should be incredibly emotionally touching, especially as DAISY begins to reminisce on a previous love and another possible life, but it’s just not. Golden Girl is fine, and that’s the best way to say it, and it rests a lot on the gorgeous vocals of Charlotte MacInnes. The lyrics are okay, but at this point in the story, the song reads strangely, and it’s just a bit boring to sit through. I think Golden Girl does it’s job explaining DAISY’s feelings, I wish it just did it in a more interesting way, because it feels a bit like an afterthought, and a little forced into the overall flow of the story. Golden Girl’s crime is that of being boring, and that is the real tragedy of the song.
overall, a very basic take on daisy without very compelling ideas or lyrics, that rests on the vocals and acting ability of the performer and not on its own merits. not the worst i've seen in theater before, but my own personal contender for one of my least favorite of this show’s numbers. disappointing for daisy’s first solo, but will be a genuinely great audition piece for those looking for something from the show. this is likely a controversial take, but i just didn’t enjoy it.
VALLEY OF ASHES
MYRTLE, WILSON, ENSEMBLE
Now. We’re. Talking. MYRTLE and WILSON are so cool in this production, and Valley of Ashes only cements that further. It’s a fantastic company number with a balanced focus between MYRTLE, WILSON, and the rest of the company that centers on the working class’s view of New York and the dichotomy between them and those with money, both new and old. It introduces crucial characters, interesting plot and thematic elements, and from what I recall, it’s sound and choreography is captivating for an audience. Both Solea Phiffer and Shea Renne performed beautifully as MYRTLE, and Matthew Amira makes me actually care about WILSON in ways I didn’t think were possible. It’s just so good, and is such an edgy, interesting performance. Huge fan!
a great company performance with a variety of skills from acting to dance to vocals on display from every member of the cast performing. takes everything amazing about the opening, and dials it up now that it knows the audience is already sat and listening. i'm obsessed.
SHAKIN OFF THE DUST
MYRTLE, ENSEMBLE (FEAT. TOM & NICK)
Another banger from MYRTLE and the wildly hardworking company, that’s only made better by the acting ability and the raw comedic and dramatic timing that Cory Jeacoma and Ben Levi Ross have as TOM and NICK. Taking place in MYRTLE’s apartment, Shakin Off The Dust gives a balance of a fun, party-like atmosphere that really showcases MYRTLE’s lust for life and desire to really live, which is core to her character, alongside the genuine emotions and motives behind the speakeasies and parties of the 1920s, which came from a desire to feel loose and free after the war and diseases that hurt the country, and also deeply hurt MYRTLE and the company characters like her, who desire to emulate the luxury and freedom of the upper classes. It’s much more emotionally raw than would be expected of the flashy costumes and lights, and the gaudy set, and provides insight into TOM and MYRTLE’s relationship and MYRTLE’s difficulties with her husband, family, and life that lead her to lead this affair. It also gives us canonically gay NICK, which I could never be mad at. Fantastic choreography as always, with a special solo given to a wildly talented dancer in the company, Chris Ralph who has delighted the audience both times I’ve seen the show in an incredibly unique way.
fun, flirty, and emotionally devastating. everything that i look for in a track, only made better by those performing, with phenomenal execution of the lyrics and choreography.
NEW YORK SYMPHONY
NICK, MYRTLE, DAISY, ENSEMBLE
This one took me a second to remember, but once I did, it was hard to forget. Taking place after TOM slaps MYRTLE, telling her that he would never truly marry her, and after NICK’s realization of queerness, New York Symphony is a song detailing the experiences of NICK, DAISY, & MYRTLE as people who have moved to New York in search of something, and emphasizes their similarities. It’s not a very memorable song, but I find it touching and a strong support for the overall story. Nothing too special, but still leaves a pretty hefty impact even with just a vague memory of the emotion it evoked.
a strong addition to the story and an interesting depiction of the similarities between multiple main characters, drawing connections that are crucial, or at least helpful, to the story.
ONE HEART BEAT
GATSBY, JORDAN, ENSEMBLE
One Heart Beat is our introduction to GATSBY’s parties, alongside the man himself, and it does a great job at utilizing the skills and talents of the cast alongside the fantastically designed set to create a dynamic and fun atmosphere. Great utilization of JORDAN’s character, which this production can occasionally lack, so that’s a major plus. Reminiscent of Shakin Off The Dust, and previous company numbers, One Heart Beat shows the party scene of New York and emphasizes the characters of both old money and new money who crowd together in GATSBY’s grand parties, but in a great contrast to the desperation of Shakin Off The Dust with the amount of opulence it shows. It’s a little bit of a drag, as I feel it’s a little longer than it needs to be, but overall a great track in vocals, score, and choreography, with amazing comedic moments and a great execution of NICK and GATSBY’s first meeting, and leads perfectly into the next track.
a great party song, with a fantastic showcase of skills from the company and the lead actors and actresses. faithful to the story and the ideas of gatsby’s parties, and just such a fun song, despite possibly overstaying it’s welcome.
DEATHLESS SONG
GATSBY (FEAT. DAISY)
Gonna be real with you guys, I don’t remember this song at all. From what I recall, it happens after GATSBY solidifies plans for lunch with NICK. The song itself contains GATSBY detailing the motives behind his parties, talking about scanning every face in the crowd, obviously looking for DAISY. Towards the end of the song, DAISY enters, standing in front of the green light prop that exists on House Right, but she’s more of a vision and GATSBY does the classic reach out to her from across the pond, which is referenced in the book and the musical. It’s not a bad song, from what I remember, just very forgettable, and it has the problem of existing after a very fast paced moment. Gatsby: An American Myth’s largest issue seems to be timing and placement of songs, and this is an example of it, because it is so easily forgotten in between those that come before and after it.
doesn’t feel fair to give this a review, but i’m gonna say it’s a little forgetable and boring, but absolutely something that would resonate with someone who is not me.
FEELS LIKE HELL
WOLFSHEIM, ENSEMBLE
We are so fucking back with this song. It’s incredible, and defies every stereotype of the “ boring old guy musical song that nobody likes,” by being just so well done. I could write a whole post on this song alone, but WOLFSHEIM as a character is just so monolithic, he takes up all the attention on stage, supported and only contested by GATSBY, who has incredibly unique blocking and choreography throughout the scene. In this song, WOLFSHEIM explains GATSBY’s rise to fortune through his help, and the idea of the American Dream in a way that feels so genuine and wildly inventive and creative. WOLFSHEIM manages to be such an amazing character, with so much personality and wit in ways that I don’t the book, the movie, or the other musical have managed to capture. While I will sing the praises of Adam Grupper all day, Isaac Powell’s performance as GATSBY is nothing to scoff at either, managing to transform himself from a young, naive man, to the GATSBY we know today, and doing so flawlessly. An amazing backstory song that blends rawness and wit into something spectacular.
fantastic addition to the musical, and a dynamic number that never gets old and one that you always look forward to, with especially amazing performances from all cast members involved. i have a feeling that this song will turn out to be wildly underrated when the cast recording releases, but trust me, it’s great.
A SMILE LIKE THAT IS RARE
NICK, JORDAN (?)
You may notice the question mark next to JORDAN. I can’t fully remember if she has a singing role in this song, or only a speaking role, but it doesn’t really change the overall song. It is, even if JORDAN also sings, largely a NICK solo, as he comments on GATSBY’s charm. The song details GATSBY’s smile, and how his genuine joy is rare for the circles both JORDAN and NICK find themselves in, and it’s the beginning of NICK’s understanding about who DAISY is to GATSBY, as this all comes after NICK’s agreement to stage a tea meeting for the aforementioned characters to come together, which is what GATSBY wants. It leads into a larger song, as NICK’s hesitance to set up the meeting is met with JORDAN’s reassurance that it may turn out well, as she remembers GATSBY for the radiant joy he had around DAISY, and their relationship. It’s a bit of a filler song, but it’s pretty, with lyrics that show an understanding of the characters in the story’s feelings and moves the plot along in a way that doesn’t feel too forced or too slow. It’s small, it’s cute, it’s there.
nothing too much to say. it’s a cute addition, and it does it’s job. it’s not anything special, but it’s well-written and well-performed, and has a very clean placement in the story itself.
MONTH OF LOVE
GATSBY, DAISY (FEAT. NICK & JORDAN)
Do I remember the lyrics? No. Do I remember how absolutely lovely this song was in essence and feeling? Yes! NICK and JORDAN watch on from a side of the stage as a young GATSBY and DAISY meet and fall in love, with JORDAN being implied to be telling their story to NICK. However, everyone other than DAISY and GATSBY seem to melt away during this song and the scenes within it, even if they’re still present on stage, which seems intentional and phenomenally done. DAISY and GATSBY pull the audience into their romance, with soft lyrics and a romantic backing to every word spoken and action taken, without it coming across too gaudy, fake, or unreliable to the book itself. This is a gorgeous song, and it really demonstrates the skills of the performers to be able to shift into their characters’ younger selves so well, with only a change in costume. A beautiful song, made even better by the tragedy you know will befall their romance.
dreamy, romantic, and gorgeous, everything gatsby and daisy remember their month together as seen from their and jordan’s memory. this number really makes us understand daisy and gatsby’s history in a way that wasn’t available before.
I’VE CHANGED MY MIND
DAISY, JORDAN, DAISY’S MOM (FEAT. GATSBY)
This song is so heartbreaking, it makes me physically ill. DAISY, on the day of her wedding to another man, receives a long-awaited letter from GATSBY, begging her to wait for him. So simple, yet so gut-wrenching, Daisy’s repeated lines of “I’ve changed my mind” show her youth and desperation so well, especially as her mother berates her and asks her to think of their good family name (“Love will fade, but our good name is forever.”) and the luxuries that DAISY has enjoyed her whole life. DAISY continues pleading, standing soaked in a bathtub (like, actually soaked), until the moment she is carried out and dragged to the wedding, and it’s such a deeply ruinous song that absolutely wrecks an audience. TOM is a looming, silent figure throughout this song, and JORDAN’s helpless worrying only adds to the desperation the song carries and the fear DAISY has, every element on stage working to make you see just how much DAISY is conflicted, scared, and naive. I’ve Changed My Mind shows the tragedy of The Great Gatsby that is always so delicious, and it’s nauseating how amazing this track is. The blocking, costuming, and subtle choices made (JORDAN picking up GATSBY’s letter from the bathtub where it dropped as DAISY gets carried away, before throwing it out, DAISY’s mother and JORDAN in black as though they are mourning) elevates this song to heights I’m obsessed with.
possibly one of my favorite songs of the show, with just phenomenal vocals, acting choices, blocking, and just everything that makes a song perfect. i’m obsessed with this track, and I think it’s a real showcase of the show at its best.
POURING DOWN
DAISY, GATSBY, NICK (KINDA), ENSEMBLE
I know I just spent 10 years absolutely showering I’ve Changed My Mind with praise, but Pouring Down manages to elevate to even higher heights as a track. At NICK’s house for tea, both GATSBY and DAISY are overwrought with stress and nerves, and are so awkward and tense they can find nothing to talk about but the stormy weather. It’s difficult to detail in words, because it sounds so simple, but the mixture of their voices and characters combine into something so awkwardly beautiful, emulating the true tense feelings behind reconnecting with an ex. The company aids in the vocals, especially later in the song as they move into GATSBY’s house, and NICK’s involvement in the scene is somehow both touching and incredibly comedic, adding some necessary levity without drawing too much focus to himself when unnecessary. It’s a beautiful, understated but near-perfectly constructed track, and I love it so dearly. Not to mention, the set design including led-lights that flash down in rain patterns during this scene has such visual appeal I can’t even find the right words to describe it.
a crucial addition, that shows both the comedic and tragic potential of the characters themselves, that adds such great character building and tension to the story that makes it absolutely delectable. it’s a treat for me, seeing and hearing this song. understated, simple, and yet so deeply complex and thought out, a real work of ART.
MR. NOBODY FROM NOWHERE
GATSBY, ENSEMBLE
BOOOO!!! Tomato, tomato. Okay, I joke, but in all seriousness, this song is GATSBY’s Golden Girl, if you know what I mean. It’s just so boring, especially as the Act One finale, and it’s just so disappointing because it’s obviously placed there so we can get a serious moment to end on, that centers around GATSBY himself, but it just lacks what the past two songs had and really dampers Act One’s momentum. I understand it’s neccessity, especially for setting up GATSBY’s character, and his relationship with the idea of being “nobody” and finally escaping that boudary with the love of DAISY as his crutch, because that is vital for later on, but I just find this style of ballad-esque solos very boring, basic, and uninspired, which is a shame for a show as dynamic and unique as Gatsby: An American Myth. It was okay, and it does something for GATSBY’s character, but that’s the best I can do.
again, we have another song who’s worst crime is being boring. it wouldn’t be so bad if it didn’t follow multiple fantastic songs, but it does, and it’s rough. there’s not a better place to put it, and there’s no getting rid of it, so we’re stuck. still mildly disappointing, although i’m sure every high school theater boy just cheered for another audition song for them.
JUST A LITTLE PARTY
MYRTLE, ENSEMBLE
Starting off Act 2 with a quiet bang, Just a Little Party is a subtly sinister take on the party scene of 1920s New York, with “the help” at the center of the song. Highlighting the hauntedness of Gatsby's parties and the way the lower class workers are essentially invisible to the party-goers and work jobs that are completely unnoticed every night and every day, it's a dark, but incredibly captivating performance. MYRTLE’s appearance as a maid to contrast the life she wishes she had, as one being served rather than the one serving, is incredibly tragic and adds depth to her character. Her appearance in the song as a whole elevates it, and it's just such a fun way to get dragged back into the world of the show.
absolutely gorgeous re-entry to the world of gatsby: an american myth, that used the entire company to their best, and was just an amazing performance. 10/10, no notes, i’m in love.
WELCOME TO THE NEW WORLD (REPRISE)
GATSBY, DAISY, NICK, JORDAN, ENSEMBLE (FEAT. TOM AND MYRTLE)
DAISY’s introduction to the party world that GATSBY has created for her is within this song, and it is absolutely perfect. Before I write anything else, it’s important to know that NICK and JORDAN shine in this song, especially showing the way that NICK has evolved to mold seamlessly with the upper-echelon’s party mindset that he was once uncomfortable with. It’s such a gorgeous, fun reprise with just the right amount of sinister to remind us that GATSBY and DAISY are on borrowed time, with the threat of TOM right around the corner. Such a fun beat, and a great callback to the original song. All the characters, including MYRTLE and TOM who don’t have singing roles in this song, are utilized so well in both acting and vocal talent and skill.
so fun, so perfect, and an amazing reprise! more fun to watch then the original in my opinion, although the lyrics probably aren’t as strong, or at least don’t change much from the original.
DRIVING MY WAY
MYRTLE
This is MYRTLE incredibly ironic breakup song to TOM, although framing it that way doesn’t do her justice. Post-party, MYRTLE is incredibly frustrated with TOM, and I would describe this song as a type of angry, break-up letter to him, essentially telling him that one day, he will have lost her, and he won’t be able to drive her way anymore. It’s tragic in the context of the show, and that tragedy comes from the hope that it has as a standalone track, but it’s still incredibly powerful in the moment and represents something important for MYRTLE, and the shows overall themes and ideas. It’s a very powerful song, and while that really rests on the power of the performer, it’s just a fantastic track. The costuming of MYRTLE during this scene, in the maid dress she wore to the party, lends so much to the powerless feeling MYRTLE feels like she gains with TOM, and it gives the ending, where she clearly states her power over him, so much more punch than it would’ve otherwise.
overall, myrtle really isn’t in a single song that’s bad, especially not ones focused on her, and the stage presence that is both written into myrtle’s character, and executed flawlessly by the performers, only served to make this piece so much more emotionally fufilling and shattering for an audience.
WHAT IS THIS WORSHIP?
GATSBY, DAISY, NICK, ENSEMBLE
What Is This Worship is by far one of the most dreamy, romantic tracks in the entire score, with a slightly sinister undertone, and it’s no wonder that it comes in the seemingly blissful, but secretive, days of GATSBY and DAISY’s reigniting of their romance. The melody and music tell a far different story than the lyrics themselves though, with the music airy and cloudlike, like a fairytale, and the lyrics painting a picture of doomed devotion. According to the song, GATSBY falls into depression the moment DAISY leaves, and places his whole value on her presence, which shouldn’t need to be explained as unhealthy to be understood that way. The choreography shows they can never get their hands off of each other, with GATSBY especially clinging to DAISY and the lyrics reflect such desperation. It’s just such a gorgeous song, and everything about it reflects the love of DAISY and GATSBY without straying from the original themes and intentions behind their relationship, and the complexities with idealism and “the american dream” that litter the relationship as a whole.
showstopper, amazing, and steamy without being gaudy or graphic. one of my favorite portrayals of gatsby and daisy’s romances done, like, ever!
WHAT WILL WE DO WITH OURSELVES
GATSBY, DAISY, NICK, JORDAN, TOM, ENSEMBLE
shirts getting thrown off, daisy regrets, gatsby asks daisy to tell tom she never loved him
This song is so fucking long, and so fucking good. The whole song is just wrought with tension and stress and it genuinely made me almost claw into my seat, it was so nailbitingly good. Beginning in GATSBY’s home, with DAISY worrying about the past and how much time they’ve both lost, and what their future will look like together (“What will we do with ourselves / Today, and the next forty years”), the song immediately brings a sense of finality that we know is coming to the affair, highlighting DAISY’s insecurities and fears. However, they move on, with the song transitioning into DAISY and TOM’s home as DAISY and GATSBY prepare to tell TOM of the affair —with JORDAN and NICK being the unfortunate bystanders. This begins the “it’s too hot” repeated lyric, which shows the way that the environmental circumstances, along with the tension, are affecting everyone but TOM, unaware of the issue. Later on, TOM becomes more conscious of the affair when DAISY decides to drive with GATSBY, leading him to also remark on the heat later on. All in all, it’s a rich, tense piece of storytelling that relies on the actors’ abilities in the best possible way, highlighting all of the strengths of the amazing performances done.
stressful, nauseating, and just so deliciously good. a fire could’ve started during this song and i would’ve had no idea. i don’t really know how they’re going to split this song and what is this worship up, or how they’ll make it into the cast recording, but that doesn’t change the intense emotion raditating out of this song.
WHAT OF LOVE, WHAT OF GOD
MYRTLE, WILSON, ENSEMBLE
I NEED THIS SONG TATTOOED ON MY BRAIN. Anyway, this is my favorite song of the whole score. MYRTLE and WILSON are fascinating characters, and they’re love and dynamic is so stressful and so beautiful and so heartbreakingly, realistically tragic. WILSON’s desperation for MYRTLE to stay despite her affair is so clear in this song, alongside the clear anger and betrayal he feels for both himself, God, and his and MYRTLE’s deceased daughter. It’s genuinely so raw with emotion that it’s palpable, and MYRTLE doesn’t pull her punches either, with her clear exhaustion with WILSON’s excuses and her pessimism contrasting his optimism, which is a swap of their earlier roles in the story. The contrast between them is what really seals this, with WILSON (And what of love, and what of God?) and MYRTLE (Love will not save you here / ... / God will not save you here) showing clear the hopes that people had in America and how those hopes eventually are crushed. The shift in their personalities is evident too, and it’s just such a realistic depiction of the kinds of struggles they would face as fully fledged people, not characters. It’s so. Fucking. Good.
a really great song to pretend you’re fighting with someone to, if that makes sense. a really great song, period. i am getting a tattoo of these lyrics, and no one can stop me.
THE DREAM FOUGHT ON
DAISY, GATSBY (FT. TOM, MYRTLE, NICK, JORDAN, & ENSEMBLE)
DAISY is going to drive. That’s important for you to know. This is the scene, as in the scene where DAISY takes control of her life, for better or worse, removing herself from being the dream debutante, the dream wife, and then GATSBY’s American dream, and in doing so, taking back both control and the keys to the car from GATSBY. The Dream Fought On is about fighting for a dream, whether this be DAISY’s dream of breaking free from expectations, GATSBY’s dream of having DAISY, and MYRTLE’s dream of truly living, and finding a new life. This is where MYRTLE dies fighting for her dream, running in front of the car as DAISY drives, and the choreography and blocking of specifically this scene is phenomenal, along with the song’s blocking as a whole. While the song can be rather basic, and a pretty common and derivative take on the story, it’s still very well done, especially on stage, and especially with the acting of all those involved.
overall, it’s a great song that has the issue of a lot of acting moments around it, and being shelved in between multiple other far better songs, but still, it’s great. i feel like i’m forgetting something about it, but i’m fairly certain this is a reliable description.
THE DAMAGE THAT YOU DO
TOM, DAISY
If there were to be any song that beats out What of Love, What of God?, it would be this one. TOM and DAISY are such rancid people in this song, and it really highlights the ways TOM and DAISY behave similarly, which calls back to similar highlighting during Act Two’s opening that showed both DAISY and TOM’s affairs in the spotlight. It’s so good in ways I can’t describe, but it’s one of the other great argument songs on this track, and there’s a piece of lighting work I also really love in this song, where the spotlight kicks up from behind them and you can see dirt and blood on the bottom of both DAISY and TOM’s clothing, highlighting the blood and grime they both have on their hands and their consciousness, and how neither of them are clean people. I think it provides a lot of insight into why DAISY and TOM end up staying together.
VIGIL
GATSBY, NICK
GATSBY is going to take the fall for DAISY, and desperately wants NICK to validate this decision, which NICK struggles immensely in doing. This is, I believe, where NICK fully beings to understand the lengths that GATSBY has gone in only the pursuit of DAISY, how the entire empire he has built is for her, and how he will tear it all down for the chance of having her call, for the chance to protect her. This song, while sung by GATSBY and NICK, is more reminiscent of NICK’s point of view on GATSBY’s tragedy, rather than a real duet. NICK remarks that GATSBY is “standing vigil over nothing,” and when GATSBY asks NICK if he thinks DAISY will call, NICK decides to lie and say yes, despite his real beliefs. It’s a truly tragic song, if only in the sheer patheticness and desperation shown in GATSBY. I have, personally, never been one to dislike DAISY as much as many other readers of the book, but this song really hits hard, and really draws a lot of sympathy for GATSBY’s struggle and desperation for something, and someone, we all know isn’t coming.
it’s raw, it’s good, it’s tragic, and it’s all one big beautiful lie, and it’s just incredibly desperate and pathetic as a song, in the most loving, sympathetic way. it’s gonna be great, and people are going to love it.
AMERICA, SHE BREAKS
GATSBY, WILSON
Oh, I’m crazy. WILSON, similar to MYRTLE, is always going to be a smoking gun —see what I did there— of a character, bright and attention-grabbing and with such a loud but welcome stage presence. America, She Breaks is a perspective on the myth of the American dream from both GATSBY and WILSON’s perspective, as they lament on what the pursuit of this dream has lost them. This song genuinely leaves me speechless, a heavy tension and desperation running through the entire thing until the death of GATSBY and WILSON by WILSON’s own hand and handgun. It’s, strangely, a magical experience of a song, with it being wildly captivating and attention-holding. It’s a fantastic commentary on the themes of the show, and genuinely could’ve been a great ending to the show that wraps up the story and the themes, although it would leave parts of the book’s ending out. It’s just such a solid and genuine performance, and it always leaves the audience gasping.
this song drives me crazy. i am crazy.
POURING DOWN (REPRISE)
NICK, JORDAN, GATSBY’S FATHER, COMPANY
This is where, ideally, the show would’ve ended if it didn’t end after America, She Breaks. The inclusion of GATSBY’s funeral, and the few mourners, alongside NICK and GATSBY’s father is well-done, and I absolutely adore GATSBY’s father being Native-American, which adds a whole new level to GATSBY’s character and desire to fit into the 1920s American dream. I’m not well-versed enough to speak on the representation, but I do think the idea of GATSBY being Native-American adds a lot to the story and adds complex, and interesting dynamics and themes to the overall script. I think this song specifically being a reprise of Pouring Down works well, and I think it’s an emotionally fitting ending to the show.
emotionally fitting, a perfect mourning song, and a lovely and well-done reprise. incredibly solid as both a standalone song and a closing to the score and story as a whole.
BEFORE I GET INTO THE LAST SONG... I want to say that there are two places this show could’ve ended after this that I would’ve been happy with.
After NICK mentions to GATSBY’s father that DAISY didn’t even send flowers, GATSBY's father asks NICK who DAISY is. This works as a tragic ending, as it shows that GATSBY’s pursuits were largely for nothing, and no one will ever truly remember or understand the lengths that he went to for DAISY, along with being tragic due to the reminder that DAISY was not all that important to anyone else, and that she was only a dream of GATSBY’s, and not nearly as lifechanging for others. It just ties up DAISY and GATSBY’s relationship in a tragic little bow that I think works
And I would prefer this. NICK and WOLFSHEIM have a conversation about GATSBY after WOLFSHEIM doesn’t attend GATSBY’s funeral, that generally goes with NICK saying that GATSBY should’ve meant enough to WOLFSHEIM that he be bothered to go to the funeral, and WOLFSHEIM saying that GATSBY meant everything to him. WOLFSHEIM’s monologue ends with him saying that “[GATSBY] was a beautiful fool” and I think this makes for a good ending.
I’m sure there are other places that would make for a good ending, but not the one I’m about to tell you.
WE BEAT ON
FULL COMPANY
I hate it. I’m sorry, I hate it so much. We did not need a full company number at the end, it really just ruined it. It sucks so bad, I’m so sorry. I’m sure there’s a good reason to have it, maybe, probably, but my idea is that reason was just that they wanted the whole company on stage for bows, which is not a good enough reason to have this number included. It’s a boring song, with boring choreography, and I don’t think it serves a good enough purpose, or emphasizes the message of the show in any way. I believe that this song was only included to have the entire company onstage at the end of the show to prep the stage for bows, and nothing else. Sorry, but not really.
i’m a d1 hater of this song, and will be pretending it doesn’t exist.
so, that’s the scoop!
if you enjoyed this review, let me know. if you didn’t, that’s too bad, sorry about that. please follow me for more content, and feel free to ask me any more questions about this show, my experience with it, or content in general! i’m always down to chat, and i’m open to reviewing more scores, soundtracks, and/or albums! all the love, all the kisses, and have a fantastic day or night, wherever you are.
8.12.2024🍨 eleanor
I have been seeing a lot of discourse on certain tags lately about fanfiction and writing fics that are “out of character”. And I don’t like conflict, so I was keeping my nose out. But now I’ve seen some things that I just can’t let go, and as the self-proclaimed fandom mom, I feel like I need to step in and state this loud and clear—
Fandom is for you.
The whole point of fanfic and fanart and cosplay and anything fan related is for you, the fan, to take a work that has already been created and have fun with it. Make it your own. Dive in and explore and do what you will. Fandom is meant to be a creative outlet where you can share ideas and art with other people who have the same interests as you.
THAT BEING SAID: it is never. And I repeat, NEVER okay to gatekeep fandom. And yeah, I fucking hate the word gatekeep. But it’s the only way to describe what I’m seeing happening. And so I’m going to use it again—
It is never okay to gatekeep fandom. It is never okay to gatekeep characters. And to throw negativity at anyone’s work, let alone come straight out and tell them that they’re wrong for shaping a character a certain way— I’m sorry, but where do you get off? I am completely understanding of wanting characters to stay true to the source material. I am completely understanding of having your own opinions about/expectations for a character and wanting them to behave a certain way. But YOU, my dear friend (or rather, we), are not the creator of those characters. Which means that we have no right to tell someone else what they can or cannot do with them.
The whole point of fandom is to let your imagination run wild. And if that means that a typically good character leans more evil in a fic, fine. If they make decisions you don’t agree with, great. If they do things that directly contradict what would have happened in the source material, even better!!
LET. PEOPLE. CREATE.
Let them throw characters into crazy situations and analyze how they react. Let them stretch them out like putty and poke at all of the soft bits inside. Let them shape them into something completely other just to see what happens. Let them be curious. Let them explore. Let them have fun.
Fandom should be fun.
And the second one person starts dictating what is right or wrong for a character or a ship, that’s the second it stops being fun. And that’s when fandoms die.
Don’t gatekeep something that doesn’t belong to you. Because again— It doesn’t belong to you.
You are allowed to have your own opinions. You are allowed to have your own expectations for characters. But who do you think you are, to flat out tell someone (or a group of people) that the way they write someone is wrong? That the way they have imagined something is wrong? That their creativity, their expression, their joy, is wrong? Or, as I’ve seen more recently, when someone gets dejected by the posts you’ve made telling them they’re creating wrong, you have the audacity to tell them “that’s okay, now that you know you did something I don’t like, you can reevaluate your work and try to improve!”
How dare you.
Because once again, I hate to break it to you, but you’re not the creator of these characters. And I’m going to go out on a limb and say that the actual creator is probably just so happy to see the diversity of idea that has sprung from their creation. So who do you think you are, to dictate an entire fandom?
If you don’t like it, move along. Click out of the fic, find something else to read. I understand having frustrations when things don’t go as you’d hoped, when a piece of work that you were excited about crosses those outer lines of your expectations and you feel disappointed. Again. But you know what? That’s your expectation. What about the person halfway across the world who reads the same fic and finds themselves in it? Finds a small piece of comfort that encourages them to hold on for just one more day. What happens when your words completely discourage the creators of your fandom, have them second guessing themselves? What happens when they lose confidence and stop creating completely? What happens when the fandom dies, and suddenly there’s nothing new to explore— to your standards or not?
You are allowed to have your opinions. Of course you are. You are allowed to express them. But you are never. EVER. allowed to tell people that they are wrong for making art that you don’t agree with. For using their imagination in a way that doesn’t fit into your small box of approval.
Let creators find happiness.
Let creators create.
✨ Writing Fanfics for all Fandoms: Fanfic Writing Tips 🖋️
Hey friends! I hope you all are having a wonderful day so far. Fanfiction isn’t just storytelling; it’s love for the characters, worlds, and fandoms we all hold dear. Whether you’re writing your first one-shot or working on a multi-chapter epic, here are some tips to make your fanfic even better <3
. • ☆ . ° .• °:. *₊ ° . ☆ . • ☆ . ° .• °:. *₊ ° . ☆. • ☆ . ° .• °:. *₊ ° . . . •
💡 1. Stay True to the Characters
Their canon gives you the blueprint, but your job is to bring the characters to life in new situations. Ask yourself:
How would they react to this scenario?
What’s going on emotionally that wasn’t explored in canon? You can add depth or explore alternate versions of them, but keeping their core personality intact makes your story feel authentic and lifelike.
✍️ 2. Play With Tropes
Fanfic is a space to have fun, so lean into the tropes we all love! From slow burn to enemies-to-lovers, from hurt/comfort to time travel AUs—write the kind of story you want to read.
🖤 3. Balance Canon and Creativity
Canon is the foundation, but fanfic shines when you expand on it. Fill in the gaps, write missing scenes, or twist the story into an alternate universe. The best fanfics respect the source material while boldly reimagining it.
📖 4. Use the Fandom’s Language
Fan communities thrive on shared knowledge. Using terms, references, or memes specific to the fandom can help readers connect with your story. Just make sure it enhances the story and doesn’t feel random.
💡 5. Use Tags Like a Pro
Good tags help readers find your work. Include:
Pairings or relationships (e.g., #Destiel, #Reylo)
Tropes (#SlowBurn, #EnemiesToLovers)
Genres (#Angst, #Fluff, #AU) And don’t forget to add warnings if needed (e.g., #MajorCharacterDeath).
Writing Notes: Based on a True Story
Using your life as a source for a fictional novel is a great way to turn your own stories into something new and resonant.
Retelling and adapting true stories is a time-tested method that many great fiction writers use to produce iconic fictional stories.
If you’re working on your first novel, fictionalizing your own experiences is a great way to craft an original narrative that you connect with on a deep emotional level.
How to Write Fiction Based on a True Story
If you’re in the process of adapting a true story into a fictional novel or short story, there are a few things to keep in mind. Turning true events into fictional stories can be a rewarding process, but it also presents unique challenges. Here are some tips:
Be clear about your premise. Before you start writing a work of fiction based on a real story from your own life, it’s important to know the central premise of your story. Having a clear idea of what your story hinges on can give you some objectivity as you decide which factual elements to keep and which elements of your real-life story distract from your main plot. Remember that no matter what true life story you’re basing your new book or short story on, you’re writing a story about fictional characters and can change any elements that don’t serve your narrative.
Remove yourself from the story. One way to stay objective about a story based on personal experiences is to try as best you can to remove yourself from your original story. You have an intensely personal point of view and connection to your own life story, but remember that you are creating a fictional story. The more you can look at your story in a dispassionate and objective way, the better your story will translate to a reader. This is not to say that elements of your first-person feelings won’t affect your narrative, it’s just to say that you aren’t the main character in your story. Even if your protagonist is based on yourself, the more you can start to view them as a separate, original entity, the better able you will be to craft an original narrative.
Do your research. If you’re writing a fiction story based on your life experiences or another real-life situation, do as much research as you can on the facts of the story and setting in which it occurred. You are not required to include or honor any of the factual elements you uncover during your research process, but you never know what useful information you will find that might inform your final narrative. Looking at newspaper articles that are relevant to your story can help you write about your topic from a different point of view.
Be flexible with facts. Never let actual events get in the way of a good narrative. It’s important to enter into your writing process with flexibility and willingness to change any part of the true story you’re basing your narrative around. Remember that your readers will usually have no knowledge or bias when it comes to your source material. Some genres like historical fiction require you to honor certain facts, but for the most part, the truth should never cause you to compromise your fictional narrative.
Decide if you need permission. If you are writing a fictional narrative based on a true story, you need to decide how closely your fictional characters resemble the real people they’re based on; if they’re recognizably similar, you may need to ask permission. It’s good practice to fictionalize character names instead of using the real names of real people, but you still might want to ask family members and friends for permission before you include elements of their lives in your stories. Family history is great fodder for fiction writers, but consider changing the names of real people to avoid a sticky situation and potentially a lawsuit.
Combine stories. Combining real-life experiences from different parts of your life can be a great way to create a new and successful fictional narrative. Real events have emotional resonance for writers, and combining separate stories into one is a great way of recontextualizing details and crafting a compelling narrative.
Shift the setting. A great technique for adaptation is to take true events from your real life, but shift the setting for your personal story. Shifting the setting or context can help you see what parts of your story resonate.
Edit extensively. As with any writing process, editing the first draft is often when a good story becomes a great story. Rewriting a novel based on real-life events is also a good time to see which factual elements are working and what needs to be changed. Remember that the emotional truth of your experiences is often much more important to your story than the superficial details. Edit your story with an objective eye for which factual elements are working and which ones are only getting in the way.
Source ⚜ More: Writing Notes & References ⚜ Writing Resources PDFs
You must stay drunk on writing so reality cannot destroy you.
Ray Bradbury, Zen in the Art of Writing
Been thinking about this a lot lately... It's especially good advice for those of us that are terrible plotters. Just take it one step at a time.
Being creative isn’t always fun
I think this is one of the most difficult things to realize. Be it writing or drawing or making music or crafting – it’s not fun. Not always.
I think we all expect it to be, I mean, why do it if it isn’t fun? It looks so easy when others do it. And then we get discouraged when things inevitably turn out to be more difficult than we thought. And then we blame ourselves!
It should be easy! This should be fun! I’m such a hack, I’m doing this wrong, I will never be good at this because it isn’t fun and it’s supposed to be fun, else it’s just a stupid waste of time.
We all feel this way sometimes.
Allow yourself to accept this. It isn’t always fun, sometimes it’s really difficult and you have to push through to get to the other part that is more fun.
It’s not easy, it’s not always fun but that doesn’t mean that it’s wrong to do it. You’re not wrong, you’re not stupid, you’re not a hack. Keep doing your thing.
Tired of waiting for new fanfics?
Write your own fanfics!
Now YOU can control how the plot controls and hey! You don’t have to wait for updates anymore!
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Learn the Differences Between Novelettes, Novellas, and Novels
Since I am currently in the process of writing a story, but I'm not sure what I want it to be... I'd figure I'd go ahead and share the differences!
So let's get to it!
Writing the first draft of a novel can be a daunting, arduous task. That’s why the novelette format can be so appealing. In many ways, a novelette is like a short novel. It allows writers to hone their craft by learning how to tell stories under a strict word count restriction.
What Is a Novelette?
The definition of “novelette” is any short, fictional work of prose narrative. Novelettes have a lower number of words than a novel or novella, but a higher word count than other forms of prose fiction like short stories or microfiction. Despite lacking the page count of a full-length novel, novelettes generally tell a complete story. Some people refer to novelettes as “long short stories” or “short novellas.”
How Long Is a Novelette?
Any work of fiction with a word count between 7,500 and 19,000 is generally considered a novelette. A novelette is longer than a short story, which usually has a word range of between 1,000 and 7,500 words, and flash fiction, which is usually under 1,000 words. Any piece of creative writing that is longer than a novelette but shorter than a novel is considered a novella.
Three Differences Between Novelettes and Novellas
A novella is a standalone piece of fiction that is shorter than a full-length novel but longer than a short story or novelette. Novellas incorporate many narrative and structural elements of novel-length stories—but like novelettes, they often focus on single points of view, focusing on a single central conflict, and rely on fast pacing. Here are the differences between novelettes and novellas:
Word count: The primary difference between a novelette and a novella, then, is word count (novelettes are shorter than novellas).
Subject matter: Traditionally, novelettes tended to focus on whimsical, sentimental themes. The modern-day novelette, though, is more like the novella in that it can encompass different genres like sci-fi, drama, or historical short fiction.
Complexity: In terms of storytelling ambition, novelettes tend to split the difference between novellas and shorter forms like short stories. Novelettes tend to have a greater focus on character development, worldbuilding, and plotting than short stories. However, the stories are generally more concise and focused than a novella-length work, as the word count is often too restrictive to tell a long story.
Three Differences Between Novellas and Novels
The most obvious difference between novels and novellas is page length and number of words. However, beyond this superficial difference, many structural and thematic hallmarks of novellas make them their own standalone genre of writing. Some of these include:
A single central conflict: Most novellas explore a single, compelling central conflict. Because of their shorter length, novellas have less time to explore subplots and tend to focus on the main plot. Novellas generally have one main character and a handful of secondary characters. Because of length constraints, most of the character development will be focused on the protagonist.
Fast pacing: Novellas usually move at a quick pace. Whereas novels can spend time diverging from the central conflict to delve into backstory and explore multiple points of view, novellas generally offer a quick compelling story with a singular point of view.
Unity of time and place: When writing novellas, writers should root the action in continuous time within a limited space, ideally one location.
Benefits of Writing a Novelette
For short story writers or people who generally write shorter works, novelettes can be an opportunity to tell a longer-form, standalone story. For writers who are used to writing, say, full-length science fiction or fantasy novels, the word count restriction of a novelette offers a chance to tell a good story with a simple cast of characters and few subplots.
Seven Examples of Novelettes
Novelette writers know how to tell a complete story in a relatively short amount of time. Here are some famous examples of novelettes, many of which were originally published in literary magazines:
The Fall of the House of Usher by Edgar Allan Poe (1839)
The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson (1886)
The Metamorphosis by Franz Kafka (1915)
The Call Of Cthulhu by H. P. Lovecraft (1928)
The Little Prince by Antoine de Saint-Exupéry (1943)
Bloodchild by Octavia E. Butler (1995)
Hell Is the Absence of God by Ted Chiang (2001)
I hope this helps! Thank you for still being my followers and patiently waiting for a post!
I wanted to write today… but my brain said, “Nope.” Not sure if it’s a motivation issue or just good old-fashioned writer’s block, but either way—progress needed to happen.
So, I cheated (but like, in a totally productive way). I followed my plot outline and wrote just the dialogue. No fancy descriptions, no deep internal monologues—just vibes and conversation. And you know what? It worked.
I once said that the only job of the first draft is to exist. A skeletal scene with dialogue and the barest hint of description? Totally fine. That’s what the second draft is for. Future Me can deal with the details—Current Me just needs to keep the story moving.