@tragedieds / tragedieds.tumblr.com

ann. 21. writer.

WIP INTRO

A GUIDE TO LIMINAL MATTERS AND GHASTLY KINDS

general facts

  • novella series
  • genre: Urban Fantasy | New Adult
  • status: Part 1 (Heart of Silver) completed and readable here. Part 2 (Words Long Spoken) is currently being drafted. Part 3 (House in Mourning) planned.
  • themes/other: depression & friendship, episodic storytelling

synopsis

Evelyn is a tired university student who works somewhat illegaly as a ghost hunter in her freetime. Ariel is a professional curse-broker with questionable google reviews. Together, they fight monsters and curses until they both find what they’re looking for: appreciation.

characters

Evelyn - Evelyn grew up as a ghost hunter and tried to leave that life behind her. But after her good friend Ariel brought her back to the ghosts, monsters and curses, she decides to embrace that work in her freetime. However, she not only fights harmful creatures, but her own demons as well.

Ariel - Ariel is a curse-broker with passion. They hand them* out, break them*, experiment with them* to their heart’s content. What comes first in life? Curses! So they will do everything (!) in their power to become the best curse-broker in the whole wide world. (*referring to the curses, not Ariel’s clients; please don’t believe all those google reviews, thanks!) 

Joshua - Joshua is a ghost living at Ariel’s apartment (living, hehe, you get it?). He is absolutely not trapped there. And it is also not boring at all. Helping Evelyn and Ariel with his ghostly connections is still more exciting than fighting with the  cat. It also just makes him feel more… alive?

links

upcoming links to relevant posts will soon appear here! the tag for this WIP is #wip; GLMGK

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ask to be added or removed from the taglist!

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chauceryfairytales-archive

You know, I’m glad that trend of slapping just the words “magical realism” on random wip intros here on writeblr stopped, but at the same time, it makes me sort of sad that everyone was treating magical realism as just some fancy word to put in a wip intro, and no one actually wanted to write magical realism?

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chauceryfairytales

To be honest, as someone who grew up reading Latin American magical realism, the only hard lines for me are no futurism and no magic systems/magic as the central point of the story. Because that puts it in the scifi-fantasy spectrum, and I hate the idea of SFF absorbing magical realism as part of the fantasy genre.

I love SFF, but how to say it… they’re very English-speaking genres that will kill local authors and styles if you let them. I know Brazilians who haven’t read a Brazilian book in years. Some only read foreign SFF.

And the very principles of SFF are contrary to what some consider the key aspects of (Latin American) magical realism. Like the focus on escapism in SFF, of taking you out of your own world, and showing some beautiful, awestriking, wondrous magic. Magical realism does the complete opposite of applying magic to the real world to talk about real-world issues, usually in the least aesthetic/cool way you could imagine. Or building magic systems for SFF to make magic consistent, following rules that let the reader understand and predict it as part of the narrative. Magical realism is so focused on absurd stuff that either shouldn’t make sense or should encourage you to look for a meaning in the political/social/psychological subtext of the story. A magic system destroys that.

Magical realism is an awesome genre, though? If you like literary fiction, especially the heavy kind, you should definitely try reading magical realism. And if you want to write literary fiction, but you can’t stand a story without a bit of strangeness and/or magic, it’s such a perfect choice?

I’ve written and reblogged tips about magical realism before, but the reason why they all say something different (depending on what we’re reading or watching or writing at the time) is because it’s such a varied genre. Like, I just said magical realism is usually heavy, but there’s a kind of magical realism novel that’s just… soft romance with a sprinkle of weirdness.

There’s a place for anything there. You just have to, you know, respect the genre you intend to write.

CASTOR’S 160+ PSD & TEMPLATE PACK

the old collection ( 2018-2021 ) can only be found from this link as I plan on deleting all past deviantarts and stores. I will still be crafting on my discord server and opening a new deviantart. in this pack you will be getting 53+ PSDS + 31+ TEMPLATE SETS ( 100+ SLIDES ) all for free! please, reblog and like this post before download. it’s cost 0$ to spread and help content creators out! thank you.  ( don’t download and leave. that’s rude ) credit: @18hg

The Wonder/Discovery Arc

We know about romance arcs, about family arcs (both found and reclaimed), we know about redemption arcs, and corruption arcs. Those are all character arcs based on the development of a character. There are also plot arcs, which don’t center as much around a character as they do around the audience. One example of this is the mystery arc in the standard whodunit. We, the audience, start with a question, and by the end of the story it gets resolved.

Here’s a type of plot arc I haven’t seen described or articulated yet. Perhaps that’s why it’s so often underutilized or botched.

The Wonder/Discovery arc is a unique component (as far as I know) to fantasy and science fiction, I haven’t seen it in any other genres. It may well be what ties the genres together. It tends to appear more in fantasy and sci-fi, but I think that’s because fantasy writers are slightly more aware of it. Nevertheless, its potential is often missed.

Wonder in storytelling is not purely based on presenting something objectively wonderful. Magic does not happen simply by showing the reader magic. Marvel comics lost their marvel because they don’t get this anymore. Anything can appear mundane if presented as mundane.

Again; this is what many people love about children’s media that they’re not getting from adult media. Look at what Disney and Pixar used to be. These studios and their entire philosophy understood that magic is an end in itself. They were successful because they understood that “magic” isn’t just a plot element, it’s an emotion.

But you could be getting wonder/discovery arcs from adult media. Tolkien managed it all right.

Awe and wonder are emotions, especially from a writer’s perspective. Writers who miss this view magic as a means to a plot end. No shade on Sanderson, since his plots themselves are very emotional, but his magic does not use the wonder/discovery arc. Many DND inspired fantasies also do not use this arc. But at the same time, “magic the emotion” CAN appear in sci-fi. So how?

What is it?

I’ll describe three examples that utilize the wonder/discovery arc in fiction and do it well.

  • Lord of the Rings
  • Jurassic Park
  • Interstellar

Plot Points

  1. Baseline

This is the part in the story where you introduce the concept of the magic as something your characters want to see and experience.

In Interstellar, Murph and her dad spend a lot of time talking about space before anyone actually goes to space. “Space, Murph.” In Jurrasic Park, dinosaurs are discussed for a long time before we see an actual dinosaur. In the Lord of the Rings, the story starts off in the Shire, a place relatively similar to average human life. However, Bilbo once saw the elves. Frodo wishes he could see them too.

2. The Hint

This is the part where the box shakes a little bit. The ground shakes a little at the approach of the dinosaurs. The magic item starts to glow. Something falls out of the sky. This could be considered the “rising action” phase. Its goal is to arouse curiosity and hint at larger potential.

3. The Lull

Take some time away from the magic, back to the mundane or the busyness of the plot for a little while. Was it real? is it really going to happen? is the promise going to fulfill? Make the reader wonder.

The school authorities teach that the moon landing wasn’t real. The characters doubt John Hammond really has anything to show them. Bilbo disappears and Gandalf doesn’t show up for an entire year.

4. The Reveal

The reveal is the emotional climax of the wonder/discovery arc. This is the moment where your characters find what they are looking for, or it reveals itself. This is the moment when two astronauts stop to consider “Wow. Space.” This is the moment when the Jeep stops in Jurassic park and the protagonists get their first look at the dinosaurs. This is the moment where the elves appear on their way to the Gray Havens, beautiful and sad, singing softly with an otherworldly light.

The Reveal is an emotional beat where everything slows way down. This is one of the rare moments where you have the right to not only show, but also tell your audience that something is cool. You’ve earned it.

If you doubt me on that, what do you think the music was for in Jurassic park? It serves the function of telling you that the dinosaurs are cool. You don’t just see them. You don’t just know that the characters are amazed by seeing their reactions. The music actively guides you on how to feel.

This moment should NOT be sped through or glossed over. Take a good long time to stop and look at the Magic! This is what you came here to see, right?

Ironically, with the full development and ease of CGI, movies have lost their magic and this is why. We are no longer used to sitting through 20 minutes of a movie to get to the part where we see a dinosaur. Additionally, special effects are considered too “normal”, so directors forget how to make cool things seem cool via good storytelling.

You don’t have to only show. It’s okay to Tell but you have to EARN the right to tell your audience that something is cool or beautiful or unspeakable and have them believe you.

Tolkien conveys magic with a kind of inverse ratio of detail. By the first time he tells us that something is unspeakable, he’s already spent at least 50K describing mundane things in  excruciating detail. We believe him.

A few additional pointers:

  • Build a story around the cool thing you want to show us.
  • Don’t let the characters accept the existence of the impossible too easily.
  • Don’t forget to explore potential! If your magic artifact has the ability to kill people, someone should die. If it has the ability to drive men to madness, somebody should go mad, or at least come close. If it has the ability to cure all the problems in the world, somebody should at least try to use it for that.
  • Cutaway discretion: sometimes what isn’t said is more powerful than what is said. A common horror adage is that monsters are scarier when they’re not shown. Likewise, a divinity is more powerful when you can’t look at its face. Write around the magic.

To Summarize:

I can’t emphasize enough that a lot of writers want the benefit of the reveal scene but can’t figure out why the emotion isn’t there. It’s because they think the emotion comes from the fact that they’re showing the audience a Cool Thing. That is not true.

A dragon is cool. A dragon that we’ve been waiting half the book to see with all of the characters speculating about what it might be like, whether it is sentient, what color it is, how big it is, etc. is Very Cool.

A lot of writers want the payoff without doing the work. “Don’t you think my sci-fi is cool? Don’t you think my magic is magical?” But they haven’t done the emotional prep to get there.

As Megamind says, “What’s the difference between a villain and a supervillain? Presentation!”

I imagine myself covered with blood, broken but transfigured and in agreement with the world, both as prey and as a jaw of time, which ceaselessly kills and is ceaselessly killed.

— Georges Bataille| Visions of Excess: Selected Writings 1927-1939

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ANDROMEDA RUIN a writing excerpt

in which Finneas is a hot bisexual mess.

for context: the gang has invited themselves to a fancy gala at Councilor Gideon Black, aka Azami’s dad’s house to spy on some of the guests. dexaComs are this universe’s equivalent to smartphones– they’re basically air pods that can create a holographic screen in front of your eyes. Finn and Val have elaborated a ruse to steal them from guests in a search for information.

for context on the “Lief” thing, you can read this.

words: 2202. idk what it is with Finn excerpts that i keep posting super long ones.

From the cover of the people around him, Finneas watched as Valyan approached their next target and began to engage in lively conversation with him, paying close attention to the man’s minute actions. Every time the guest started to raise his arm, Finneas anticipated he was removing his dexaComs and got ready to pounce, only to retreat when it turned out he was only adjusting his collar or scratching his temple. 

A feeling of unease began to creep over Finneas the longer he waited. And although he was beginning to get impatient, it became increasingly clear that this new feeling had nothing to do with the mission. No, it was a feeling he had learned very quickly to discern during his first few months out on his own after escaping Ghillairde. It was a chill on the back of his neck, the sharp sting of a pair of eyes boring down on him.

He was being watched.

Daring to take his own eyes off Valyan and their victim for a second, he quickly scanned the crowd. Azami and Petra were deep in conversation at the other end of the room and weren’t paying attention to him. No one seemed to be paying attention to him, really, as they were all engrossed in their own conversations or their appetizers or the objects for sale around the room, so why was he—

His gaze locked with Ansel Black’s. A soft “fuck” of surprise escaped his lips.

“Finneas Becker,” Ansel said, his jawline as sharp as ever. “Funny I’d run into you again in my own house.”

Trope Discussion: Blind Characters Covering Their Eyes

The majority of the projects I am asked to beta include blind characters who cover their eyes. Modern characters wear sunglasses. Other characters wear blindfolds for older settings. The story usually justifies the decision in some way, but I always ask: why?

I also neglected to include this in my post on Things I Want to See More of / Less of in Blind Characters. I don’t think I considered it at the time. However, unlike my post on blind seers, I think this trope actually causes some harm in subtle ways and I usually encourage avoiding it. I’ll discuss why in this post.

What’s Wrong With Blind Characters Covering Their Eyes?

Keep in mind that blind characters are not so common. Because they aren’t very common and because not everyone in your audience knows a blind person in real life, the way the character is represented could lead audiences to believe that is how blind people are. This, coupled with a general lack of information given in everyday life, allows writers or artists to unintentionally influence how real life blind people are perceived.

Sure, blind people create blind characters as well. However, we don’t usually get as much exposure or opportunities. We could be held back by other barriers, such as poverty. This means it can be hard to counteract tropes we don’t like or that activity harm us.

Blind characters covering their eyes is potentially harmful for a few reasons.

One reason is that it is assumed that all blind people always cover their eyes. This means that in real life, blind people are not as easily recognized even when they have a cane. The white cane is supposed to be what alerts others that a person is blind. Instead, people get confused about why a blind person isn’t wearing sunglasses if they’re blind. This leads to unnecessary explanations, lost time, refusal to help, and sometimes hostility. Wearing sunglasses helps some blind people communicate blindness more easily. They may feel forced to adopt the stereotype.

Another reason is that it unknowingly touches on the pressure some blind people face to cover their eyes. This could be because they are self-conscious about them or because of pressure to make other people feel more comfortable. This pressure could originate from the way their eyes look or move, or even due to lack of eye contact. Sometimes, stories present these ideas as normal for blind people, which increases the idea that blind people should be ashamed of their eyes or that they should prioritize the comfort of others for something superficial.

Where Did the Stereotype Come From?

While I am not sure about the exact origins, the stereotype probably comes from a few sources: shorthand symbolism and abled actors playing blind characters.

-Shorthand symbolism could be used in art or plays to indicate a character’s blindness.

-Because films and shows are so popular and more easily consumed, audiences are more often exposed to blind people on the screen. Actors who aren’t blind often wear sunglasses to make them appear blind to audiences who would perceive eye movements as breaking character. The actors in live-action material often wear sunglasses to hide their eyes. Why blind actors aren’t hired initially is another story.

This page discusses the sunglasses trope in films.

-Some blind people who wear sunglasses for any reason may also simply be more recognizable as a blind person as opposed to blind people who don’t wear sunglasses. This means others may not be aware that blind who don’t wear dark sunglasses exist.

The Sunglasses Stereotype

I should mention here that blind people are simultaneously expected to wear sunglasses as a signifier of blindness while also accused of faking for wearing them. The rationale is the idea that blind people can’t see the sun and therefore would never need sunglasses. This, of course, depends on the stereotypes that all blind people are totally blind, which is not true. Most sources I have found over my time writing this blog state that less than 10 to 15% of blind people are totally blind, which means about 85 to 90% of blind people have light perception or some residual vision.

When Should Our Characters Wear Sunglasses or a Blindfold?

Many writers have characters cover their eyes because it feels right. Some assume the character would feel uncomfortable with the way their eyes look and that they prefer to hide them. In order to write this trope well, you must understand your reason behind it.

Let’s examine why blind people wear sunglasses in real life. This page is a good one to read and was very helpful in constructing this post.

Light sensitivity, or photophobia, occurs when people have sensitivity to light, usually sunlight. Blind people can also expirience this.

Sunglasses are used to shield their eyes from the sun when outdoors and from big windows when indoors. Some sources state synthetic lighting is not usually an issue and others state some people may want to wear their sunglasses indoors.

For characters who aren’t modern, the equivalent of sunglasses would probably be a blindfold or eye patch.

Blind people like fashion just as the next person. They might enjoy wearing sunglasses occasionally. However, they don’t wear them all the time.

Blind people might also want to protect their eyes from dust or injury, whether they can see or not. This can be accomplished with sunglasses or regular glasses.

How Do We Write Blind Characters Covering Their Eyes Respectfully?

This is one of those tropes I prefer people avoid. I say “avoid” because I want to come across it less which means way less people need to use it.

Think about why you want your blind character to cover their eyes.

Is it because it simply feels right to you? Is it because you believe it will help audiences understand or accept that your character is blind? Is it because you can’t imagine your character any other way? Is it because your feel deep down that your character’s eyes would make other characters uncomfortable?

Think about where this idea comes from and whether you really want to use it.

If you have decided it makes sense for your character to cover their eyes, here are some tips for you to do it well.

1. If they use sunglasses for fashion, have the blind character go without the accessory periodically throughout the story. Consider avoiding them covering their eyes when they are first introduced, as first impressions can be memorable. Your blind character should not be the only one who happens to wear sunglasses as part of their style.

2. If they are sensitive to light, do research on photophobia. Consider where the character is when covering their eyes. Do they mostly wear sunglasses outside and near big windows? Do screens bother them? Make it clear in the story.

3. I always suggest having more than one blind character in a story. This is important for moments such as this. Having a blind character who doesn’t cover their eyes shows that not all blind people cover their eyes. This, in addition to a writer understanding exactly why their character covers their eyes, will help immensely.

This trope is a problem when no reference to the alternative is made, usually because the writer doesn’t understand what they’re writing about. They haven’t considered the reasons blind people cover their eyes and therefore aren’t aware that not all blind people do so. Having more than one blind character in the story shows more than one experience, including covering or not covering eyes. Showing different experiences eliminates the idea that blind people “just do” certain things. It makes people think.

If you want audiences to think, you first need to ask: why?

When writing marginalized characters, remember that their marginalization decreases the amount of accurate information available about them. Audiences don’t have as many resources to check. They may even lack the inclination to do so at all. This could be because of a desire to maintain biases or simply because they don’t consider blind people much outside of entertainment or pity. Surprisingly, some people are even actively resistant or hostile to the idea of taking time to learn about the experiences of blind people.

This means your story could be more impactful than you realize.

When you’re writing, ask yourself the question: why? You might realize that it makes for a richer, more informed story.

Johann Liss (German, Oldenburg (Holstein) c. 1597 - 1629 or 1630 Venice) - Cupid (Amor), c. 1630, oil on canvas, 87.70 x 65.70 cm, The Cleveland Museum of Art

Anonymous asked:

okay so im struggling to word this, but like, eye (descriptions?) but not like color or looks, i mean like when books says "her eyes fluttered closed", "half lidded" and stuff like that. i have no idea how to use these, and no idea how they work

Illustrating Emotion with Eyes/Eye Movements

Eyes and eye movements, along with other aspects of facial expression and body language, can play a big role in indicating the emotion a character might be feeling in response to something they're thinking or experiencing.

Eye movements can be divided into three types:

- eyeballs - eyelids - eyebrows

Here are some things eye movements can indicate:

Eyes that brighten – acceptance

Eye contact – acceptance, admiration/adoration (prolonged eye contact), agitation (avoiding eye contact)

Eyes that twinkle – mischief, adoration

Eyes that harden – anger

Eyes that glaze over – boredom

Eyes that dart back and forth – anxiety or fear

Eye that gleams – confidence

Eyes that glance furtively – desire, romantic interest

Eyes filled with tears – intense sadness or happiness

Eyes that look down/away – discomfort, guilt, uncertainty

Eyes that wander – boredom, indifference

Eye contact that’s broken – insecurity, discomfort, guilt

Eye contact that’s unsteady – vulnerable

Eyes that gaze longingly – loneliness, wistfulness, nostalgia

Eyes that seem to flicker or spark – rage

Eyes that are “doe-like” – innocence

Eyes that appear dull – stunned, exhaustion

Eyes that roll - annoyance, disbelief

Eyes that stare into the middle distance - deep in thought

Eyes that glance upward to right or left - thought

Eyelids that widen – amazement/surprise/shock

Eyelids that narrow – suspicion, scorn

Eyelids that blink rapidly – appalled, disbelief

Eyelids that don’t blink – courage, determination

Eyelids that flutter – pleasure, coy

Eyelids that close – defeat, frustration,

Eyelids that clamp shut – anger

Eyelids that are half-lidded – pleasure, lust, desire, exhaustion

Eyelids that squeeze shut – panic, intense fear

Eyelids that close gently, lightly – relief

Eyebrows that rise together – amazement/surprise/shock

Eyebrows that wiggle – teasing, suggestive

Eyebrows that draw/knit together – concern

Eyebrows that crumple/furrow – confusion

Eyebrows that rise in question – hopefulness

Eyebrow that rises alone – skepticism, satisfaction

Eyebrows that lower – wariness

Eyebrows that wrinkle or crease – worry

...

I hope that helps!

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