Natalie Díaz, From “Isn't The Air Also A Body, Moving?”, Postcolonial Love Poem

someone recommend me some good fantasy books that aren’t centred on a war, please, my crops are dying

Dorian

How to boarding school au

Oh hey bc I’m sick and I don’t see this around a lot, let’s talk boarding school AUs! Because yeah, college AUs are good start, but there’s a few fun details that make boarding schools stand out:

First of all, everything you read in fanfic about situational gayness is true. I’m serious. When you’re set up to live, work, and play at school (and usually with strict controls preventing you from leaving campus) you start to seek affection wherever you can find it. One of the reasons I didn’t realize I was bi for years was how completely normal it was for people to cuddle regardless of gender or sexual preference. Packs of completely straight-identified dudes and even dating het couples would curl up and do homework on the regular. Imagine how confusing it would be for your OTP if they first met bc they were cuddling in a puppy pile along with tons of other potential partners.

Not all boarding schools are for the rich. Some are reform schools. Some are organized around a specific topic, like science or the arts. Some exist simply because students are spread out too far to commute back and forth. My school was sponsored by the government, so the most I had to do was pay for supplies and a train ticket up there once a quarter. (Yes, just like Hogwarts.)

The true enemy is the staff. Not that bullying doesn’t still exist, but when you live together 24/7, a funny thing happens. You might not always like each other, but you quickly start to realize you have a common enemy - the adults in charge of this zoo. And when you have a common enemy, it’s easier to get along. 99% of our teenage spite was redirected from each other to the security guards who prevented us from innocently taking each other’s clothes off in the bushes, which meant we didn’t beat the shit out of each other so much.

Related, everyone becomes an exhibitionist. Similar to the confusing lines around being gay/straight/whatever, when you’re trapped at school you have no place to go to get it on. So when people do become involved, they either have to find a super secret hiding place (like a jammed elevator) or get used to banging next to three or four other couples at the one makeout spot with low visibility. (Which may change weekly, given the aforementioned staff. I remember one time watching a lazy security guard mount a giant headlight assembly on a pole, stand back, and sweep the high beam back and forth over a hillside. Half-naked couples scattered like rabbits.)

You will probably almost kill yourselves once a semester, but it will be okay as long as no one notices. Unless you’re at one of the mythical rich kid schools where idk, everyone has their own helicopter, you pretty much have to invent your own fun. My school had restrictions around tvs and video games because blah blah “being healthy”, so we also spent a lot of time outside trying to figure out what the fuck to do. Protip to staff: this is actually way less healthy than video games and computers, because bored teens can and will fucking destroy themselves by accident. Example: one trend we came up with was human versions of all board games, not just chess. This sounds kind of adorable and innocent, until the incident where we attempted Human Jenga. Protip to everyone else: DO NOT PLAY HUMAN JENGA. Even if you’re being very careful about stacking people, eventually the sheer weight of the stack will start to smother the people down below even if you thought their chest was clear. And if they can’t breathe, they can’t let you know they are dying. We almost lost the bottom row over that. (No staff ever found out.)

Prank wars are real, and they get out of hand. Again, when well-meaning adults force you to make your own fun: fun is prone to escalate. Food fights become whole dorm events; nerds get revenge by fucking with goddamn everyone. One time some friends and I got access to a guy’s computer, put a back door in it, took control of his machine remotely and convinced him he’d created an emergent AI. Another time I got line of sight to a window in a rival dorm and took down their computer every time someone started a paper. In retrospect these are all extremely dick moves but uh I was not always aligned good in high school.

That’s all I can think of for now - go forward and sin with pride!

We know our true name, we just can’t pronounce it (acrylics, 2022)

Imagine if you walked into someone else's mind. Imagine if they walked into yours. Imagine that you couldn't tell which was which. Imagine that it didn't matter. Imagine that the membrane between you was so thin that what is you and what is her can no longer be clearly defined. Imagine that "mine" and "your" fell away, leaving only "our". Imagine that the reason you can't tell was because you are, on a fundamental level, the same person. Imagine you were two halves of a soul that were never supposed to be put together. Imagine that you smiled. Imagine that you've been fighting all year, but when you first get the chance to exist in this primordial, spiritual space, all that exists is gentleness and peace. Imagine that this is all you ever wanted. Imagine that she touched your cheek. Imagine that you were soulmates. Imagine that this was never acknowledged again. Imagine that the first thing she did when she woke up was walk to you and kiss you. Imagine that you never knew. Imagine that I watched this scene thirteen years ago and it permanently rotted my brain from inside to out.

The Two Types of Pacing

Pacing is a tricky, tricky thing. Hopefully, by breaking it down into two schools of thought, we can better our understanding of maintaining effective pacing. 

as requested by @whisperinghallwaysofmirrors

First, Some Definitions

According to Writer’s Digest, narrative pacing is “a tool that controls the speed and rhythm at which a story is told… [H]ow fast or slow events in a piece unfold and how much time elapses in a scene or story.“

Pacing can be a lot of things. Slow, fast, suspenseful, meandering, boring, exciting, et cetera et cetera. While we don’t want meandering or boring, getting it to be the other things can be a feat. 

As I go through all of this, I would like to say that the number one thing you should be keeping in mind with the pacing of your story is the purpose.

What is the purpose of this story, scene, dialogue, action, arc, plot point, chapter, et al? This and only this will keep you on track the whole way through. 

Without further ado, here are the two types of pacing…

Micro Pacing

This, to me, is the harder of the two. Macro pacing usually comes naturally with our understanding of overall story structure that we see in books and movies. Micro is much more subjective and labor-intensive.

The first step of every scene you write is to identify what kind of pacing it needs to be effective. Is a slower pace going to nail in the emotional tone? Is a faster pace going to convey how urgent the scene is? Is choppy going to show how chaotic it is? How much attention to detail is needed? Et cetera. And even with the scene’s tone, there are also tones within with action, dialogue, and narrator perception.

There is no one-size-fits-all trick to mastering pacing. All you can do is try to keep it in mind as you draft. Don’t let it consume you, though. Just get it down. After drafting, look at the pacing with a critical eye. Do important scenes go too fast? Are unnecessary things being dragged out? Is this scene too detailed to be suspenseful?

A lot of errors in pacing are quick fixes. The adding or removal of details, shortening or lengthening of sentences, changing descriptions. However, these quick fixes do take a while when you have to look at every single scene in a story.

Macro Pacing

Rather than the contents of a scene, this deals with everything larger. Scenes, chapters, plot points, storylines, subplots, and arcs. This is taking a look at how they all work for each other when pieced together.

One of the biggest resources when it comes to analyzing macro pacing is story structure philosophy. The common examples are Freytag’s Pyramid, the 3-Act Structure, Hero’s Journey, and Blake Snyder’s 15 Beats. They follow the traditional story structure. Exposition, catalyst, rising action, climax, and resolution (albeit each in different terms and specificity). Though some see it as “cookie-cutter”, 99% of effective stories follow these formats at a considerable capacity. It’s not always about how the story is told, but rather who tells it. But I digress.

Looking at these structures, we can begin to see how the tried-and-true set-up is centered around effective pacing.

The beginning, where everything is set up, is slower but short and sweet. The catalyst happens early and our MC is sent out on a journey or quest whether they like it or not. The trek to a climax is a tricky stage for maintaining effective pacing. Good stories fluctuate between fast and slow. There is enough to keep it exciting, but we’re given breaks to stop and examine the finer details like theme, characterization, and arcs.

The edge before the climax is typically when the action keeps coming and we’re no longer given breaks. The suspense grabs us and doesn’t let go. This is the suspense that effectively amounts to the crescendo and leads to the emotional payoff and release that follows in the resolution. The resolution is nothing BUT a break, or a breather if you will. Though it is slower like the exposition, it is longer than that because this is where we wrap everything up for total closure. This is what the reader needs, rather than what they want. So you can take your time.

Not every story has to follow this recipe step-by-step. Critically acclaimed movies such as Pulp Fiction, Frances Ha, and Inside Llewyn Davis* break the traditional structure. However, they still keep certain ingredients in it. Whether it be the concept of a climax, the idea of a journey, or the overall balance of tension and release.

If you’re struggling with the macro side of your story’s pacing, I would try to identify what the weakest areas are and see if applying these story structure concepts and methodology strengthens it at all. If not, it may be that your story idea doesn’t fit the “substance” requirement of an 80k+ word novel. It may need more or fewer subplots or an increase of conflict or more things getting in the MC’s way. You could also see if adapting it to a shorter medium (novella, et al) or a longer medium (series, episodics, et al) would alleviate the pacing issues.

*sorry all my references are movies and not books, but I’ve seen more movies than I’ve read books

In Short–

Pacing, both macro and micro, are incredibly subjective concepts. The only way to really find out how effective your story’s pacing is, is to look at it through the lens of traditional structures and ask for feedback from beta readers. How a reader,who doesn’t know the whole story like you do feels about pacing is the best resource you could have.

Wind down #TheBatman doodles. Some Robert Pattinson studies and silly batcat shenanigans 🦇 🐈‍⬛ stylizing humans is hard 😭

Look I normally respect everyone’s opinions how is anyone NOT voting for Wretched Tooth????? they have so much more going on than Deborah and I Just. Don’t. Get. Why anyone would vote for Deborah? #ElectWretched Tooth #IStandWithWretchedTooth