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The anthropological study of writers giving writing advice and the communities they form would be _fascinating_

Don't get me wrong, I love a good flavorful protagonist and PoV character, but it's really hard to build relationships where you root for everyone involved that way. You can flip flop for a duo, especially if there's antagonism, but once you get a few more people involved it's damn hard.

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Writing third person omniscient is so hard, but I can't figure out another way to make a fantasy story with an ensemble of characters who are rarely apart work right. I see why so many authors use third limited, but have a bland character to make the PoV, so you can get the world and other excellent characters in focus rather than the PoV character sometimes. Not gonna lie, I'm struggling hard here. If anyone has tips I'm all ears.

Everyone tries to manage extracurriculars, 'cause you "have to" to make it. And then you have the kids who feel like failures because they can't keep up. And then you have the few kids who seem to make it easily, have all the support they need, and don't care enough about how hard it is for everyone else. Self-centered in the way their blind privilege of a sort works.

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You don't have the jocks and nerds exactly, not that that has been anything but a trope, but now you have kids driven to excel at all costs, anxious and stressed. "I want to do well on this test" or "I care about learning" is not the nerd outsider anymore. It's the mainstream.

Teachers aren't _boring_, they're _frustrating or controlling or overwhelmed_.

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It's funny how hard it is for me to write school kid characters. I grew up unschooled, _and_ my primary exposure to school culture was in the 80s— or media derived from then.

Turns out "school is boring, let's cut class" is not a thing now, not recognizably, and it can't drive all the tropes of 1980s high school situations anymore. So much hangs on that schema.

Sure would be nice if my life context stopped changing faster than I can write my novel.

Anyone got any ace romance stories they can recommend? The ones I've read seem... much more sensible (familiar? comprehensible? not sure the right adjective) than the more conventional romances I read.

Already enjoyed (and recommended!) are Books and Bone by Victoria Corva, Our Bloody Pearl by D. N. Bryn, and a couple of the Toronto Connections stories by Cass Lennox.

"Sir," the dragon said, "why do you seek to kill me?"
"You're a dragon! You hoard wealth, and eat women!"
"Old dragons do that. Us young dragons don't. Kill the old ones."
"They're too strong to kill!"
"They'd be dead by now, had you let younger dragons live to challenge them."
#MicroFiction #TootFic #SmallStories

"Look, I get you like to hunt. I saw you with the birds the other day - a bit embarrassing to be honest - and those mice, but --"
The cat crouched, wiggling just a tiny bit.
"No wait! Seriously. Look. Pointy bits. You will get stabbed. Not worth it."
The hedgehog raised a paw, vaguely indicating it's entire self. The cat relaxed, dejected.
"What should I do, then?"
"…Nice day we're having?"
"Rubbish hunting."
"It's like that sometimes. Got a huge slug last night!"


And when a mix doesn't put me in the right space to write that character, it might be something wrong with the characterization or the playlist. 50/50 which but it's a neat tool to find it.

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One is totally the kind of kid who'd listen to dubstep remixes of stuff and super emotive stuff like Lindsey Stirling, another is totally the kind of kid who listens to punk and nothing but. It's so good to find the headspace.

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I must say, making character playlists for getting inside a character's head before writing has been a superb idea.

So you've got a show with a cosmology of species growing toward their own transcendance, a show with no cosmology at all but the trappings of Christianity turned plural, and a show whose cosmology is a speculative and ultimately Humanist take only the real that we know here and now. They're such different takes.

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I'd compare it to Star Trek, but Star Trek's religion is its humanism, and its cosmology is science. It's remarkably backward-looking for a show set in the future, but it doesn't ever set a vision for its own future, just ours, the viewer's. I love it, but its touches on religion, on meaning and long term ideas were always light if they existed at all. (Roddenberry famously did not want religion at all — it wasn't until DS9 that religion was portrayed, and that against his wishes)

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Where BSG is always focused on tomorrow. Or today. It's got such a remarkably _short_ time span, which gives it a real immediacy, but makes its flashbacks seem out of place — but necessary to give it any scope.

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And the writing. The coherent story of B5 is remarkable — it was written largely by one person and that shows — but more than that, it leaned on story and character to the exclusion of most else. It built a mythos and a rich world out of nothing. And it has a cosmology. Billions of years in the past. A million years into the future. A religion with its recent events a thousand years in the past. A projection of religion into a space age.

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BSG is such a better production value show — costumes, sets, CGI (and a decade later on that front). It was an expensive show.

B5, in its cost-controlled glory leaned on character hard. Wooden acting at first was, I think, lack of re-takes, under-resourced. But the cast gelled into something really solid, the way a sitcom cast does after a couple years on the sound stage.

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The Wandering Shop is a Mastodon instance initially geared for the science fiction and fantasy community but open to anyone. We want our 'local' timeline to have the feel of a coffee shop at a good convention: tables full of friendly conversation on a wide variety of topics. We welcome everyone who wants to participate, so long as you're willing to abide by our code of conduct.