One of the most important lessons I ever learned about art was when I became a late addition to the editorial board for the literature part of my high school's lit/art magazine, which nobody ever read.
Because I realized after a couple of meetings that my moments of baffled distress during them were centering around a pattern of our votes electing by majority to reject most of the good, interesting stuff and agree to publish the very bland.
So I was looking around this room of people I mostly liked or respected if not both, trying to figure out what the fuck when there was no reasonable way of asking, until the day we by majority vote sent definitely the best thing submitted all year back pending 'revisions' which of course would not be made, because the poet would definitely either become demoralized or know for damn sure she was too good for our stupid journal. I have no idea which it was; it's a question of mindset, and the submissions were anonymous.
This good poem was rejected for two reasons, both of which were actually manifestations of it being good. One was that it had made a couple of the board uncomfortable--not by having any shocking subject material, mind, just by provoking emotions with unusual descriptive language and indirectness--and they'd transmitted that uneasiness throughout the group during discussion.
And the other, seized upon as an excuse in light of the first, was that by being complex in terms of both structure and notion it had drawn several of us in, interested enough to engage critically and respond in depth, and so we'd marked it up with lots of places we thought a word choice could have been a little stronger, a line break had been a little odd; ways we thought it could have been a more excellent version of the poem we perceived in it. None of them ways it was actually bad. Just places we felt it could have been better.
At the same meeting, we voted to accept a poem that was an utterly tepid rectangle of predictable nothing-in-particular, because no one could find anything in it to object to.
It wasn't good. It wasn't noticeably bad, either, though; it was one consistent level of mediocrity clear through, and thus no part of it stood out as a weakness, and therefore the committee found it more acceptable than the poem that was superior in every way, but which by being daring and interesting had left itself covered in vulnerable places.
The understanding I reached as a result of this experience was multi-layered and difficult to articulate, but the most important part, I think, to share is that the value and quality of a work are not, in fact, very well measured by how many negative things you can find to say about it.
Another list of Latin phrases, this time with soft/warm meanings. It is 2:39am as I make this list.
a te pro te: from thee for thee
ab imo pectore: from the bottom of the heart
volat hora per orbem: time files through the world
coelum versus: heavenward
concubia nocte: at dead of night
crepusculum: twilight or dusk
crescens luna: a cresent moon
cum corde: with the heart
labores solis: an eclipse of the sun
in horam viviere: to live for the moment
in rerum natura: in the nature of things
in tuto esse: in a safe place
ingens aequor: the vast ocean
inter vivos: among the living
januae mentis: inlets of knowledge
jenuis clausis: in secret, with closed doors
littera scripta manet: the written letter remains
lux mundi: light of the world
lux vitae: light of life
meo voto: by my wish
mox nox: soon night
multis cum lacrimis: with many tears
ningit: it is snowing
occidui temporis umbra: a shadow at sunset
opinio vana: an illusion
osculum pacis: kiss of peace
papilio: butterfly
par pari refero: tit for tat
per vian dolorosam: the way of sorrows
philtrum: a love potion
pluvia: rain
res rustica: a rural affair
ros marinus: rosemary
semel et semper: once and always
silva: wood or forest
sinus urbis: heart of the city
As always, happy writing!
─── ・ 。゚☆: *.☽ .* . ───
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Reference: Latin for the Illiterati: a modern guide to an ancient language by Jon R. Stone, second edition 2009.
make a playlist for each of your wips—or even better, for each of your characters. channel your oc's emotions, feelings, and past into music. best advice I've ever received (partly because it helps me get into the flow of writing from that character).
you can put songs like:
the character's "go getter" moment
song that would play behind a training/fighting montage
song that represents the oc's darkest moment
their best moment
a moment that shaped who they are today
a song that would cheer them up
a song that describes a pivotal moment
moment of betrayal
how they die
how they felt when someone else died
When I first started writing, it took me a while to learn that writers, you don't need permission
you don't need permission to write a messy first draft
you don't need permission to add everything that makes you happy into your wips
you don't need permission to write in the way that suits you
you don't need permission to write a certain POV or a certain character or a certain trope
you don't need permission to write what you love, even if it isn't 'marketable'
Finding it a bit hard to connect to a certain character in your story? Here are 7 ways to get over that hump →
Start with the little things Every person has their own quirks, and so should your characters. A character might fall flat in your vision because of an absence of these small unique traits. Lean into this, think of habits they fall to when they get emotional, or weird little obsessions they linger on.
Give them a small trait of your own Don’t misinterpret this advice as writing yourself into the story! What I mean by this is to pick a small trait or a habit of your own to add a bit of yourself into a character you’re finding it difficult to connect with. This is a great trick to use if you’re writing a type of personality that differs from your own, and helps layer out character too!
Figure out what they want most Knowing a character's motivation - or what it is that actually drives them forward in the story, is one of the key things you should know about any character. If you’re finding it hard to connect to one of them, think about whether you’ve given them clear and tangible motivation within your story world.
And then figure out why they can’t get that Once you know what your character wants, what their goal might be, think of a reason why they can’t get it, or what that process of achieving the goal might be difficult for them. Usually, this works great if it comes from within - meaning that your character carries a flaw that stops them from acting on their goal.
Don’t underestimate kindness Flawed and morally gray characters are great. But don’t underestimate the power of a kind, positive trait. It’s what makes readers fall in love, and what will ultimately help you fall in love with the character, too. We don’t fall in love with a character’s snark, but with the emotions they hide behind the snark.
Give yourself time to get to know them Sometimes you don’t immediately click with all your characters, and that’s okay. That happens. It takes time to get to know what makes them tick, sometimes it takes writing them in a scene, then rewriting them in a different way in the same scene to feel out what’s most natural to them. If a character feels distant to you, let yourself explore a different approach to how you write them.
Don’t rush into who they are It can be really fun to keep a mystery about someone. And sometimes that’s all it takes for readers to be intrigued and feel connected to a character. This can work really well for you as the author, too. Don’t rush into writing down everything about your character in the first few chapters, keep a few details for later and work up to them.