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Author Status 5 – This Is Going To Take A While

So… once again I have missed most of a month (again due to back problems) and my last few posts haven’t exactly been up to the standard I used to hold myself to.

There have been so many things this year that I started but never managed to finish (I have a half-made patreon account and a microphone sitting in the cupboard waiting for me to get on with youtube), and so many other things I have to do (like my day job, which has upped the number of responsibilities I have, and this blog which I am starting to hate). I’m not getting anything done.

This hasn’t been a good year for my writing. My writing advice book is barely selling and I have c.40 copies sitting in a box – quietly mocking me for having hope. I haven’t been able to get any of my other projects to work. Sometimes I feel like my muse has died from grief. Somewhere between me and my next publication – be it a book or just a good blog post – are the spectres of my greatest fears Mdm. Mediocrity and General Failure. I can’t see them and I reach out to work and then there they are, staring at me. To get past them to my muse I have to look them in the eyes, have to believe they won’t – can’t – touch me and walk past, but I can’t. I can’t stand to look at them, because I’m afraid of what I’ll see. I’m afraid that if I look up, the monsters staring back at me will be the monster in my bathroom mirror. A reflection of truth – and truth is a monster. No one wants to have to face what they really are.

All that being said, this was meant to be an update on how my next project is going.  It’s not. It SHOULD have been a fairly simple project, as it was a re-write of a fanfic I once wrote – which was 99.99% original material and characters as it focused on the mostly glossed over part of a character’s backstory, some sixty years before the canon, and only had four canon characters in a cast of thirty+ OCs (of whom three were bit-parts or one-off names in canon and only one canon character was important in the canon). It’s being difficult. I’m not sure if that’s because I feel like I’ve already told this story or because I’m terrified that my next book will go down as unnoticed as my first. I keep telling myself that it’s stupid to be afraid it will go unnoticed, because two of my fanfics were recommended on their respective canon’s TVTropes fanfic recs pages, and I’m cannibalising (you’ll get the joke later) parts of Schaduw Wereld (the bits which aren’t canon, the other canon, or Norse Mythology – the bits I invented) to patch the holes left in Little Differences by the removal of the 0.01% canon that it contained in fanfic form.

I took down my fanfics before publishing Help! My Story Has the Mary-Sue Disease because I wanted to be as legally in the clear as possible and I didn’t want to leave any plot twists open for discovery for those who hadn’t already read Little Differences and/or Schaduw Wereld. When I took them down I contacted all their fans I could and offered to send them a copy, provided they did not put the stories up or share them around (private use only). I also said I hoped to publish the re-write (or Ascended Fanfic as TVTropes calls it) in late 2017. That isn’t going to happen. It’ll be something like mid-2018 at the earliest (and, in my defence, Differences was 200K words long).

But if you were looking forward to a rewrite, don’t despair, eventually I’ll blindfold myself long enough to get past the monsters in the mirror.

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Posted by on August 2, 2017 in On L.C. Morgenstern's Work

 

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Fantastically Disturbing Implications

This is more musing on my part than an educational – or ranting – essay.

 

Fantasy, as a genre, has become a tree of many different sub-genres and trends – all sprouting, according to most, from Tolkien’s magnum opus. Tolkien, however, based his work heavily on myths, epics, and sagas of real world cultures. In this way, it was inevitable that the genre would have a long history and a deep fascination with heroes and royals and, eventually, knights.

The strange thing, however, is that while most of fantasy has adapted to new, modern, ideas – which has given us all sorts of modern settings – fantasy in general has not parted with the morality to which that focus on heroes, royalty and knights belongs. In this way, we have “modern” stories set in medieval worlds where the female protagonists display cliché, shallow, and period inappropriate feminist ideas, but she almost always turns out to be a princess. That, however, is just one of many, many, examples of residual classism and racism in fantasy.

But the funny thing is, it’s more often the fans than the authors whose ideas display a backwards, classist, belief – one which, I suspect, they don’t even realise they are favouring. Here’re some examples.

In the A Song of Ice and Fire/Game of Thrones fandom, the most popular type of theory is the Character X is secretly a House/Noble Character Z. And that’s the thing, it’s always that they have secret noble (or nobler, in terms of going from one house to another) blood.

The High Sparrow – commoner leading a commoner anti-nobility religious movement? Must secretly be Lord Howland Reed advancing his liege lord’s family’s political goals. He can’t possibly be a lower-class person taking up arms because he’s sick of the nobility butchering the lower classes while they fight over a stupid pointy chair. No way.

The King Beyond the Wall, Mance Rayder: a wildling raised as a soldier by his people’s enemies, returned to his people to lead them to give said enemies a massive headache? Nah, he can’t possibly really be a savage/Pict wilding. He has to secretly be a white Westerosi nobleman. It can’t just be that he is one of many characters who parallel each other – which is a grand literary tradition – because that would mean the northern savages managed to get their act together and pose a real threat without a Mighty Whitey Westerosi to carry the white Westerosi man’s burden and help them. Oh, he is an almost perfect copy-paste-from-history of King Alaric of the Goths – who was once a Roman soldier – and the German national hero Arminius (who also was raised by Romans and proceeded to kick Roman arse)? And in a setting which is basically The War of the Roses + Magic + Sex? Nah, he’s still got to secretly be Prince Rhaegar or Ser Arthur of House Dayne. Otherwise the savages wildlings might not only be competent, but have elected a competent leader where all the noble blooded characters who inherit their power just keep fucking things up.

Likewise, Heroic Bastard Jon Snow can’t possibly really be a bastard. He must secretly have been legitimate (despite the legal impossibility of his father taking a second wife) or legitimised (but preferably legitimate). It’s not like real history has bastards becoming king. It’s not like people call William the Conqueror “William the Bastard” for a reason. Or like King Arthur Pendragon was the bastard of King Ulthor’s rape-by-deception of a foreign queen. Or like Martin’s own fictional history has bastard kings like the one who founded House Justman or bastards of kings who manage to incite half the realm into trying to crown them despite being bastards with legitimate half-brothers like Daemon Blackfyre. After all, he absolutely has to become king in the end, because it’s not like his entire plot line is about how the fight for the spikey chair is irrelevant or how bastards can be just as good as other people…

I think I need to turn the sarcasm off now, before we all drown in it, but I think you get the point.

And sure, you could argue that ASOIAF/GOT is focused on the nobility and has a major character revealed as secretly royalty (or, more correctly, a royal bastard) so it’s only natural that the fans would assume that everyone who has anything important to do – any real effect on the plot – must secretly have noble blood, but it’s not just ASOIAF/GOT fans.

After romance/porn, the second most common plot in Harry Potter fanfics was that Harry/Hermione/other discovers s/he’s secretly the heir of [Ancient Powerful Wizard/Family] or his mother was secretly not muggleborn/she’s adopted and that s/he’s therefore a pureblood… This, I might remind you, was a canon story where the pureblood elitists were the bad guys.

This trend – of justifying how awesome characters are by ‘revealing’ them as having some ancestry of rank and privilege – is disturbing. It’s also prevalent in just about every fantasy fandom (except the children’s fantasy of My Little Pony, where being a Princess is something you explicitly earn by being awesome at friendship).

 

Fantasy is the genre we run to when we want to escape from our world – where luck is a major factor in whether or not you succeed – and go to a place where the world values us based on what we think it ought to value. What does it say about us, as a society, that our escapist fantasy is not about succeeding because you are talented, or worked hard, or were kind, but where you succeed if you are born of the right – elite and wealthy – bloodline?

How is it that we, as fandoms – as a society – talk of equality and inner value, but our fantasies still support the idea that if you don’t have the right blood you aren’t really worth anything?

 
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Posted by on July 4, 2017 in On Folklore, On Writing

 

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Grounding Fantasy

Recently I was asked – by a long-time fan of one of my fanfics, which I am re-writing to be published as original fiction, as it was 97% original everything to begin with – how I manage to make the magic in my fantasy so realistic, subtle, and grounded. This had two results.

The first was that I had a moment of panic because the story they had been referring to is gaining some more …obvious and explosive magic in the re-write.

The second was the realisation that I didn’t actually know how I did it. So, I thought about it for a while and I realised the answer was goldfish. (No, I have not gone mad.)

You see, when I watch or read other works, I cannot turn off that part of be that acts like a belligerent toddler or a particularly sarcastic goldfish. Although I suppose I should specify that I mean a pop-cultural hypothetical goldfish, rather than a real one, as science has disproved the ‘fact’ that they only have three second memories. But I digress. Imagine that this stereotypical toddler is forever asking “Why?” and the stereotypical but snarky goldfish is always asking “How?” and you’ll get a pretty good idea of what goes through my head when I’m observing other fictions.

For example, back when the Lord of the Rings came out in film, I was watching the scenes in Moria and idly noticed that the characters must have superb balance to avoid falling off because there were no handrails in sight. That set the Sarky Goldfish off. Why are there no handrails? What kind of idiots make giants cities over ravines without handrails? Were they made of wood and simply disintegrated? NO dwarves wouldnt have used wood and if they were stone some of them should have remained. Do dwarves just have perfect balance? No elves are stated to have better balance and THE ELVEN CITIES HAVE FREAKING HANDRAILS. Besides, even if adult dwarves had epic balance skills and never, ever fell, dwarven children (you know, the ones who are always portrayed as rare and precious because ever since Tolkien did it dwarves do not reproduce quickly has been part of the Standard Fantasy Setting) would, because all children, in all species, are reckless idiots. Could it be a point of honour? Honour VS Practicality, City Planning Edition, Round One: TOTAL KNOCKOUT, PRACTICALITY WINS.

And on and on it goes. For every “it is this way” that does not match reality, the Sarky Goldfish in my head wants to know How and Why and won’t rest until it has a solid answer. For every “that can’t happen/be done” the Belligerent Toddler wants to know Why Not and will find a way if a suitably reasonable answer is not produced …or even if it is, because if it took too long the Belligerent Toddler will want to prove the answer-giver wrong. “It’s traditional”, by the way, is not a solid or reasonable answer. Nor are “Because” and “Just don’t think about it”. “Why Not”, on the other hand, is – so long as the question was “Why” and not “Why Not” or “How”.

So, you could say – if you’re the kind of person who doesn’t like goldfish – that the answer is really just to think about it. Now, I’m sure some of you are shaking your heads and saying “But it’s fiction! It doesn’t have to be realistic! I shouldn’t have to think about it!” and I have one thing to say to that:

When you played with your blocks as a child you had to think about where to put them or they’d all come tumbling down on your head.  When you paint a picture you need to think about what you’re doing or you end up with a mess of squiggles and badly mixed brown. When you create new music – even if it’s jazz and improvised – you need to think about what you are doing so that you don’t make noises only deaf cicadas would love. And when you write fiction you have to think about the way the world you are creating works or it falls apart on you – but whereas child!You got a bruise when their blocks fell and some adult came to kiss it better, no one is going to tell you it’s okay and not your fault if your fiction falls apart because you didn’t construct it properly. Why? Because if you’re old enough to put it out in public, you’re old enough to take the heat for it.

Writing is hard, guys. Writing is WORK.

 

But I digress.

The reason fantasy authors like George R.R. Martin and Glen Cook (if you don’t know who that is LOOK HIM UP) can produce such high-quality writing, writing which is praised for being top-notch fantasy, is that the ground their fantasy in realism.

“Great,” you may say, “but not all of us have a goldfish living in their heads. What do we do?”.

Well, there are two things that work to ground fantasy – and all fiction, to be honest – in realism. The first is to treat the world you are writing as if it was real. But it’s just fiction? Not to the characters who live in it, I assure you. Not to the readers who want to be immersed in it, I assure you. It’s just fiction is an excuse that those who are too lazy, or too entitled, to put in effort hide behind when their half-assed attempts are not immediately hailed as the greatest thing ever. If you aren’t willing to put in the effort: you shouldn’t be writing. There’s enough crap on the market without you joining in.

The world you are creating may technically be just fiction, but good writing – and good authors – transcend that. Writers are often referred to as the God of their stories’ universe. What kind of evil, stupid god would you be if you created a real world but treated it like it wasn’t real enough to matter? Treat your fictional world as if it was a real one. Imagine you really are a god and you are creating the world. That means that, beyond the scope of the Adventure or Romance or whatever the story you are writing is, your world needs to make sense. It shows when worlds are invented to suit the whims of the plot and add tension. It shows in a bad way. People notice when you, say, don’t add handrails to a place where handrails ought to be in order to add Tension. So, what do you have to do? You have to think about the mechanics.

That’s the first thing. The second thing, which you have to do at the same time as the first thing, is to apply Logic.

I know. I know. It’s a scary Maths thing and it doesn’t seem fair to drag it into the world of Arts where you ran to get away from it, but it does need to be here.

In order to build you own Sarky Head-Goldfish and start grounding your fantasy in realism, you’ll want to apply three specific types of logic: Induction, Deduction, and Abduction (no! Not that kind! Don’t run off with that!). If it makes you feel better about adding something as icky as logic to your creative endeavours, put on a deerstalker cap and try not to think about the fact that, no matter what the original illustrations implied, Sherlock Holmes did not wear one of those.

Got your cap on? Great, let’s go.

Deduction is the logic system in which you reason out the definite specific from the definite general – i.e. Dwarves never build handrails. Moria was built by dwarves. Therefore, Moria does not have any handrails. Deductive reasoning – when used correctly, which Holmes did not because he said deductive when he meant a different sort of logic – always comes to a logically valid conclusion. Use this type of logic to determine what parts of your world must be like (conclusions), based on your previous statements of fact (premises). If they don’t line up, you’ll need to change either the facts (“dwarves never build handrails”) or the result (remove the dwarvish handrails from wherever you had included them).

Induction is the logic system in which you reason out a hypothetical general from the definite specifics. The conclusion reached by properly applied induction is a probable, but not a fact and not a mere possible. The evidence given by the specifics supports the likelihood of the conclusion being correct – i.e. Handrails keep people from falling off high things. Dwarves think the risk of falling off high things is a matter of honour. Therefore, dwarven cities probably don’t include handrails in dangerous places. Again, if these things do not stack up when you look at your work, you need to change something. Or, given that induction is about probability, to show in detail what element logically accounts for the gap left by whatever components failed to pass this reasoning test.

Abduction is the logic system in which your reason out a hypothetical specific from the definite general. It’s basically deduction, but questionable. It is also known as “inference to the best explanation” and is the form of logic we are all most familiar with. Why? Because if it looks like a duck, and it waddles like a duck, and it quacks like a duck, it’s probably a duck. This, incidentally, is the kind of logic that Sherlock Holmes used – as the conclusions he reached were highly probable but not definite. The sheer complexity of human behaviour meant that Holmes was always speaking as certain (a lady of obviously middling means with callouses on her hands from typing is a professional typist) what was merely probable (she could also be a writer or a journalist, you know). This might not seem like a useful form of logic to apply to your fiction, but it’s actually one of the most important, because it allows you to play out the hypotheticals as you try to explain matters to a realistic conclusion – i.e. Dwarves do not build handrails. Dwarves are facing extinction because their children are few and often fail to survive. Therefore, dwarves are probably going extinct because their children keep falling to their deaths.

Then you apply the realism test to your conclusion. In this case: Would an intelligent species – which dwarves have to be if they’re building cities – really wait until they’re nearly extinct to add handrails? Probably not. All it would take would be one human child falling and, honour be damned, a human city council would be under immense pressure to add safety features. If dwarves are building cities they are probably sufficiently similar in psychology to assume that a similar reaction would occur (see that? That’s abduction again).

At this stage you’d do one of three things. Firstly, you could add handrails to nullify the Plot’s Hole’s cousin: Setting Hole (the adventures just happened to pass through the one place where the handrails have been destroyed and note that in text). Secondly you could make it a point that the dwarves cannot add handrails (or do but they keep being mysteriously destroyed) and are trying to keep their children safely away but they tragically keep slipping away and, er, slipping away anyway – in which case you’ve suddenly developed a new and interesting plot which you can write a story around. Lastly, you can nullify the premise which you find most problematic (for example: dwarves are actually facing an overpopulation crisis and breed like rabbits, so the lack of handrails is a deliberate population curbing method).

 

 

And after all of this you are probably wondering “But what about MAGIC? You said you were going to talk about MAGIC!”.

I did, and I did. Whatever rules you give your system of magic – if it even has a system the characters can understand, given that magic is a liminal force that exists in fiction to make us question what we are incapable of understanding and how to cope with the unknowable – you need to treat magic as if it is just as real in your world as practical things like handrails.

Ultimately, the way to ground magic – the way to make it seem like it actually exists – is to treat it like it actually exists.

 
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Posted by on March 21, 2017 in On Writing

 

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Author Status !? – The Stress Don’t Stop (because you published)

I am SO sorry for not having gotten back to posting regularly (it was supposed to go back to once a week – my bad).

As you might have guessed, this last …well, almost a month now if we’re counting from the Kindle release… has been hectic. I’ve only just published for the first time and have quickly discovered that – no matter how stressed I was during the publication process – it’s actually more stressful when you think the worst is behind you and then stumble upon the fact that [BLEEP of your choice] you now have to advertise the damned thing.

And if you’re an author like me, you probably know that having to do social media enough to build up a prescence – and a buyer base – is annoying because it takes a lot of time you could be spending on your writing. If your a technologically incompetent outcast with no social life, like me, you probably also know that – to those unfamiliar with it – having to abruptly create and manage a flood of social media platforms in order to market yourself is not quite your worst nightmare (that’s the one where everyone in the world hates you because you’re an embarassment and the spiders turn up) but it’s pretty close.

The one upside is that – while I was contacting my old fanfiction fans to let them know I was taking my fics down – I got back in contact with some wonderful people who used to like my fanfiction and whose opinions on my first published work I am now terrified and anxious to know. But I also really enjoyed getting back in touch with them, which is impressive given the whole “technologically incompetent outcast with no social life” bit. One of them even gave me some truly awesome ideas for posts which I will hopefully get to just as soon as I am no longer completely run off my feet.

The upshot of all this is that I will be trying to get back to a once-a-week posting schedule …soon. That and that you can now find me on several social media platforms. Technically. I’m still learning how to use them so I can’t promise I’ll be any good at responding, but still, I will work it out eventually.

Oh, and I’ve set in motion the beginnings of a youtube channel (in which I will do video versions of some of my blog posts, other similar content, and even do readings of bits of my books… just as soon as I work out how to use the sound and video editing software I have). …There’s also technically a Patreon account and a Zazzle store (both still under construction).

Expect all of these to slowly come to life over the course of the next couple of months.

 
 

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Author Status 2 – Destructive Distractions

So.

I’ve gone through the proof for my first book, the final cover has been decided and paid for (although the final print cover is waiting on the final formatting). I’m going to publish it within this month. I should be worrying about how it’ll be received.

I’m not. I’m too distracted by other things.

Ars Gratia Artis. L’art Pour L’art.

I’ve always preferred art for the sake of art, although I have always understood that for some artists art is for the sake of social change – warnings, improvements, commentary, etc. Nevertheless, when something in the world sufficiently bothers me I think about writing something to try to stop things from getting worse. The political situation on the other side of the world, in another country to which mine in no way belongs, in another hemisphere, upsets me. I want to write to warn those who do not see danger coming that actually the time to act was months ago, when they merrily sped through the DANGER END OF ROAD signs, but that they might stop complete disaster if they hit the breaks before they reach the actual edge of the cliff …instead of in a few years when they’ve plunged over and into the abyss while wailing that no one warned them this could happen. I want to warn them, even though they have not listened to any previous warnings, if for no other reason that then I can wash my hands of it and say that I tried. It’s not my country, though, so it is not my moral obligation to fix the mess they made.

Thinking about it makes me sick. It gives me nightmares. It brings my mind constantly back to the book in my house which lists all those from a single city, including a whole branch of my ancestors’ family, who did not come back from the camps alive. It reminds me that political prisoners and those who spoke out were the first to be dragged away, and that the world’s main resources for social networking and self-publishing are all trapped in the Silicon Valley – so how long before someone who writes something warning of the dangers gets a target painted on their back?

I have health issues, anxiety mostly. Thinking about politics makes it worse. It keeps me from sleeping and it distracts me from what I want to write about. Do I have a moral obligation to write about it – at the cost of my own health, in a best-case scenario? I don’t think so. I am not the only person in the world who can stand up and do something, and it is not my country. I am not obliged to bail them out at the cost of my own health. Could I write a terrifying tale warning them of things to come if they don’t stop hiding their heads in the sand? Certainly. Would they heed the warning? No. They haven’t heeded anyone else’s so far, so why would a quiet voice from the other side of the world change anything?

The part of me that gets angry – the sense of justice, I suppose – wants to fight, both the political problems and the copyright issues that come from fanfiction (trying to get it justified as “Transformative” so you don’t have to ask permission to write it is basically trying to ignore the author’s right to be recognised as the author, which means recognising their right to control their work).

The part of me that is my pitiful sense of self-preservation argues that I am literally (and I do mean that in the correct sense of the word) making myself ill from anger and I cannot actually change anything anyway, no matter how hard I try. If there comes a day when the fight is something directly related to you, it argues, then fight. For now concentrate on your health and on becoming a successful writer. If nothing else, one day if you have to drag them to court to keep control of your copyrighted material (which isn’t even written and published yet), you can slap the damn transformative works organisation people with the bill for all the anti-anxiety meds you had to take to be able to write while worrying about them possibly succeeding in their hopes of using ‘transformative’ to take control of copyright away from writers (it doesn’t matter if they’re not officially doing that, making fanfiction transformative as a loophole will have the same effect down the line – too many fans on their archive already don’t understand why they shouldn’t make money off copyrighted material and some even link their funding accounts to their fanfiction profiles). “No negative effects on the copyright holder’s ability to make art and money” my arse.

The part of me that is disgusted with humanity in general looks at all the warnings in politics and the arrogance of fan writers who want to make it impossible for artists to say “Don’t make adaptations of my work without my permission” and it says “Just let them get themselves killed. They had warnings. They ignored them. It’s on them now.

The part of me which grieves for humanity and the suffering current events are causing is making it impossible to write for my next project or research for the one after that. I can’t concentrate to write.

The part of me that’s currently keeping me from complete insomnia and regular panic attacks has been hiding out in Glen Cook’s books. That’s also slowing down my writing, but unlike AO3 and politics, it isn’t making me cry and forcing me to take valerian and other such things so that my chest muscles will unclench and I can breathe. I need to get more Garrett, P.I. and Black Company books, The Tower of Fear just isn’t impressing me. It’s nice to see non-Medieval-European fantasy for a change, though, I’d started to think fantasy in non-western settings was a myth.

 
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Posted by on February 2, 2017 in On L.C. Morgenstern's Work

 

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How Viewers of Inside Out Got the Message Upside Down

There’s a reason that I used the word Rants in the title of this blog. This post is full of strong opinions, italics, bolding, and ALL CAPS. I also had a bit of fun with the colours.

 

This has been bothering me for a while. It doesn’t bother me that often, but every time I see a theory article, comment, or youtube video asking why there were mainly negative emotions in Inside Out, and every time I see a fanfic which “fixes” things by adding another emotion – almost exclusively: lust/desire, love, or surprise – it makes me furious. As in: it makes the little Anger inside my headquarters not merely burn hot enough to roast marshmallows, but actually burn hot enough to turn metals into gas (like on the sun).

I have yet to meet a child who did not understand the basic message of Inside Out – that all your emotions, even if you don’t understand them, are necessary for your health. And yet, almost no adults seem to understand what the movie was about, despite the fact that the message was all but spelled out for them and the intended audience – some of whom are young enough that “not needing diapers anymore” is an important achievement – did get it. What I’m saying here is that adults are clearly idiots. Well, no, that’s a bit too mean, but it’s still extremely frustrating to see so many people not get it. Urgh.

The point of Inside Out IS that there is no such thing as negative and positive emotions: it is how the emotionals are handled which gives positive or negative results. Come on, people this was literally explained in the prologue and the rest of the movie was about the discovery that this applied to Joy and Sadness as well as Anger, Fear and Disgust. Heck, the movie could easily be summed up in the phrase “sometimes you need a good cry”!

Emotions are like magnets. Magnets have a North and a South pole – but if you chop a magnet in half you do not get one which is totally North and one which is totally South: you get two smaller magnets, each with their own North and South poles.

The emotions shown and dealt with in Inside-Out are – as per the psychological theory the film was based on – what can best be described as Primary Emotions. Like primary colours: if you divide pink into its basic components, you get red and white (or negative green, depending on how you look at it, since pink doesn’t technically exist). If, however, you try to divide red into its component parts you get …red. Red is the colour equivalent of an atom: it cannot be broken down into further pieces. Likewise, anger is a primary emotion; it is not created by mixing two simpler emotions. If you mix anger and sadness (in the right amounts) you get bitterness. If you mix nothing with anger you just get anger. If you mix anger and joy you (can) get vindictive glee.

So what does this have to do with magnets? Well, to the outside observer – unable to remove their own filter which divides things into separate categories based on whether they cause positive or negative results – these emotions seem to be double-sided. They aren’t: it’s just that we give different names to the different results and expressions of them. Nevertheless, if you chop them in half to separate the “good” from the “bad” you just end up with two smaller bits of the same emotion – just as the magnet will become two smaller magnets, rather than an all-positive/north and all negative-south.

This is made explicit in the prologue, when Joy is talking about her fellow emotions and what they do.

Anger is the one who “keeps things fair”. That is: Anger and a sense of Justice or right and wrong are the same thing.

Fear is the one who “keeps Riley safe”. That is: Fear and self-preservation/common sense are the same thing.

Disgust is the one who “keeps Riley from getting poisoned – both physically and socially”. That is: Disgust and comfort/non-sexual desire – and the ability to discriminate between things which are good for you and those which are not, the ability to dislike and like things – are the same thing.

The rest of the movie is about Joy figuring out what Sadness’ purpose is and learning not to be an egomaniacal tyrant. But the answer to that question is shown in the first minute or so of the prologue, when Sadness’ actions are what alert Riley’s parents that something is wrong when she can’t say anything (the baby cries to indicate it has needs). There is really no excuse to have missed it.

Sadness is the ability to empathise. Sadness is the sympathetic emotion. Sadness is what allows us to cope with all the terrible things that happen to us and the ability to give a damn about the suffering of others. Sadness and caring are the same thing.

So what about Joy? It astonishes me that so many people keep insisting that Inside Out should have had more than one “positive” emotion in it, given that Joy – as I already mentioned – spends most of the story as an ego-maniac who selfishly terrorises the other emotions because she’s convinced of her own superiority. It’s only when Joy experiences sadness that she is able to feel or express compassion. When Bing-Bong looses the one thing he cared about most (besides Riley) Joy is annoyed with him for getting in the way of her happiness.

Joy and selfishness are the same thing.

Anger-Justice, Fear-Self-Preservation, Disgust-Comfort, Sadness-Compassion, Selfishness-Joy. These things are one in the same. They’re magnets. You can’t take the selfishness out of joy. Joy is an inherently selfish thing. Anger always comes from a sense of justice (no matter how warped that sense can become). Fear is always about protecting the self and those things which the self has deemed important. Disgust is always from and part of the ability to discriminate between what is comfortable and what is unpleasant. And all Sadness is inherently about the ability to sympathise – sometimes with your own circumstances, sometimes with those of others. Someone who is incapable of feeling sadness is also incapable of feeling sympathy, because they are essentially the same thing. There are words for that, often which begin with psycho- or socio- and which typically end in –path. I AM NOT SAYING THAT RILEY WAS INSANE. If Riley had been insane in that fashion, she wouldn’t have had a Sadness in her head at all.

Which brings me to another point which the adult viewers, in general, have fundamentally failed to understand even though their toddlers got the message: Sadness and Depression are NOT the same thing. The main reason people keep not getting this, I think, is that there is a tendency toward exaggeration in language. The deeply grieved and sorrowful person who keeps bursting into tears and eats three tubs of ice cream wails “I’m soooooooo depressed”. No. No you’re not you fuckwit. You’re SAD. Deeply, deeply, grieved and sorrowful – but those are intense forms of sadness, not of depression.

As so brilliantly illustrated in the film when the console stop responding to the other emotions and turned dark (the lock out), truly depressed people don’t feel anything. They don’t feel. They’re hollow, worn through. The depressed cannot feel sad. They can’t feel anything – they are apathetic. To give you an example: my mother used to work in a psychiatric hospital and one of the patients there was truly and severely depressed. She was, literally, too depressed to move: she sat all day, every day, for years, in the same chair, staring out the same window – never talking, never moving. She wasn’t sad. She wasn’t anything. That’s depression. It is the purpose of sadness to keep that from happening. Only sadness can lift a person from depression, because sadness is what allows a person to accept that terrible things have happened and then move on.

We live in a society which has falsely labelled happiness as the only “positive” emotion – a society which claims all the other feelings are negative. But, as shown with Riley, when a person tries to be happy all the time – even when it’s inappropriate, even when they desperately need to feel Anger, Sadness, Fear, or Disgust – they only ever wear themselves out and become empty, depressive shells. Depressed people, at least those who aren’t quite dead inside yet and still can be bothered to move about, are terrifyingly good at pretending to be happy. In fact, if a person who has been depressed for a long time suddenly starts being happy all the time, it is often – but not always – a sign that they are preparing to commit suicide. Depression and Sadness are not the same thing. Sadness is the cure for depression, because it allows the feeler to then move on.

 

Now for the other thing that’s been really pissing me off: the fans who feel the need to add an additional emotion to the primary five. STOP IT. Yes, in the psychological theory the film was based on there was a sixth: Surprise. But surprise as a character would have been a gibbering idiot because every moment of everything would have been a complete shock to him. The filmmakers knew that would never work and so combined surprise with Fear. Yes, surprise is one of the “primary emotions” but it was cut for cinematic reasons.

JOY, SADNESS, ANGER, FEAR, DISGUST, SURPRISE. There are no other Primary Emotions. All other emotions, in the psychological theory the film was based on, are made by combining those primary emotions – just like other colours are made by the painter who combines the three primary colours on their palette. “Love” is one of the more popular additions, but has absolutely no place in headquarters because Love is a COMPLEX emotion made by combining the others in uneven amounts (Joy/Selfishness, Sadness/Compassion, and a hint of Disgust/Comfort, most likely). Even HATE is more complex than the basic Primary emotions. Hate is a combination of Anger and Disgust.

Moreover, the idea of these primary emotions, and of the film, is that these are the basic emotions which EVERY SANE HUMAN BEING HAS. Which is why the other most common interloper who fans try to “fix” things by adding is so absolutely disgusting and offensive.

I’m talking about Lust/Sexual Desire/Desire/other name. Usually, as the fanfic cliché goes, this one turns up in Headquarters after the Puberty button gets pushed. This is especially egregious, given that many fans of Inside Out believe that Riley may be some form of Intersex or Genderqueer because she has both male and female emotions. In other words: most fans are aware that people who are not cis and straight can still be sane human beings, but somehow they still feel it is acceptable to try to “correct” Riley’s mindscape to feel lust. Because “obviously” everyone must feel lust.

How dare you?

Especially given how many of you know about the genderqueer, intersex, and so forth. How dare you?

I think I speak for every Asexual person here when I say: lust is NOT a fundamental part of human nature and we aren’t broken or in need of fixing.

Now, I’m not saying I think Riley is an Ace. I think Riley is a preteen girl. But that doesn’t mean Lust has any place as a primary emotion (things all sane humans are supposed to have all of – meaning that if you insist Lust should be a primary emotion you are saying you think asexuals are either not sane or not human). Lust is a physical sensation. To use a metaphor: if emotions are paint colours on a canvas (primary colours = primary emotions, complex emotions = mixed colours) then lust (like hunger and physical pain) is a bottle of perfume being sprayed around. Not everyone likes or wears perfume. And even those that do don’t add it to a canvas and call it a colour!

In other words, “dear” Inside Out fanwriters, I don’t care if you “didn’t mean to” – by adding Lust to the primary emotions you are engaging in the erasure of Asexuals by encouraging your readers to think of those people who do not lust* as broken or insane. KNOCK IT OFF.

 

*Lust is, by definition, sexual attraction (save when used in terms such as “wanderlust”) and as Asexuality is the orientation of not feeling sexually attracted to anyone, the two are mutually exclusive – regarless of whether or not the ace in question is nonlibidoist, although there is a distinct gray area of Gray-A aces.

 
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Posted by on July 15, 2016 in On Writing

 

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What is Quality?

I suppose I need to apologise again for disappearing for so long. I seem to be doing little else but that on this blog of late. But now that the helping with someone moving house situation is over, I ought to have a bit more time for this. This post is more of a thought-piece than an opinion-piece.

 

Most people who want to be writers seek to be either successful (in finance and fame) writers or writers known for making quality writing. The word literature used to hold a connotation of being high-quality writing, as opposed to all other “lesser” writing, but now it just is pretty much synonymous with fiction and is applied to anything moderately successful. According to dictionaries, quality is many things, but the definition of it which is applicable to writing is “character with respect to fineness or excellence” – and that’s character as in “the aggregate features and traits that form the individual nature of a person or thing”, not as in “fictional person the author puts through hell for the readers’ amusement”. But the thing is: that’s a completely useless definition.

So what actually makes quality writing? Well, obviously not success because (this is the go to example, given the sheer amount of criticism it has received) Twilight and also the majority of the miszpellld fanfiction ob deh internetz!!!1! which get frighteningly large amounts of positive reviews in comparison to the well-crafted and properly spelled, in character fanfics. It’s also not a question, despite what many “serious” writers of tedious real-world-setting dramas may think, of genre because – while I am going on hearsay rather than personal experience here because I’ve never been inclined to read those genres (I haven’t read Twilight either, despite how often I take jabs at it) – there are plenty of quality romance and erotic works out there. They might not have the most philosophical of content, but if seriously questioning ethics, the universe and everything is the key to defining quality then no one’s written anything but trash since Kierkegaard. (Show of hands: who managed to not fall asleep while reading Kierkegaard? Has anyone here actually read Kierkegaard? Did you think, the first time you heard it, that Captain Kirk was guarding something?)

It could be argued that having deep characters or a lot of world building is what’s required for a work to be quality, but many of the great names in Science Fiction basically had cardboard tour-guide characters to show off their cool science ideas for chapter after chapter of math and baffling terminology, while world building is just as unfair a point in definition as genre as world building is the foundation of Speculative Fiction but mostly unnecessary in, say, real world drama or crime novels. Even grammar and spelling being used accurately is not a brilliant gage of quality, although the better the grammar and spelling the more likely a work is to be good quality, because grammar and spelling change over time (you may have been taught in school that starting a sentence with “And” is wrong, but many of the major quality authors out there who have begins with “And” sentences in their works – like George R. R. Martin, who is held up almost universally as an example of quality writing, the way Twilight is almost universally regarded as being very poorly written). Grammar and spelling is certainly a factor, but it isn’t the complete definition.

Often quality is associated with clever language use and choosing the best word, but not every work needs to be packed with juxtaposed antithesis and anaphora (ten points if you know which famous piece of literature opens with that particular pair of techniques) and other extravagantly named techniques or gratuitous amounts of exceedingly sophisticated terminology and units of language in order to facilitate that dubious and non-corporeal status of fineness and excellence. In fact, trying too hard to be clever with language and choosy with word use can, like in that last sentence, actually damage the quality and readers’ ability to comprehend what the hell the writer is trying to say. Likewise, it would be tempting to say that quality is about not using clichés, but what counts as cliché changes with time – in an almost cyclic fashion, akin to how water droplets become part of the giant masses called oceans, then rise to become clouds, rain down on everyone to make them miserable and the plants very happy, and then steadily grows in strength as it goes from stream to river and eventually back into the oceans. But, more importantly, clichés become so ubiquitous because when they are used well they don’t come across as trite (unless you’re stubbornly determined to find something wrong with everything or are suffering from some form of Mary-Sue Paranoia because the idea that female characters can be just as vivid, special, and powerful as the typical main male character without being “badly written” or “unrealistic” because the idea that women are people and capable of being competent scares you – in which case I’d like to suggest you try the perfectly cliché cliff to the left of the stage for you to go clichély jump off). To use my go-to example of good writing: A Song of Ice and Fire contains many things which could be considered cliché – the mad boy king who is a sadist, the heroic bastard, the purple-eyed princess with the pet magical beasts, and the ten million prophecies – but Martin makes them work. The mad boy king is from a far more violent society than we are and so less likely to view what he does as wrong or repulsive, while also essentially being a stupid teenage boy on a power-high, the heroic bastard has to live with the actual social ramifications and restrictions of being a bastard in that sort of society and is by no means viewed as a hero by everyone, the princess avoids being a Mary-Sue (despite having many of the traits often associated with them) because they are played out in ways that makes sense (the eyes are a racial trait, the pet magical beasts are far more beast than pet, being a princess only gets her assassination attempts, etc) and the ten million prophecies are both suitably confusing and free from any guarantees of accuracy or genuine fortune-telling.

I could burble for hours about how excellent his choice of words is (although I, who has repeatedly read entire dictionaries for fun, do keep a dictionary tab open on my computer when I read ASOIAF for when I run into the occasion rare or no longer used word like niello). I could talk about how he’s genuinely built a complete world and all the literary techniques I spotted while reading. I could talk about how deep and well developed his characters are and how he manages to give the readers all the pertinent information without breaking from the third person limited. But while all of those things are factors in what makes a work quality, I think Martin’s magnum opus is a good example of what makes something quality for a very different reason.

The story is king. Not the characters, no matter how much the author might like one better than another. Not the whims of the readers (trying to please readers is an almost universal guarantee that the quality of a work will fall), not the rules grammar and spelling, not what is or isn’t cliché, not the conventions of the genre, not any meaning or message carried within the work, not clever literary and rhetoric techniques, not even what the author might prefer to happen. The STORY is king.

Obviously, correctly used grammar and spelling, well chosen words and techniques, deep characters, significant world building, realism, the ability to dig the bones of a concept out of a dead cliché and make them work again, are all important factors in what makes Martin’s writing such an excellent example of, well, literary excellence, but it is the fact that the story is treated as the most important factor – that which everything else is part of and bends to, rather than which is part of or bent to some other factor – that makes quality.

Quality can never be defined clearly by one factor or another, because it is about how everything works together for the story. Quality is about how everything makes logical sense based on the rules of reality as presented in that story, about how everything that is (not just that happens) has consequences and causes, about how everything remains consistent to itself and coheres with the rest of the reality the story creates. Quality is about choosing to have, or not have, rhetoric techniques and this word or that based on how it works for the story rather than how fancy, plain, accurate, or cliché it may or may not be. Quality is about knowing your grammar and spelling so well that you can know how and when to deviate from it if the story so requires. Quality is about exploring or not exploring the depths of a character based on what the story needs.

At least, that’s my best guess. Quality is one of those annoyingly non-corporeal things which cannot be measured easily and just about everyone has a different opinion on what makes a work quality. What do you think?

 
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Posted by on March 30, 2016 in On Writing

 

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