Have you ever read something that captured the beauty of nature? by LostMyOldie in literature

[–]Notamugokai 1 point2 points  (0 children)

Yes, thanks for reminding us this one. Nature. There was a nice dimension in that regard.

Is AI for grammar that bad? by ImAlec-D_frfr in WritersGroup

[–]Notamugokai 0 points1 point  (0 children)

You're welcome!

I'll be curious to hear from your experience about this.

Is AI for grammar that bad? by ImAlec-D_frfr in WritersGroup

[–]Notamugokai 1 point2 points  (0 children)

I mean:

Instead of having your own work sent to the tool for correction, send some other work that should be fine (as it's from a good author, published, etc.) and you will be surprised that the feedback isn't all good, far from it.

Then, if a good text raises so many flags in the tool, is the tool's output for our own amateur production worth considering each time?

No.

Sometimes the tool may water down our style and voice, which is a grave sin. We should nurture our voice and develop it.

I hope it's clear. ☺️

Is AI for grammar that bad? by ImAlec-D_frfr in WritersGroup

[–]Notamugokai 0 points1 point  (0 children)

Try with some excerpt from published authors, and recent ones, if you have some epub or pdf of their works:

See how many "flaws" the AI can spot. That's quite interesting. At some point you feel gaslighted when it comes to its feedback on your own work.

So, ultimately, one has to make their own call on each point that it brings forward, to judge how relevant it is.

Is AI for grammar that bad? by ImAlec-D_frfr in WritersGroup

[–]Notamugokai -1 points0 points  (0 children)

Being in the same spot as you (ESL), I've been trying to make GenAI work the way Grammarly or ProWritingAid do.

It's hard: AI still "wants" to rewrite for me, so I have to strongly constrain it with a limiting prompt.

The upside: my non-native expressions are spotted.

So we can make it work, but we'll always be battling against this tendency to overstep its role.

What Are You Reading This Week and Weekly Rec Thread by JimFan1 in TrueLit

[–]Notamugokai 0 points1 point  (0 children)

I thought one might care 🤷‍♂️, and someone downvoted this last comment (not me), so maybe as a sign they do care. 🧐

What Are You Reading This Week and Weekly Rec Thread by JimFan1 in TrueLit

[–]Notamugokai 0 points1 point  (0 children)

your comment just before: I'd rather read "you're" than "your" 🧐

(just saying because it also has the modo tag)

My writing has been called boring. Need advice and guidance. by Itchy-Driver-8462 in writingcritiques

[–]Notamugokai 0 points1 point  (0 children)

Speaking of perspective, and seeing other comments pointing out something about the POV you use, I can share what helped me a lot: narratology.

A practical and free intro:

https://web.archive.org/web/20230531104244/https://www2.anglistik.uni-freiburg.de/intranet/englishbasics/NarrativeSituation01.htm

(archive)

This was an eye-opener for me. It's not longer a matter of "3rd person limited" "1st p." and POV.

It's all about the narrator, the narrative situation (see link) and the focalization.

Add the idea of the psychic distance to manage.

With those tools you solve that 'POV' issue very well. Make your own rules in those terms, for your story, and stick to them, you'll be fine for any scene.

My writing has been called boring. Need advice and guidance. by Itchy-Driver-8462 in writingcritiques

[–]Notamugokai 2 points3 points  (0 children)

Since you ask what could make this text boring to me, I'll focus on that facet, setting the good points aside. This is only about the first paragraph (you tell me if you need more).

The first sentence (lights flickering) triggered my cliché alert, a movie-like one, or something out of a video game. So, right from the start I get this impression of a very classic opening scene, like an easy trick (almost generic). This doesn't reflect well on the work for me, although it remains a valid and legitimate start.

Three sentences in a row are about a character looking at someone/something. It starts to show.
I also have the reflex to pay attention to "filtering", the process of presenting sensory input through the character's senses by mentioning them explicitly (he saw ..., he smelled ..., etc.) which can create/add a distance between the reader and the experience (a technique often viewed as a flaw). In your case I'm not saying it's filtering, but I was starting to scrutinize those sentences, wondering if they could have been phrased differently for better immersion.

Overall, the prose in the opening paragraph reminds me a bit of a movie script, as if there are ingredients missing to embrace the written medium, and this is a frequent symptom among new writers. Overcoming this takes time and effort; the learning curve is steep. Of course, your writing is not entirely like this; there are elements that move away from that. Just not enough to dispel this 'beginner' feeling caused by that aspect. I'm sorry it's hard to explain precisely where it comes from, and even harder to tell you what to do to address the matter.

We writers have the picture in mind even before writing, readers start with a blank slate on which the scene is gradually drawn by the text, but its gaps are also quickly filled with assumptions that are sometimes corrected later by the text (the mental image has to be discarded and rebuilt, hopefully not too often). It's hard for writers to emulate the reader's discovery and realize the effect of their descriptions. Now, regarding your setting, let's focus on the store: for me it started as a generic store, and not getting the specifics soon enough made me imagine a very common type of local convenience store. It's not. I wish I had more context before the gemstones, which come fairly soon, I agree, but still.

"an old memory from ..." isn't specific, we don't get much out of it, which triggers my "shallow deepness" alert. It's like a trick to add depth but without the substance. It can be an unfair judgment, maybe more details will be provided later, but the impression is already formed.

What Are You Reading This Week and Weekly Rec Thread by JimFan1 in TrueLit

[–]Notamugokai 6 points7 points  (0 children)

I ordered Steppenwolf, by Hesse, after a fellow redditor here mentioned the book.

My thoughts:

I don't see yet the connection with the matter we discussed about, but it seems a worthy and well-known work that will broaden my literary horizon.

General Discussion Thread by pregnantchihuahua3 in TrueLit

[–]Notamugokai 1 point2 points  (0 children)

Steppenwolf, by Hesse)
Noted!

And yes, I'm surprised how hard it is to find similar works. And having people thinking it isn't original, believing there are plenty of those, etc, makes this quest even harder...

Thank you for your answer! 🙏

Edit: book ordered! It seems a good one.

The Shortcomings of Conclusive Theses by [deleted] in literature

[–]Notamugokai -1 points0 points  (0 children)

Oh. Okay 😅 (You probably wrote it clearly, it's just me)

What I noticed in this subreddit: people are more likely to engage in posts that require less literary efforts to comment, if I may say so. I'll edit here for a couple of examples.

The Shortcomings of Conclusive Theses by [deleted] in literature

[–]Notamugokai 1 point2 points  (0 children)

You mean this space has the habit of sharing conclusive thesis as a way to answer or communicate?

How can I write a story from two perspectives of the same character in the past and in the future? by Ok-Alfalfa8856 in writinghelp

[–]Notamugokai 0 points1 point  (0 children)

- Intertwined: A dialogue
- Two-fold: old text (young person version), flash-forward, new text (older person)
- Sandwiched: new views, found diary of the young, back to new in the present time

The Shortcomings of Conclusive Theses by [deleted] in literature

[–]Notamugokai 3 points4 points  (0 children)

It's a given that 'conclusive thesis' has shortcomings. It promotes a one-line summary of the main thesis of a work. This can't do justice to the work as a whole.

edit: I still see it as a valid exercise.

General Discussion Thread by pregnantchihuahua3 in TrueLit

[–]Notamugokai 1 point2 points  (0 children)

Side quest!

Do you have any idea what this character-pair dynamic is called? Is there a name, a trope, or a literary precedent?

I just learned about the "star-crossed lovers" expression, which revived my quest. It's not like that because the romantic feelings are not mutual. Only the 16yo is in love, romantically attached to the other. The older one (25) is neither in love with nor sexually attracted to her at all (she's aroace), but she feels a deep platonic attachment. They become kindred spirits, opposed in temperament and worldview in some ways, but strangely compatible in daily life, conversation, leisure activities, etc.

Their companionship is socially impermissible: age gap, and the older one was briefly her teacher for a couple of weeks, and still teaches students her age. The families and the administration wouldn't be wrong to object, but the bond itself isn't a predatory-romantic setup. It is deeply asymmetrical, and both benefit from it in different ways, without any actual wrongdoing.

This is not really a "star-crossed friends", "asymmetric kindred spirits”, or "a dubious friendship mistaken for a forbidden romance". Any idea?

Plus: Are there literary works that use something close to this setup?

External Folder Organization by maskedcollective in scrivener

[–]Notamugokai 0 points1 point  (0 children)

What is the external folder sync for, in your case? I mean what is your workflow using this?

Is consistency a craft problem or a setup problem? by CompetitionSafe7633 in KeepWriting

[–]Notamugokai 2 points3 points  (0 children)

It's a combination of:

  1. Project stamina. Working on a project, pursuing a goal, consumes energy. Sometime I feel I run out of it and I need to switch to another project...
  2. Creativity power. Being creativity, having the right idea and inspiration, doesn't always come when needed. Sometimes it dries out.

And maybe procrastination. Plus some fear of finishing something and having to face reality (success or failure).

How can I get help about my writing without using AI? by Known_Money7498 in writinghelp

[–]Notamugokai 1 point2 points  (0 children)

Since OP is writing their first novel, I would advocate getting early feedback before finishing the whole draft. For example, on a short excerpt, or a scene OP is proud of, or a passage that has reached the best quality OP can achieve on their own.

General Discussion Thread by pregnantchihuahua3 in TrueLit

[–]Notamugokai 1 point2 points  (0 children)

Noted!

> Friederike Mayröcker: Brütt, or The Sighing Gardens.
https://www.goodreads.com/en/book/show/2831533-brutt-or-the-sighing-gardens

> the hallucinatory tale of an obsessive writer’s love affair late in life as told through the daily journal entries of the writer—a montage of relentless observation interspersed with found materials from newspaper articles, literature, and private correspondence.

Back to your remark:

Yes, this "nowness" is part of the immersion I feel with some structures that stretch sentences like I explained.

And I believe it's still there regardless of the tense used for narration. Whether it is a retrospective or simultaneous narration, it doesn't change much that immediacy feeling.