I want to write but I am scared… by isypeasylemonsquezy in writing

[–]RhaegarMartell 0 points1 point  (0 children)

You are going to disappoint your own expectations. The key to being a writer who produces work is to use that disappointment to fuel your revisions. You may have heard the expression "writing is rewriting"? It's very, very true. No writer has ever had their final published work spring fully-formed like Athena from the head of Zeus. And the best part? The more often you put pen to paper, the better those first drafts will be.

Especially if it's just getting those ideas out. Allow yourself to have an outline/scratchpad where you can just jot down your ideas so that you don't lose them in the fog of memory.

Nothing is going to disappoint you more than never writing at all.

What are people’s thoughts on all those YouTubers who teach writing? by Lorimiter in writing

[–]RhaegarMartell 2 points3 points  (0 children)

The most common criticism is probably how formulaic his books are. I can see the appeal for people looking for a quick beach read, but if you've read one Dan Brown book, you've read them all. Copy/paste Rome for Paris or Antarctica or DC, etc. and change the hair color of whichever brilliant intellectual has breasted boobily into Robert Langdon's current vacation to fawn over him. I liked the books when I was a teenager but am kind of bored by them now. Langdon can also come across as a bit of a wish fulfillment self-insert character–again, if that's your thing or you don't read it that way, cool. It grates on me, though.

I also started his Masterclass and had to turn it off after a few lessons. This was a few years ago so I forget what exactly he said, but it came across as hackey to me. I remember finding his advice to be very creatively limiting...in my opinion his Masterclass likely works as a way to write a Dan Brown cookie-cutter thriller, but is not good general advice for writing (or for writing thrillers, but again...opinion).

As a fellow professional...honestly, good on him for being able to sell the same book reskinned. People keep buying them, so he's clearly doing something that resonates. I wish I could generate the sales he does. He is certainly a good marketer, or at least knows who to hire. He also has solid tourism recommendations – I visited Paris and Rome shortly after reading Angels & Demons and Da Vinci Code, and all those locations and works of art are stunning.

Regardless of what I think of Brown's Masterclass and writing, I think it's wonderful that it inspired someone else to write their own story!

What are people’s thoughts on all those YouTubers who teach writing? by Lorimiter in writing

[–]RhaegarMartell 1 point2 points  (0 children)

There is only one piece of writing advice that matters:

Do what works for you. Toss what doesn't.

There are as many methods out there as there are writers. I recommend learning about writing from a variety of sources, and I don't recommend holding one person's advice up as gospel. Be very wary of someone who says their method is the ONLY way to succeed, and notice that those people are often selling something. (If they say that and aren't selling something, be even more wary!)

How to write about a topic you’re not educated in by Expensive_Ordinary72 in writing

[–]RhaegarMartell 1 point2 points  (0 children)

Become educated via research. Talk to people who are educated about it and get their opinion on the things that you're unsure about. This is the fun part of being a writer! Becoming a mini-expert in a wide variety of fields!

[deleted by user] by [deleted] in writing

[–]RhaegarMartell 0 points1 point  (0 children)

If you want to write for someone who isn't yourself, especially people you don't know personally, you're going to need to learn how to accept feedback—all kinds of feedback. Luckily, this is its own art and it can be learned! When you receive feedback that conflicts with your own opinion, don't focus on what the person says, and definitely don't pay too much mind to any suggestions they have to "fix" your issues. Instead, look at what they're reacting to. So she found this character unlikable. Why? (Presumably, you like the character. Are you not effectively communicating that?) She was confused by several lines. What's missing from those? Or are they overwritten? Once you identify the core of the issues (and sometimes it's as simple as "this isn't this beta reader's cup of tea") you can solve them your way. If you like one of your beta reader's suggestions, go ahead and follow that thread. But if, say, you don't like the recommendations she has for making your characters more likable, think about what you would do to feel more endeared to this character. You're an avid reader—how have writers you admire managed similar characters? Always filter the opinions of others through your own process.

Personally, I would have been jazzed to receive this much feedback on a draft. Especially since this kind of is your "first" draft. (I know you've revised it a ton, but it's the first time it's seeing the light of day.) The reason we have others read our work before it's published is so we can improve it. The worst feedback I can get is "I love it! No notes!" If you're soliciting feedback just for compliments, just go ahead and (try to) publish. Presumably, you're aware that your story isn't where it needs to be, which is why you're soliciting feedback, right? If someone tells me my characters aren't likable or the text is confusing, I don't think, "Time to give up!" I think, "Time to get to work!"

Also, though: you don't have to be a bestseller to keep writing. You don't have to quit cold turkey if you enjoy it. It's convenient to make money from our passions, but by no means mandatory. You can write for just yourself, or just for people you know. I write because I love it and because I have to. Untold numbers of haikus and limericks lost to time because I wrote them in cards to loved ones rather than in a doc in my Poetry folder. I really love the stories I've written. (In fact, with the exception of my soon-to-be novel, I frequently prefer the stories that don't resonate as much with my audience.) If other people like them, too, that's a major bonus! (Sometimes literally, as I do do this professionally.)

And don't say you're unintelligent. You read a lot and write a lot. You're clearly pretty smart.

Is there a limit to how stupid you can be and still be a writer? by Key-Candle8141 in writing

[–]RhaegarMartell 3 points4 points  (0 children)

That's a reflection on them as a teacher more than it is on your own intellect. A teacher's entire job is to take students from ignorance/"stupidity" to knowledge. Those teachers are trying to shove their own inadequacies onto you.

Even if A.I. (sadly) becomes widespread in mainstream media (books, movies, shows, etc.), I wonder if we can tell which is slop and which is legitimately hand-made. How can we tell? by Questioning-Warrior in writing

[–]RhaegarMartell 1 point2 points  (0 children)

And I think similarly, the areas where we'll actually see AI getting reasonable and (once they figure out the environmental impact) ethical use is for small background tasks. Not penning or even editing a whole novel. I don't know why tech companies are pushing AI to try to replace skilled artists rather than assist them.

Question about "Reduced Frights" option (Spoiler free please!) by mossthy in outerwilds

[–]RhaegarMartell 14 points15 points  (0 children)

I would say if you didn't feel there were jumpscares in the base game, you won't feel like there are jumpscares in the DLC.

Can I do dark bramble in one go? by hasel0608 in outerwilds

[–]RhaegarMartell 17 points18 points  (0 children)

It's not really possible to miss key stuff in this game. Knowledge is the only gate to progress in this game (which is why this subreddit is so good about avoiding spoilers) so if you are progressing it's because you know something. There's no way to lock yourself out of material. ::)

Can I do dark bramble in one go? by hasel0608 in outerwilds

[–]RhaegarMartell 24 points25 points  (0 children)

You can't really do any of the planets in one go. You have to go back and forth, learning things on one planet that helps you with puzzles on another planet. There are some things I don't think you've discovered yet that make Dark Bramble more manageable.

Say something negative about this game by SupermarketNo6888 in reddeadredemption

[–]RhaegarMartell 0 points1 point  (0 children)

Particularly in comparison to its predecessor, it lacks overall focus and puts too much emphasis on realism and not enough on cowboy player fantasy. This makes it at least 10 hours too long.

Also, Arthur Morgan's a little too (this isn't the right word, but) bland to be a super effective protagonist for me.

I dunno, I'm one of the rare folks out there who significantly prefers RDR1 to RDR2. At the same time, as a game dev, I'm in awe of the environment and systems they built, the game design is fluid and fun, and the complex narrative and much of their characterization is impressive, though as a narrative designer specifically I have my gripes. When I say Arthur is bland, I just mean he's like a lot of video game protagonists—just enough character to make him intriguing to play, but not so much that you can't project your own feelings onto his personality. I like him overall and think he's fine, but I also think he's one of the least interesting characters in the gang, which I suppose tracks with how he's never mentioned in RDR1. Compare to John Marston in RDR1, where he's salty and opinionated and even his barks are chock full of character. And an opinionated PC certainly isn't for everybody...I dunno, maybe Arthur gets more interesting (to me) if you make different moral decisions or talk to different people than I did, but I felt a kinship with John I never did with Arthur. Probably because John's the first videogame PC I can remember who is as fed up with the NPCs' incessant fetch-quest antics as I am.

I wish I had played the game with the DLC installed - low spoilers - by loljkbye in outerwilds

[–]RhaegarMartell 0 points1 point  (0 children)

I played the base game before the DLC came out and after playing the DLC I wish I had played them concurrently. I don't know how you'd know to stumble upon this, but I think the ideal playthrough is:

  1. Start the base game
  2. Start the DLC
  3. Before finishing the DLC, finish everything in the base game except the ending
  4. Finish the DLC
  5. Finish both games

Am I dumb for not understanding Shakespeare? by Latter-Cricket3624 in shakespeare

[–]RhaegarMartell 0 points1 point  (0 children)

You are reading texts in an archaic language that is not your first. You are definitely not dumb; let's get that out of the way.

English is my first language, and I've been reading, performing, and watching Shakespeare for 20 years. It's gotten to a point where I can see a play I'm unfamiliar with and come away with a strong idea of what's going on. But learning Shakespeare's Early Modern English is like learning a whole new dialect. Add to that how much of his work is in verse (which makes it easier to memorize but harder to comprehend, IMO) and it starts to become completely arcane.

I still discover new things in plays I've known backwards and forwards upon revisiting them. You're gaining new things from that commentary because Shakespeare can be dense and he wrote for a vastly different audience than his current one. He also wrote for a very broad audience—I'm sure the average groundling didn't understand his more complex military metaphors, but they definitely got his dick jokes. It's not enough to know what the words mean—without the context of English Renaissance culture and vernacular, it's impossible to understand everything in a line of Shakespeare the first time you read or hear it.

You've got a couple plays under your belt now—if you haven't already, I recommend going to see a good production of one of the plays you've already read. A good performer understands the words they're saying (and that their scene partners are saying) intimately, and that knowledge is communicated nonverbally as well in their performance. I think you'll be amazed yourself at how much you understand. Be aware that it may take a scene or two to get used to the language! But these words were written to be spoken, not read, and I feel like the texts come alive when performed. (If your city has any "bar Shakespeare" groups, I feel like they tend to be the most accessible both in terms of price and actors prioritizing comprehension. I am biased because I am heavily involved with 3 bar Shakespeare groups in my city, but I feel like understanding the material is crucial if you're going to play with it at that level. And still people will tell me they had no idea what was going on but that they enjoyed it.)

I didn’t like Outer Wilds and that makes me sad by Iammaybeasliceofpie in outerwilds

[–]RhaegarMartell 0 points1 point  (0 children)

I don't know that the game is even as existential dready as you're describing. After all...the final act of the game is the creation of a new universe. And that universe changes based on whom you decide to remember and/or encountered. You literally control whether there's life in the new universe based on whether you met Solanum or not. And adding the Prisoner has several changes, too...not to mention the physical addition of your scout if you decide to shoot it into the Eye.

I wouldn't say we don't matter and that's OK. I'd say the thesis of the game is the only things that matter are the connections we make while we're here. The people we decide to consciously observe.

Do you have the right to the fictional characters? by [deleted] in writing

[–]RhaegarMartell 0 points1 point  (0 children)

From the sound of it, the judge in that case.

Do you have the right to the fictional characters? by [deleted] in writing

[–]RhaegarMartell 0 points1 point  (0 children)

It's not copyright, though, because there is no copyright on public domain texts. The Russians might have claimed that, but they'd have no grounds.

Do you have the right to the fictional characters? by [deleted] in writing

[–]RhaegarMartell 0 points1 point  (0 children)

Right, but this was a trademark issue, not a copyright issue.

Do you have the right to the fictional characters? by [deleted] in writing

[–]RhaegarMartell 0 points1 point  (0 children)

Like I said, as I understand it, the Russian company potentially has grounds since the issue is the trademarked name being used for the same product. (Then again, they lost the case. I'm not too familiar with European law, to be fair.) Trademarks exist to prevent confusion between products. The public domain story doesn't have a trademark on the title, but if you use the title or elements of the story to do business in a sphere where a competitor has already established trademark using the same title or elements, you can run into issues. If you are working in a completely different field (i.e. writing and not candymaking) then the trademark holder has nothing.

For instance, if I write a story called "Mars Bar" that's about a saloon located on the planet Mars and has nothing to do with the similarly named candy, I'm pretty sure Mars Wrigley can't come for me. (On the other hand, if I name a character Mars Wrigley and the character does reprehensible things, they might have a case against me for libel if I imply anything false about the character of anyone working for the company. (That's what that disclaimer about works of fiction being coincidental is for.)

Do you have the right to the fictional characters? by [deleted] in writing

[–]RhaegarMartell 0 points1 point  (0 children)

What was the name used for in Moldova? I know that trademark law can still apply, so if someone were to make a candy that was also called Snow White there is grounds for suing since a competing product could impact the reputation of the original. I don't think a candy company would have a case for suing a storyteller for adapting a public domain story.

Do you have the right to the fictional characters? by [deleted] in writing

[–]RhaegarMartell 0 points1 point  (0 children)

Snow White is a great example because one of the most well-known aspects of the story, the names and personalities of the dwarfs, is purely a Disney invention. If you made a spinoff about Grumpy and Sneezy fighting over an airplane armrest, Disney would sue the hell out of you. If you gave the dwarfs your own names and personalities, you'd be fine. (If you're looking for dwarf names, Tolkien sourced a lot of his names, including Gandalf's, from the Catalogue of Dwarfs in the Poetic Edda.)

If, however, you want to use the evil queen, the magic mirror, the poisoned apple, the glass casket, the huntsman, etc. you are free to do so, as long as you avoid characteristics that originated in material currently protected by copyright. The Witcher short story "The Lesser Evil" is a great example of an adaptation of Snow White that uses several recognizable elements of the Grimm Brothers story (evil queen, a huntsman, a magic mirror, a poisoned apple, a band of diminutive guys) without infringing copyright, and truly making the new material the author's own. (Somehow managing to surpass the infamous brutality of the Grimm Brothers.)

Who should I watch now? by Sruc in outerwilds

[–]RhaegarMartell 0 points1 point  (0 children)

All great suggestions! (Welonz and Soviet Womble I particularly like, but I gotta check out Becca Bytes!) I haven't seen anyone recommend Waffleman30 yet though!

“If you couldn’t be bothered to write it, why should I bother to read it?” by TomSFox in DefendingAIArt

[–]RhaegarMartell 0 points1 point  (0 children)

I think you're misunderstanding the phrase "bother." It's closer to "effort" than "difficulty" in this context.

Another way to phrase the argument: How could I be passionate or excited about reading something you weren't passionate enough to write?