deadken posted:
leaner. meaner. colder. excise every conjunction.writing as icy fury.
well most of it is things like what i reccomended to you: stuff you produce for yourself that is unnecesary for the reader. a lot of time excising things like that is like a gift to the reader since there is this implied depth but its totally the reader's rather than the author's, if you get what i mean
Impper posted:
bf, what i mean specifically is you said i only employ one character, that being myself, and then you said that the other characters except for milos are cardboard cutouts. so excuse me if i don't quite catch your meaning
everybody writes themselves into a flat world of mirrors and cardboard cutouts. its normal, but its something you have to get over if youre gonna write anything worth reading. perhaps milos is not you, who cares, thats not the point. that would be really weird but whatever. the point no one else is represented in that excerpt as having any drives or motivations or anything. emily pretty much just nods as milos drives and yammers on. if you want to pretend you did that on purpose fine, but youre wasting the reader's time. emily should be engaging milos. why are you hitting your reader in the face with milos's diarrhea. why is emily sitting there. whats going on.
this is criticism from the perspective of fiction-writing. if you want to tell me none of that matters and what matters is the content of milos's speech then well you've proved my point: write an essay
deadken posted:
i tend to give up on a project before it makes it past first draft but i actually sometimes get a perverse pleasure in cutting the shit out of my bloated writing, freeing my sentences from the sagging strain of so many words, leaving something hard and cold and devastating
yes.. yes... feel the Muse flow through you
babyfinland posted:
Impper posted:
bf, what i mean specifically is you said i only employ one character, that being myself, and then you said that the other characters except for milos are cardboard cutouts. so excuse me if i don't quite catch your meaning
everybody writes themselves into a flat world of mirrors and cardboard cutouts. its normal, but its something you have to get over if youre gonna write anything worth reading. perhaps milos is not you, who cares, thats not the point. that would be really weird but whatever. the point no one else is represented in that excerpt as having any drives or motivations or anything. emily pretty much just nods as milos drives and yammers on. if you want to pretend you did that on purpose fine, but youre wasting the reader's time. emily should be engaging milos. why are you hitting your reader in the face with milos's diarrhea. why is emily sitting there. whats going on.
this is criticism from the perspective of fiction-writing. if you want to tell me none of that matters and what matters is the content of milos's speech then well you've proved my point: write an essay
certum est quia impossibile
uh well there are three characters in that scene, the narrator, milos, and emily
Impper posted:babyfinland posted:
Impper posted:
bf, what i mean specifically is you said i only employ one character, that being myself, and then you said that the other characters except for milos are cardboard cutouts. so excuse me if i don't quite catch your meaning
everybody writes themselves into a flat world of mirrors and cardboard cutouts. its normal, but its something you have to get over if youre gonna write anything worth reading. perhaps milos is not you, who cares, thats not the point. that would be really weird but whatever. the point no one else is represented in that excerpt as having any drives or motivations or anything. emily pretty much just nods as milos drives and yammers on. if you want to pretend you did that on purpose fine, but youre wasting the reader's time. emily should be engaging milos. why are you hitting your reader in the face with milos's diarrhea. why is emily sitting there. whats going on.
this is criticism from the perspective of fiction-writing. if you want to tell me none of that matters and what matters is the content of milos's speech then well you've proved my point: write an essay
certum est quia impossibileuh well there are three characters in that scene, the narrator, milos, and emily
why doesnt emily do anything in the scene. why is she even there
Hear Me Hollar Hi Dee Ho
he was propped in the crutch of an oak tree-looking down-singing "there's a man going round taking names" indeed-i nod howdy-he nods howdy back "well he took my mother's name-lef' me there in pain" i, who am holding a glass of sand in one hand & a calf's head in the other-i look up & say "are you hungry?" & he say "there's a man going round taking names" & i say "good nuff" & keep walking-his voice rings thru the valley-it sounds like a telephone-it is very disturbing-"you need anything up there?"-i'm going to town" he shakes his head "well he took my sister's name & i aint never been the same" "right-o" i say-tie my shoelace & keep walking-then i turn & say "if you need any help getting down, just you come to town & tell me" he doesn't even hear-"well he took my uncle's name & you know he wasnt to blame" "groovy" i say & continue my way to town . . . it couldnt've been more'n a few hours later when i happened to be passing by again-in the spot where the tree was, a lightbulb factory now stood-"did there used to be a guy here in a tree?" i yelled up to one of the windows-"are you looking for work?" was the reply . . it was then when i decided that marxism did not have all the answers
why are you so frightened of
being embarrassed? you spend a lot of
time on the toilet dont you? why
don't you admit it? why are you so
embarrassed to be frightened?
your uncle
Matilda
Impper posted:
they're not having an argue though . . . and i just went back and looked at it and i made two explicit references to bullying her? how much more front and center do you want it
if you write a scene, it should have a purpose. every word and element you use to create the scene should serve that purpose.
but yeah thats a great song. bob dylan is really great.
babyfinland posted:Impper posted:
they're not having an argue though . . . and i just went back and looked at it and i made two explicit references to bullying her? how much more front and center do you want itif you write a scene, it should have a purpose. every word and element you use to create the scene should serve that purpose.
if u read a scene from a longer work without context you might not have a full & complete understanding of it tho?
deadken posted:babyfinland posted:Impper posted:
they're not having an argue though . . . and i just went back and looked at it and i made two explicit references to bullying her? how much more front and center do you want itif you write a scene, it should have a purpose. every word and element you use to create the scene should serve that purpose.
if u read a scene from a longer work without context you might not have a full & complete understanding of it tho?
yes thats true but im also not going to coddle impper and give him the benefit of the doubt on something he's posted for criticism and also given the way he's responded to my comments that's pretty clearly not the issue
babyfinland posted:
deadken posted:
babyfinland posted:
Impper posted:
they're not having an argue though . . . and i just went back and looked at it and i made two explicit references to bullying her? how much more front and center do you want it
if you write a scene, it should have a purpose. every word and element you use to create the scene should serve that purpose.
if u read a scene from a longer work without context you might not have a full & complete understanding of it tho?
yes thats true but im also not going to coddle impper and give him the benefit of the doubt on something he's posted for criticism and also given the way he's responded to my comments that's pretty clearly not the issue
certum est quia impossibile
imo everything in that scene serves a purpose. i can deal with hostile criticism but you were legitimately confusing me with just about everything you said, and like maybe it's my fault but you seemed to have thought there were only 2 characters in the scene until like the last comment you made
sosie posted:
impper! you are an awful writer! you can't write for shit! you're legit terrible! no, really!
thank u
the dumb "dialectic" between men and women, in my Opinion, needs to die right now, in our live times, through some final, epohcal display of LOVE
just this obscene display of love... the only way to do it is to have it be either we get to be together or this african children are exploded, and they choose togehter
we have to stop with the guilt and start killing people Other than ourselves
once fucking asshole somebody whos name i will rememebr soon while i type this his name is get fiscal typed up some dumb thing and i responded by saying something like "think more about criticism than imagining yourself as inventing a whole new world - we are not, after all, writers for Alladin."
the point is that you really need to get a grip on girls' lacanian film criticism, girls who are men enough to put Kant in his place...
sosie posted:
babyfinland: read joan copjecs book.... i can't remeber the name of her first one. but it's incredible. especially, toward the end, she takes apart whats her face ... judith butler.
once fucking asshole somebody whos name i will rememebr soon while i type this his name is get fiscal typed up some dumb thing and i responded by saying something like "think more about criticism than imagining yourself as inventing a whole new world - we are not, after all, writers for Alladin."
the point is that you really need to get a grip on girls' lacanian film criticism, girls who are men enough to put Kant in his place...
i really enjoyed her article in Lacan: the silent partners and also fuck you
look, im not mad. but what the hell, you said nothing but "read this book" for ages, like ti was the fucking new testament
really copjecs and some others I CANT EVEN FUCKING REMEBER
it WASNT all that, theres tons better books, why did you hype that book like it was the fucking second coming you spychopath
byt joan copjec Knows what she's talking about
read her fucking books