1. Go to page 77 (or 7) of your current ms.
2. Go to line 7
3. Copy down the next 7 lines – sentences or paragraphs – and post them as they’re written.
Since it would be too much work to figure out what page is 77 (my chapters are in separate files), I am doing page 7. From my current untitled original fic:
The air was stagnant and thick with dust and age. They didn’t have far to go before they reached the plywood barrier Gen had put up. She shoved it open with one hand and tumbled out into a brick-and-mortar chamber tall enough to stand in.
Gen scrambled up and, one by one, lit a series of dangling lanterns. Her students each emerged and gasped at air fresher than the crawlspace, but sour with mildew. They took in the stacked wood crates marked with Chinese characters and other loose items scattered on the floor.
“How’d you find this?” Sean asked.
One of the things I like about Once Upon a Time is that, so far, they are keeping Emma the empiricist and the skeptic who won’t believe the stories people tell her about the reality of the “fairytale world(s)” just because they say so. No real OUAT spoilers, just tangential thoughts
Ganked from superplin on PhaceBuk
“The fiction of praxis opens a space for the fantasy of pedagogical institutions.”
ETA: and hee! You get hi-brow commentary on your generated sentences of abtuse academia.
“‘Your painstaking examination of the fantasy of pedagogical institutions is a testimony to your diligence, if not to your perspicuity.'”
I don’t think I’ve ever done an introductory post before, seeing as I’ve known most of my flist for years and have survived internet kerfuffles, raging forest fires, and DoubleMeat Palace viewings with them. But I recently gained a few new flisties from a Merlin fandom friending meme and apparently an introductory post after that is what All the Cool Kids Do.
So if you know this stuff already, feel free to move along.
Masquerade the Philosopher: a primer
The thing about Grimm is, even though it is a bit banal and repetitive (although getting less so as it develops its mythology), it hits a lot of my story kinks, like secret identities, hidden subcultures, and family legacies. I’m liking it more and more as the season progresses.
I complained the other day about Hollywood’s trend of remaking current foreign films and TV shows and doing remakes of (slightly) older American films and TV shows (especially annoying when you are any age of adult and can remember the original like it was yesterday because it was).
This seemed to contradict a stray thought I had later that day in which I was remembering mourning the passing of television shows and film series I had loved (esp. Deep Space Nine, Angel, and Harry Potter) and how I comforted myself with the knowledge that “something new will come along I will love, it always does.”
“New”, of course, is relative. It can be argued there are no truly “new” stories to tell, but I think it depends on what you mean by “new.” If stories are stripped down to their archetypal bones, then no, there probably aren’t any new stories out there, but there are plenty of new ways to tell the same archetypal story. Make your Odysseus a female character in the modern day instead of a male. Pile this culture/era/sub-culture’s baggage atop the archetype instead of that culture/era/sub-culture’s baggage–no one will recognize the story archetype without a lot of wincing, and it becomes fresh again.
Likewise, easily recognizable tropes or characters can be made fresh again with a fresh angle to them. Set the (yet another) vampire story in the American south, or have the vampire share a flat with a werewolf and a ghost. Give your formerly-Victorian characters cell phones and sophisticated 21st-century adversaries to test their skills against.
That said, there IS such a thing as trope-fatigue. And making your “adaptations” too thinly-disguised by your “variations” to be fresh enough.
Sometimes, what I really want is to curl up and revisit the same story told the same way I remember it. Sometimes, what I really want is a story trope/archetype/kink that’s deep in my bones told in a way so different from what I’ve heard before I don’t recognize it at first. Sometimes I want a film/show that was done forty years ago, and not too well, to be given a decent (and fresh) treatment.
But I rarely want to see the same story told in just a slightly tweaked way ten years or one year after I saw it before.