“Anyone can be a critic”, is said often. Unfortunately it’s true, and the followup is often left out; “But few people should be”. To be a critic only requires that you have an opinion on something. Everyone’s entitled to their own opinion, but I’ve found that there is an issue to that entitlement. The reason … Continue reading Critics Will Be the Death of Me
Sext your enemies Joyride a mecha Fight the pull of gravity... ... whatever that means.
I love worldbuilding. Most of the things I write about and think about and read about tends to involve it in some fashion – from little oddities, like an Earth that’s exactly the same as ours except for the occasional angel or zombie or android or what-have-you, to the sprawling high-fantasy landscapes of alien worlds … Continue reading Worldbuilding with Ben Pearce
There is a specific danger of pretension, of appearing ‘smarter’ than the ideas in your media actually deliver. Annihilation, I find, is guilty of this. The danger is that when your meaning isn’t clear, when your story isn’t well delivered, the criticism doesn’t get directed at the work; It makes your audience feel like they simply weren’t smart enough to understand it, that it went above their head. I compare it to Full Metal Jacket and children's animation. The animation is actually Zootopia, but I wanted an excuse to use this as the cover image.
Sometimes when someone asks you; “So what happens next?” and you have the clearest idea of your beginning and end points, but never the middle, you feel like a failure or like you’re in way over your head.
Here is a short article dedicated entirely to the quick fixes that will drastically improve your writing. This one’s fairly simple, it’s the kind of stuff that’s obvious in hindsight, but hard to figure out or pin down on your own.
How do novelists make a strong character? The ones that feel like they exist outside the story, and outside the author's head? Talking about the rough heuristic I use to plan major and minor characters.
There are many common depictions of the four horseman, Death, Pestilence, Conquest and Famine. They are nearly all wrong. Especially about the horses.
Ben Pearce is a fantastic editor, and I approached him to see if he'd like to write an article about developing your editing skillset. This is that article.
Black Mirror is a tragedy that intentionally subverts the point of tragedy to make you feel super messed up, instead of the kind of emotional relief you would otherwise get. So why did this season change such a unique and effective philosophy?