Come writers and critics who prophesize with your pen!

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makkaal
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Come writers and critics who prophesize with your pen!

Post by makkaal » 18 Jun 2011, 05:08

I consider myself to consist to a great extent of text. I do poetry, essays, short stories, even tried songlyrics even though I can't compose a melody for the life of me. Currently I'm working on my first (fantasy) novel. The latter is also the reason why you haven't been seeing me for the last couple of weeks.

I got you guys to know as an intelligent, creative and curious bunch.
So seeing the Art thread calling the painters, photographers and illustrators, I'm wondering: Are there other writers out there? In reference to the line from Bob Dylan's song in the thread title, I'd like you to gather here to present and exchange.

I'd like this thread to be a way for everyone to get those small things out that you don't think you'll ever see published. I don't care for your motivation, whether you just want to be heard, whether you want to brag, whether you want to learn from others or get/offer criticism.

There are five rules for this thread:
1. No plagiarizing.
I know this happens faster than expected, which is why I felt the need to include this rule. It applies to every contribution in this thread ( = no use without the author's permission) as well as any work of an author outside of this community. (Using ideas as inspiration, quotes and references are okay as long as they're correctly attributed to the source.)
2. Enclose your works (and comments longer than a 15-line paragraph) with spoiler tags.
This way the page won't get flooded with walls of text and remains easier to scroll.
3. You must have contributed at least one piece before commenting on or criticizing someone else's work.
a) For the writers: If you don't have a classic literary type of text (of your own) at your disposal, a short but well-phrased anecdote, an interesting dialogue, character outlines or plot drafts will suffice. Just give us something to still our hunger for literature!
b) For non-writers: An attributed reference and a two or three sentences long summary about why you enjoy it (quotes do not count) of something you like is enough. The referenced piece cannot originate from this thread (as it would defeat the purpose of this rule).
This rule is not supposed to create an elitist bubble but to encourage contributions.
4. Criticism has to be constructive.
If you (don't) like something, elaborate on your reasons objectively. If possible, offer suggestions for improvement.
5. No! Plagiarizing!

Alright, now that that's out of the way, I'll start this thread off. Hopefully others will follow.

Poem: "From a letter left behind" (Title inspired by Opeth's "Isolation Years".)
Spoiler! :
This was where once a poem read
How much I missed you when I wrote it.
I hope you read it? No? Alright.
You see, the longing deep inside,
Which fuels my writer's wrath, has lead
To author more than could be quoted.
I'd conjure image-falls to splatter
Into your world my daydreams' matter.
Would do so if you came to see
And therefore lost your heart with me.
Poem: "Starlit. Skindeep." (The title is a wordplay using the name and its meaning of the girl the poem is about.)
Spoiler! :
Another night, again she strays,
In search of things a little warmer -
Her happiness she's off to trace
That she hopes waits just 'round the corner.

In dirty streets with dirty walls
She roams between the bright-lit lamps,
Breaks loose beneath night's disco ball
To chase the shadows at the dance.

Whatever's in that open coffer:
Enough to stay that course she's on.
This world has way too much to offer
That she could just return back home.

If she gets cold, she'll find a place,
And once at mine, with me, she stayed.
So ever since, I watched her pace,
Admiring her, that graceful gait.

Sometimes she leaves me ponder it,
Whatever 't is that keeps me there.
I ache to leave and dance a bit,
Howl at the moon, maybe with her.

I'm never certain where she'll wander -
Or whether she'll come back at all
From searching for life's little wonders,
Somewhere far outside my walls.

I couldn't ever see her staying,
So I'll just save this bit of time.
Tomorrow she'll be back to straying.
As long as it's tonight, she's mine.
Essay: "The touch" (Inspired by German publicist Roger Willemsen's "Der Knacks"/The crack. I am very proud of this one, please be gentle. :) )
Spoiler! :
After all, the "touch" is about a short instant, an inane heartbeat in life. The description „heartbeat“ does not even necessarily derive from the sense of duration but rather the objective effect which the the touch leaves behind: Ignoring its emotional significance, the touch - superficially - is nothing more than another experience in life which is not expected to bring any consequences whatsoever. And yet they occur; or perhaps exactly because they are not supposed to make an appearance, they turn out all the more severe.

If the "crack" is the unseen caving-in of soul tissue due to loss through time, then the "touch" is the polished spot which catches the beholder's eye with its smooth surface, captivating his deepest affection. At this spot reflections refract and cast their games of light – at a point where, similar to the crack, an alteration becomes discernible, where a long drawn-out development concentrates and reaches the surface.
But while the crack can become visible to an attentive outside onlooker, the touch hides from unwanted eyes and only remains visible to the one who felt it.


It is nothing but a passed-by fragrance, just long enough to be perceived, but it happens after such an immense build-up of unconscious tension that the reaction to it unloads in a quake of the soul.
The suspense curve towards it is invisible, but when it reaches its peak it carries away the heart and washes it away to another place.
There is an expression in juvenile slang called a „heart orgasm“, which is not unlike the touch; however it is often searched for. The heart orgasm has the peculiarity of being somewhat like the physical one: coupled with certain behavior, often combined with almost rehearsed rituals, and it can be vivid and concussing, but also soft and relieving – or not come at all.
But right here it differs from the touch, which happens without assistance of the feeling individual. Its experience is passive because its arrival cannot be foreseen.
It is the realization of something happening one had been waiting for, without knowing one was missing it: thereby the wave-like impact of this insight turns out all the more massive and sustainable.


This moment can develop from something harmless. To be caught in the rain after days of hot summer sun, only to be brought back by the smell of water on hot asphalt to days of childhood when one danced, infantile, without consciousness of external onlookers, to the drumming drops.
To smell for the first time in December freshly baked goods, by which only now the warm feeling of Christmas appears and the smile over the unexpected peace cannot be contained.
The instant of not only understanding a verse in a song or poem but rather sensing it deeply within the heart because it apparently expresses in the most direct way possible whatever moves the own soul.
To become one with the music when dancing and, through movement, to embrace oneself and the substantial notes.
Or the kiss of a stranger, which moves the soul without a discernible cause and still burns on the lips long after that person is gone.


Instants like these can cause the touch, but they don't they don't make it up entirely. Taken by themselves they are nothing more than pleasant memories that may cause a smile but don't survive; above all they fade away without a response.
What is missing is the slap to the face, the realization: This is what I have been missing. This was what has been absent.


The touch is, similar to the crack, the ultimative experience which painters, poets, musicians try to snatch and to capture inside their chaotic elements – too rarely with success. However, they are not entitled to call the success but instead those perceiving their works, since beauty lies in the eye of the beholder: a piece of art can only be then truly beautiful if the latter can connect it to himself. The more bombastic a piece seems, the more lucid was the creator's attempt at adhering the touch (or the crack) for the respective onlooker.
Thus the idea surfaces that art does not necessarily move within and among the depiction of beauty, of the ugly or the unimaginable, but to what degree the artist himself is able to touch.


The touch is fleeting, but intense. It wants to be perceived, but in contrast to an ongoing status quo which seems pleasurable or repulsive, it is not passive. It urges from the shadow with a sudden bombshell into the consciousness instead of just being made aware of and be named after the respective uptake.
Exactly this leads to the depth it causes. The touch does not want pure existence, no dull being but wants to be loved and thus to awaken to a life of its own.
It is the fulfillment of a completely unconscious desire. The answer to an unraised question that leads to phrasing it in retrospect and to lose one turn in life due to the unexpected realization, to grope and let go the aha-like reaction.


An externally caused moment of serenity. The touch creates a short-termed peace, as it is the case with the heart orgasm, but the carry of this peace is precedent-setting. The phase of slow-motion caused by the touch allows different points of view, no, it jerks the head into a different direction. It is the learning effect that leads to massive changes in life, a short flaring up of a mirror image and the self-realization displayed on it.
But in contrast to the crack, the touch does not embitter – admittedly, it leads to breaking in and the heart to skip a beat, but it does not bring silent, cynical acceptance but rather a peaceful embrace of developments. It bears decisions such as „This is how I (don't) want to be (anymore)“, understandings like „Everything will be fine“ and the answer to the question „Who am I?“.


It is no pure epiphany. The touch is not isolated but spans into past and future, yet is precisely concentrated in a diminutive point. It is a sudden, momentary waking up, a few seconds of true life.
And, perhaps, the key to true happiness.
"Wollt ihr 'n Hut? Nur Mut, 'n Hut tut gut!"

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ojamamask
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Re: Come writers and critics who prophesize with your pen!

Post by ojamamask » 18 Jun 2011, 05:39

Well I'm doing some MLP fanfic at the moment, I might post it here before I send it to Sethso (for the fourth tim...)
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Re: Come writers and critics who prophesize with your pen!

Post by makkaal » 18 Jun 2011, 06:28

Please do! I've never gotten in contact with fanfic before.
"Wollt ihr 'n Hut? Nur Mut, 'n Hut tut gut!"

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Re: Come writers and critics who prophesize with your pen!

Post by ojamamask » 18 Jun 2011, 06:33

Okay,

WARNING: It's a shipping of Rarity and a pokemon called Rapidash so if you don't like lovey dovey shit then don't read this, also the link only contains chapter 1.
https://docs.google.com/document/d/13S1 ... y=CJH-7-4O
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Re: Come writers and critics who prophesize with your pen!

Post by Pinmissile » 18 Jun 2011, 08:42

ojamamask wrote:It's a shipping of Rarity and a pokemon called Rapidash

Oh dear lord..

This is one of the many reasons I try and stay away from fanfics.
(Bear in mind, I'm not criticizing his work.)

I've never given creative writing a go, I'm more used to argumentative essays and speeches.


+1 for the Bob Dylan reference, Makk. Love that song.
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Re: Come writers and critics who prophesize with your pen!

Post by ojamamask » 18 Jun 2011, 08:53

Trolololol. But seriously, it seems that a lot of people really hate fanfics lately. I never seemed to find anything wrong with them, anyway this is all we can to until season 2 starts unless you can draw. If you can, do that instead.
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Re: Come writers and critics who prophesize with your pen!

Post by Pinmissile » 18 Jun 2011, 10:36

I do this thing where I wait in eager anticipation or find something else to do. I hear drugs are a good pastime.

Why do I avoid fanfics?
Spoiler! :
Fanfics.. Just rub me the wrong way, even the ones that aren't sexual, grotesque or "Dark" in nature. And the ones that ARE really have no place in that universe anyway.
The word that races through my mind when I do see such a fanfic is "WHY". I'm left confused as to why a sane person one would associate something like MLP with gore, sex or any of the sorts and then write a story inspired by said association and share it with others. Call me a madman, but when I watch a children's cartoon, I don't think for myself "This could use some Sweeny Todd.", I'm squeamish like that.

But yeah, I'm well aware that not all fanfics are as.. Unfriendly as the ones I just described, some are just are just as innocent as the show itself. And they tick me the wrong way too (With the exception of anything written by Squirrelking, his work is just so bad it's pure genius.). I would love to explain why I get the taste of spoiled milk in my mouth when I hear the word fanfic, but I can't put my finger on it. They just don't work with me.

With that said, let's not turn this thread into a discussion about fanfics, if we're to continue this, let's start our own thread.
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Re: Come writers and critics who prophesize with your pen!

Post by EricSmarties » 18 Jun 2011, 10:51

Pinmissile wrote: I hear drugs are a good pastime.
i was gonna watch MLP but then i got high :)
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Re: Come writers and critics who prophesize with your pen!

Post by makkaal » 18 Jun 2011, 13:56

ojamamask:

Don't know whether you wanted criticism or not, but I read your story and took a few notes. Please understand it as a colleague's contribution to your work. My suggestions are based on my own experience and instructions by other authors.
In case you're interested:
Spoiler! :
Please take these points as suggestions, not ripping anything apart, even though it may sound harsh at some points. I really like the idea of Rarity finding someone to love, even though I don't understand why a usual stallion from the MLP universe didn't suffice.

Seeing this is a work in progress, I'm trying not to harp on spelling, grammatical errors or phrasing.
However, I'm seeing three main problems.
a) A golden rule is "Show, don't tell". You tell a LOT and thus take both a lot of imagination and guessing (and therefore excitement) from the reader. Don't be too blunt, you're shooting yourself in the foot. More on that below.
b) There's barely any conflict. Conflict is what drives a scene and what makes stories interesting. But apart from the accident and him overhearing "that conversation" between Rarity and Twilight, it's barely palpable. And pitying him/having a bad conscience shouldn't be strong enough to change her mind about him entirely. If it is, her initial rejection of him apparently wasn't severe enough and thus not worth mentioning.
c) Resulting from a) and b), Rapidash is boring. I hate to be so blunt, but that's my impression of him. As a reader, I really don't understand what she sees in him. Yes, he's had a bad life, yes, he tries to make up for his wrongdoings and yes, he seems sociable. But those are not only everyday traits, they also create no tension or likability by themselves. He doesn't seem to have any quirks or flaws, and that's something characters desperately need to be interesting. And there's nothing to be revealed about him because you tell everything important about him on page 2. Out of 8. Of the first chapter of I don't know how many.

about a)
I stumbled over things like, "On the other hand, Rapidash (the name of the pony with the fiery mane) was quite timid as a colt [...]".
First, unless that sentence within the brackets is just a reminder for yourself, it's very clumsily phrased. You already dropped his name before, so you could avoid this problem by properly introducing his name earlier to her (If you don't want that - see "mystery" below - he'll need to have a placeholder name or description).
A reader doesn't like to be reminded like this, makes him feel stupid. If he can't remember, he'll re-read.
Second, the following description of him is something you might want to have HIM tell HER, not have YOU tell the READER. You have a great opportunity for Rapidash's exposition later on since Rarity and him actually talk about his past - but you're brushing away that dialogue entirely because you presented it as a full paragraph of exposition before.

This too falls into the category of "show, don't tell". Another great example is the accident itself. You could keep the information that her ribs are broken secret until later when she wakes up at the hospital: The reader will ask himself, "Wait, what? Why did she pass out, what's wrong with her?", and her injury suddenly turns from matter-of-fact-it's-happening to severe.
But "show, don't tell" also refers to being sneaky about descriptions. E.g. not "She was very badly injured" but instead, "She writhed in pain until she found a position lifting the strain from her torso. Still, she flinched with every breath."
The thing is that "showing" lets the reader envision what's happening and keeps his attention. He keeps asking questions you can answer later. "Telling", on the other hand, robs him of any imagination and makes things boring. Another example would be "...but Rarity already lost consciousness due to dehydration." You don't need that "due to dehydration" part. The reader knows it's hot and she's been working very hard, and a hit in the side that breaks(!!) two ribs isn't a cakewalk either. He can figure it out.

A counterexample: "She seemed a bit downhearted." Much better! Even though the answer to why is obvious, you don't spell it out. I can imagine what "seeming downhearted" looks like and I can imagine why she is and how he could react. And he fulfills that expectation of mine by offering her his last glass of punch.

But then, after that:
" “Wow, this is amazing,” he said sweetly.
“Yes, it quite is,” she replied. Obviously, not talking about the drink, but instead the feeling she had as they both drank the punch
."
GAAAAH! Whyyy?! *laughs* This was such a romantic scene, I was already feeling fuzzy all over! Yes, it can be obvious, which is why you don't need to emphasize it. I don't want a character analysis, I want romance!
Why not something along the lines of, "...she replied as her heart jumped when his ember eyes met hers"?

about b)
You start off by having a strange pony injure her, so as a reader, I ask myself, "What happened? Who is this pony? Why did he hurt her? (And why can she still speak in such long sentences even though she's at the brink of dehydration and has two broken ribs? But that's a different story.)" While the first and the third question may be answered later on, you establish two sources of conflict: the accident and the mysterious stranger. The accident can wait, but very early you disregard all the mystery around Rapidash you have been trying to build up - something that might honestly intruigue Rarity in spite of her rejection. Even more so - you rush out, explaining the most interesting thing about him: his past.

I think you mentioned twice or three times that Rarity isn't exactly thrilled about the developing feelings towards this stranger, but it seems entirely forgotten in between. You reference the last episode, but you don't explain why one bad experience is such a prolonging issue to her. She doesn't seem neither earnestly disappointed nor lovelorn because of the prince, so why does she have such a problem with this Rapidash?
My point is: If her former experience creates tension, you might want to play it out a bit. I think it would even be okay for her to not like him in the first chapter at all. But that's a matter of taste, I guess. And what is that "something about him" that you mention when they get back from gem hunting? What is it that makes him interesting? Maybe Rarity sees it, but I, as a reader, don't.


about c)
I don't think I need to add anything critical, but I have suggestions.
As I said before, you established him within a waft of mystery. Keep that up. It's alright for him to be at her bed at the hospital (showing his caring side), but don't throw him at her only a few days after, you're making things way too easy. Let her (and with her, the reader) brood a bit about this stranger, let both the accident ("What a jerk!") and his bedside manners ("What a considerate guy!") sink into her thoughts. Let her remember how handsome he was, that flaming mane, that muscular stature; let her remember what pain he caused her. If you want her to develop feelings for him, start slowly and let her be curious about him first. This curiosity is what could drive her inner tension: She wants to know more about him, but still blames him for the accident. So when they finally meet (How did he find out where she was anyway? Can't be coincidence since he intentionally came.), she doesn't know what to do with him. Snapping at him while he tries to be nice could be her way of expression that tension.

One last thing: You might want to take out the other ponies' cameos and text-fillers in this first chapter. If it doesn't serve the exposition of setting, plot or character, throw it out, and none of the cameos serve that purpose. Obviously the party itself is fine or Gummy's cameo to break the romantic moment, as is the trip to Twilight's. But what purpose does meeting Rainbow and Applejack have? Talking to (one of) her friends about these new feelings could be a great way to forward Rarity's emotional development.
Also, an idea: Wouldn't it be way more interesting if some of her friends already knew Rapidash? Rainbow could have met him before, for example. Maybe Rarity notices the race between the two by coincidence. Maybe Rainbow speaks highly of him which Rarity can't understand (since to her, he's a clumsy jerk). Same with Pinky, she tends to notice characters and details about them a lot earlier than most of the others. Her friends already knowing him could also resolve the problem of why he knows where she is when he goes off to apologize to her.

Once again, please don't take anything personally here. I enjoyed the ideas you had in that story. As I said - it's just ideas.
"Wollt ihr 'n Hut? Nur Mut, 'n Hut tut gut!"

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Re: Come writers and critics who prophesize with your pen!

Post by EricSmarties » 18 Jun 2011, 14:51

Pinmissile wrote:
ojamamask wrote:+1 for the Bob Dylan reference, Makk. Love that song.
oh i just realized while i was listening but it seems you were quicker. I adore that song especially because they put it in watchmen. :D
ok sorry carry on guys :3
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Re: Come writers and critics who prophesize with your pen!

Post by ojamamask » 18 Jun 2011, 16:08

makkaal wrote:ojamamask:

Don't know whether you wanted criticism or not, but I read your story and took a few notes. Please understand it as a colleague's contribution to your work. My suggestions are based on my own experience and instructions by other authors.
In case you're interested:
Spoiler! :
Please take these points as suggestions, not ripping anything apart, even though it may sound harsh at some points. I really like the idea of Rarity finding someone to love, even though I don't understand why a usual stallion from the MLP universe didn't suffice.

Seeing this is a work in progress, I'm trying not to harp on spelling, grammatical errors or phrasing.
However, I'm seeing three main problems.
a) A golden rule is "Show, don't tell". You tell a LOT and thus take both a lot of imagination and guessing (and therefore excitement) from the reader. Don't be too blunt, you're shooting yourself in the foot. More on that below.
b) There's barely any conflict. Conflict is what drives a scene and what makes stories interesting. But apart from the accident and him overhearing "that conversation" between Rarity and Twilight, it's barely palpable. And pitying him/having a bad conscience shouldn't be strong enough to change her mind about him entirely. If it is, her initial rejection of him apparently wasn't severe enough and thus not worth mentioning.
c) Resulting from a) and b), Rapidash is boring. I hate to be so blunt, but that's my impression of him. As a reader, I really don't understand what she sees in him. Yes, he's had a bad life, yes, he tries to make up for his wrongdoings and yes, he seems sociable. But those are not only everyday traits, they also create no tension or likability by themselves. He doesn't seem to have any quirks or flaws, and that's something characters desperately need to be interesting. And there's nothing to be revealed about him because you tell everything important about him on page 2. Out of 8. Of the first chapter of I don't know how many.

about a)
I stumbled over things like, "On the other hand, Rapidash (the name of the pony with the fiery mane) was quite timid as a colt [...]".
First, unless that sentence within the brackets is just a reminder for yourself, it's very clumsily phrased. You already dropped his name before, so you could avoid this problem by properly introducing his name earlier to her (If you don't want that - see "mystery" below - he'll need to have a placeholder name or description).
A reader doesn't like to be reminded like this, makes him feel stupid. If he can't remember, he'll re-read.
Second, the following description of him is something you might want to have HIM tell HER, not have YOU tell the READER. You have a great opportunity for Rapidash's exposition later on since Rarity and him actually talk about his past - but you're brushing away that dialogue entirely because you presented it as a full paragraph of exposition before.

This too falls into the category of "show, don't tell". Another great example is the accident itself. You could keep the information that her ribs are broken secret until later when she wakes up at the hospital: The reader will ask himself, "Wait, what? Why did she pass out, what's wrong with her?", and her injury suddenly turns from matter-of-fact-it's-happening to severe.
But "show, don't tell" also refers to being sneaky about descriptions. E.g. not "She was very badly injured" but instead, "She writhed in pain until she found a position lifting the strain from her torso. Still, she flinched with every breath."
The thing is that "showing" lets the reader envision what's happening and keeps his attention. He keeps asking questions you can answer later. "Telling", on the other hand, robs him of any imagination and makes things boring. Another example would be "...but Rarity already lost consciousness due to dehydration." You don't need that "due to dehydration" part. The reader knows it's hot and she's been working very hard, and a hit in the side that breaks(!!) two ribs isn't a cakewalk either. He can figure it out.

A counterexample: "She seemed a bit downhearted." Much better! Even though the answer to why is obvious, you don't spell it out. I can imagine what "seeming downhearted" looks like and I can imagine why she is and how he could react. And he fulfills that expectation of mine by offering her his last glass of punch.

But then, after that:
" “Wow, this is amazing,” he said sweetly.
“Yes, it quite is,” she replied. Obviously, not talking about the drink, but instead the feeling she had as they both drank the punch
."
GAAAAH! Whyyy?! *laughs* This was such a romantic scene, I was already feeling fuzzy all over! Yes, it can be obvious, which is why you don't need to emphasize it. I don't want a character analysis, I want romance!
Why not something along the lines of, "...she replied as her heart jumped when his ember eyes met hers"?

about b)
You start off by having a strange pony injure her, so as a reader, I ask myself, "What happened? Who is this pony? Why did he hurt her? (And why can she still speak in such long sentences even though she's at the brink of dehydration and has two broken ribs? But that's a different story.)" While the first and the third question may be answered later on, you establish two sources of conflict: the accident and the mysterious stranger. The accident can wait, but very early you disregard all the mystery around Rapidash you have been trying to build up - something that might honestly intruigue Rarity in spite of her rejection. Even more so - you rush out, explaining the most interesting thing about him: his past.

I think you mentioned twice or three times that Rarity isn't exactly thrilled about the developing feelings towards this stranger, but it seems entirely forgotten in between. You reference the last episode, but you don't explain why one bad experience is such a prolonging issue to her. She doesn't seem neither earnestly disappointed nor lovelorn because of the prince, so why does she have such a problem with this Rapidash?
My point is: If her former experience creates tension, you might want to play it out a bit. I think it would even be okay for her to not like him in the first chapter at all. But that's a matter of taste, I guess. And what is that "something about him" that you mention when they get back from gem hunting? What is it that makes him interesting? Maybe Rarity sees it, but I, as a reader, don't.


about c)
I don't think I need to add anything critical, but I have suggestions.
As I said before, you established him within a waft of mystery. Keep that up. It's alright for him to be at her bed at the hospital (showing his caring side), but don't throw him at her only a few days after, you're making things way too easy. Let her (and with her, the reader) brood a bit about this stranger, let both the accident ("What a jerk!") and his bedside manners ("What a considerate guy!") sink into her thoughts. Let her remember how handsome he was, that flaming mane, that muscular stature; let her remember what pain he caused her. If you want her to develop feelings for him, start slowly and let her be curious about him first. This curiosity is what could drive her inner tension: She wants to know more about him, but still blames him for the accident. So when they finally meet (How did he find out where she was anyway? Can't be coincidence since he intentionally came.), she doesn't know what to do with him. Snapping at him while he tries to be nice could be her way of expression that tension.

One last thing: You might want to take out the other ponies' cameos and text-fillers in this first chapter. If it doesn't serve the exposition of setting, plot or character, throw it out, and none of the cameos serve that purpose. Obviously the party itself is fine or Gummy's cameo to break the romantic moment, as is the trip to Twilight's. But what purpose does meeting Rainbow and Applejack have? Talking to (one of) her friends about these new feelings could be a great way to forward Rarity's emotional development.
Also, an idea: Wouldn't it be way more interesting if some of her friends already knew Rapidash? Rainbow could have met him before, for example. Maybe Rarity notices the race between the two by coincidence. Maybe Rainbow speaks highly of him which Rarity can't understand (since to her, he's a clumsy jerk). Same with Pinky, she tends to notice characters and details about them a lot earlier than most of the others. Her friends already knowing him could also resolve the problem of why he knows where she is when he goes off to apologize to her.

Once again, please don't take anything personally here. I enjoyed the ideas you had in that story. As I said - it's just ideas.
Ha! Me taking this personally? I love this type of stuff. It's the only thing my friends don't help me with but that was great. Thanks for your ideas makk! :D
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Re: Come writers and critics who prophesize with your pen!

Post by makkaal » 18 Jun 2011, 16:42

ojamamask wrote: Ha! Me taking this personally? I love this type of stuff. It's the only thing my friends don't help me with but that was great. Thanks for your ideas makk! :D
I'm happy you have a use for them. :)
I have the same problem - I'd love to get some constructive criticism but my friends either don't know/care about my writing or the exchange goes along the lines of,
"I like it!" - "So, WHAT do you like about it? Something I should focus on?" - "Iunno. That one character." - "Oookay. Something you didn't like?" - "Nah, it's just impressive, Mr. author!" - " -_- "
"Wollt ihr 'n Hut? Nur Mut, 'n Hut tut gut!"

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Lord_Mountbatten
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Re: Come writers and critics who prophesize with your pen!

Post by Lord_Mountbatten » 18 Jun 2011, 19:22

ojamamask wrote:Trolololol. But seriously, it seems that a lot of people really hate fanfics lately..
Lately? I thought they'd always been derided mostly. I dislike them because so very often they do not leave any room for creativity. If writing a fanfic, you have the characters, their personalities, the world, everything given to you on a plate. What do most people do with that? They completely ignore what there was and use the characters very, very badly.

Certainly, they can be pulled off, but it involves the skill and talent not many of them happen to possess. I also do not believe I have ever read any good fan fiction. Although to be fair, I don't look to.

Hm, normally I hate to say anything concerning writing, because so many people on the internet happen to be aspiring authors, but since I do happen to be in charge of the writing team, I ought to show that I can write. What I'm putting in is one of the weirdest things I ever wrote. And yes, it did mean something. See if you can tell.

Discovering the Muse
Spoiler! :
Gerald regarded the floating, amorphous, disturbingly-unctuous object that was now rocketing into the cosmos, with admirable calm. Not that his manner of regarding was particularly calm at all, but considering the circumstances he had found himself in, any degree of impassivity was to be considered quite the feat.

Gerald was right now standing – or was he floating? – in a corridor. Simple enough, you’d say, and rightly so. But now it wasn’t a corridor – it was a room; yet he was also outside, standing next to the largest – now smallest – building in the world. His surrounding environment undulated rhythmically, blending into itself, as primary colours radiated from what appeared to be a discernible epicentre – but just as suddenly from everywhere at once – now from Gerald himself, reversing direction periodically.

Considering this, you would probably agree that even the remotest degree of calm one might exhibit upon finding oneself in such surreal surroundings, then suddenly experiencing (a more suitable word than “witnessing”) the apparition of a floating, amorphous, disturbingly-unctuous object within one’s own body (which had in turn just phased itself out of existence, only to reappear to the left of Gerald’s right) is a degree of calm more than should be expected of the average Gerald.

After a prolonged bout of temporary, yet quite understandable, bemusement and general flailing about, not in the least helped by the fact that his torso was upside-down and he was wearing Iceland, Gerald began to collect himself (physically as well as mentally, for his entire being had decided now was the time to scatter everywhere). He found that if he concentrated enough on nothing in particular, his surroundings would start to stabilise, whilst concentrating on his surroundings, would produce an inverse effect.

Upon discovering this, Gerald focused his thoughts on reality television which, as a proven substitute for nothing in particular, propelled him right back to the corridor he’d originally found himself in. Sheets of chrome thundered along the walls, the floor and the ceiling, adhering to their respective section of the corridor, seemingly without any kind of adhesive to hold them in place; some morphed themselves into doorways, which instantaneously were supplied with doors to way; the prevalent primary colours began spinning around and around, receding steadily, as they were sucked back into oblivion, disappearing with a “fwoop” sound, and the gentle undulation of reality in general became rigid, cold, unfeeling.

The universe gave a mild sigh of relief, to signify a return to normality, and a wish to never leave normality again – and all was silent.

Now that he had a chance to survey his starting location – all the while reminiscing about groups of people, specifically selected as to be as different or as purportedly microcosmic to Johnny Populace as possible, being deposited into certain settings and filmed, with low-brow hilarity ensuing – Gerald could see that the corridor stretched on, past his field of view, into infinity. This did not faze him as much as you would expect.

The corridor, viewed as haphazardly and half-heartedly by Gerald as was possible, could be simply and succinctly described in a mere monosyllable: plain. The sheer, ineffable, infinite plainness of this most plain of corridors was brought into alarming relief by Gerald’s mere presence; his body appeared to radiate colour and warmth to this cold, single-textured malefaction of a passage.

Whilst we have focused on the most and least scintillating things in the corridor, we have ignored the comfortable median; the genial, albeit distancing blend of ennui with excitement, offering the discerning observer a moderate, centrist view of the two extremes, and in the process causing all substanceless thoughts of reality television to slowly slip away from the grasp of Gerald’s conscience.

What we haven’t focused on are the doors situated along the corridor. They occupied only one side and sported a dull, greyish hue. This would normally evoke the utmost boredom in any right-thinking imaginer of reality television – named Gerald – if not for the fact that, out of portholes riveted securely into each door, spilled the most enthralling combination of fantastical colours, embodying that mesh of total excitement and utter boredom that was now causing Gerald, who was perfectly capable of ignoring extremes with extreme thinking, to lose control of the state of inertia he had achieved with his surroundings (since reality television is never a moderate type of nothing).

The universe retracted its mild sigh of relief hastily as a globule of the ceiling simply drifted away, exposing a garish skyline, laughing quietly to itself (if you’re wondering whether it was the globule or the skyline laughing, it was both). Gerald substituted reality television with beauty pageants, hoping to keep this new and fascinating world together for just that little bit longer (though he did not know what drove him to hope so) as he headed towards the nearest door. He could see something blurry and indistinct through its porthole and quickened his pace, even as the floor stretched beneath him, increasing the distance between him and his destination.

The closer Gerald got to the porthole, the more distinct everything seen through it became, and the more Gerald focused his thoughts on what he could see, the more his surrounding environment began to revert back to its previous state. Part of the floor exploded upwards, causing Gerald to leap back, only to find himself right next to the door he had been trying to get to. He quickly pressed himself against the porthole, which he noticed had the letter “R” emblazoned at the bottom, suddenly desperate to see what was beyond it.

There was nothing. At least, there appeared to be nothing.

“Very odd,” thought Gerald. Of course, when an absence of extraordinary occurrences is what someone finds to be odd in a world which had just started to rain the hairs of a middle-aged Norfolk taxi driver named Mortimer, that in itself is very odd. As Gerald was now pondering the complete absence of anything interesting, and not actually pondering things that were in themselves absent of pretty much anything, things started deteriorating rapidly. As it were, this was the catalyst needed to reveal what lay beyond the porthole to Gerald; it was a train. A vast train, smoke billowing fantastically around it, dissipating in a non-existent breeze – it was heading straight for Gerald.

Gerald quickly threw himself out of harm’s way – but nothing happened. His momentary lapse in non-concentration caused the previous gentle undulation of his environment to recommence; he heard a low, rumbling noise, and felt a strong jolt as the corridor was lifted from its foundations and flung through the ether at unprecedented speeds, with unprecedented smoothness.

Gerald saw a flicker of light out of the corner of his eye. Another porthole to his left seemed to beckon, silently, to him. Mindful of his progressively unravelling environment, and yet also mindful of this environment’s nature, Gerald took great pains to travel as slowly away from this next door as possible, quickly reaching it. Gerald’s mindfulness was punished by a further destabilisation of his world. The corridor walls started to peel away as he peered through the porthole, noting the “L” underneath.

At first, he wasn’t entirely sure if he wasn’t merely just looking out into the world he’d seen outside the corridor, as though this porthole was merely a window to it. Things seemed normal enough – well – comparatively. Then something flew past.

A nightmarish assortment of eldritch creatures suddenly covered the landscape; scaly wings branched forth from the backs of monstrous, multi-limbed leviathans of old as they tromped the indiscernible ground far below, or drifted in and out of the mists of the sanguine-tinged skyline, barely distinguishable as they wrought the air with powerful, leathery wings.

They all looked as one at Gerald.

Quickly recoiling from this terrible sight, Gerald fell back to find that the floor beneath him had completely disappeared. He had been so absorbed in the horrors that lay beyond the relative safety of the corridor that he had completely forgotten to focus his thoughts on things of a less tangible nature.

Whilst it was certainly true that Gerald should really have been falling to his ignominious death far below, what was also certainly true was that he currently wasn’t. He took this as a good sign, and felt the “ground”, as it were, beneath him. Sure enough, if he had suffered some sort of dearth of ocular ability he wouldn’t have been able to tell at all that he wasn’t just in a corridor, instead of what was practically a stream of doors careening through the murky void with a Gerald, travelling parallel to these doors, kneeling somewhere in the middle.

There was one last discernible door in the invisible wall of the airborne corridor that Gerald felt compelled to investigate. There was something about the porthole’s light that felt… unique, special.

His.

The world now being far too unstable to take any pretence of obfuscating travel, Gerald found it was only a matter of adjusting to the idea that he really was walking on solid matter, albeit solid matter with identity issues. He reached the door after a brief, wobbly stroll, noticing that, this time, there was no letter emblazoned beneath the porthole, merely a blank, almost expectant plaque.

He peered through the porthole, waiting for the miasma of colours and various indistinct objects beyond it to clear.

He saw himself, mirrored in the porthole. This puzzled him until his unexpected doppelganger pointed downwards, and a handle materialised on the door.

Gripping the handle tremulously, Gerald steeled himself for whatever lay beyond. Feeling sufficiently prepared, he turned the handle, and watched as the door swung slowly open to reveal what lay within. Gerald gasped in wonder and amazement as his senses adjusted to what he could see. He reached a hand out, ready to plunge straight into the unknown when –
– he woke with a start.

Well, that had been weird.

Gerald surveyed the rather depressing walls of his equally austere flat. He was drenched in sweat.

“What a vivid dream,” he wondered aloud, as much to get a bearing on his surroundings as with his voice.

Yes, this was real.

He looked over the side of his bed, and retrieved the pillow that had been flung to the ground during his fitful sleep. He placed it back in its rightful place, slowly pondering what had happened. Suddenly, his face lit up as he recalled the salient details of his unwitting excursion past the veil of consciousness.

He quickly left his bed, and picked his way around the various detritus littered across the room’s floor. He walked past the entranceway to his unused kitchen and unlocked a small door, which was at a right-angle to the door leading out of the flat onto what was possibly the least sterilised landing in the continent. Stepping in briefly, he quickly retrieved something rather large and bulky, placed it gingerly on the floor behind him, and closed the door, locking it resolutely with the flourish of flourishes.

He walked back to his bed, carrying the object slowly lest he drop it, and placed it on a large, dusty-looking desk, replete with the long-discarded tools that had been so comforting to Gerald, and yet had simultaneously cast such a shadow over his recent life.

The object was a typewriter, and by the look of things, it hadn’t been used for a long time.

There was a large stack of paper underneath the desk, from which Gerald withdrew a single sheet. He placed this sheet – first making sure time hadn’t been a detriment to it – in the carriage, after performing a few maintenance checks and replacing the ribbon.

Gerald settled down on a small, slightly uncomfortable stool that had stood loyally at the desk for many a month, waiting patiently for him. He made sure the typewriter was properly aligned and placed his fingers on the keys leisurely, ready to type.

He knew what to do.
Also a poem I wrote criticising the pretentiousness of poetry. See if you can find the hidden message! And yes, it's supposed to read as pretentiously as I think it does.

Forever on Ordinary Levels
Spoiler! :
Daily I do find my pleasures,
In simple acts beyond the measures,
Some purport to be so needed;
Rightly I have begged and pleaded.
Each time concessions are so granted,
Gather I that views are slanted;
Always favour to less needy -
Right in public, private seedy.
Don't I know it? Don't you too?

Travelling nations far and wide,
Haughty nobles flaunt their pride,
Isn't someone on this side?
Should I know it? Should you too?

Pleasures mine are penance theirs, the
Orthodoxy must be spared.
Even those without do care -
Might I know it? Might you too?

Dreary days to them be bright -
Oh why must they be kept from light?
Nought spurs them to righteous fight -
Trust I know it? Trust you too?

Wilful dashing of clear thought;
All that's earned is quite soon bought.
Smoke-filled rooms where dreams are wrought -
Terrible to know it? Lest it be true?
Everyone knows it! And so do you!

Youthful faces soon turned dull,
Ordeals that only death may lull,
Underneath this social cull,
Rich men know it. Do they act too?

Take heed dear reader, for this be true -
In time these words shall speak to you.
Might you perceive as I do too;
Each shall know it. I know you do.
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makkaal
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Re: Come writers and critics who prophesize with your pen!

Post by makkaal » 18 Jun 2011, 19:54

Lord_Mountbatten wrote:[...]If writing a fanfic, you have the characters, their personalities, the world, everything given to you on a plate. What do most people do with that? They completely ignore what there was and use the characters very, very badly.
This is the reason why I never got interested in fanfic. There just wasn't anything new, and generally I'd rather have the creators of the used characters, setting and plots surprise me with new ideas instead of people who, more often than not, have a very poor understanding of the underlying structures that made the material they used so great in the first place.
Lord_Mountbatten wrote:[...]
Hm, normally I hate to say anything concerning writing, because so many people on the internet happen to be aspiring authors, but since I do happen to be in charge of the writing team, I ought to show that I can write. [...]
I'm glad you're joining in. While I wish you weren't as cynical, I have to agree - most of what you can find online is utter crap. Which is why opening this thread was quite an overcoming for me, exposing myself like this. You see, I'm by far not as convinced of my own work as you obviously are of yours. So seeing you guys posting something of your own really gives me a feeling of not being as vulnerable.

I'll have to come back later today to read your first one, I'm way too tired right now. I skimmed through your poem, however, and it made me hit the wall of my English skills. I'll definitely need a lot of time and a good dictionary. *grins sheepishly* It reads very fluently, though. I enjoy the rhythm a lot.
"Wollt ihr 'n Hut? Nur Mut, 'n Hut tut gut!"

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Lord_Mountbatten
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Re: Come writers and critics who prophesize with your pen!

Post by Lord_Mountbatten » 18 Jun 2011, 20:24

makkaal wrote: I'm glad you're joining in. While I wish you weren't as cynical, I have to agree - most of what you can find online is utter crap.
I could say I'm not cynical, but perhaps it would be more realistic for me to leave that and say it is cynicism tempered by a wish to avoid Escapist staples. And yes, I remember looking through a site dedicated to writing. I expected work far better than anything I could dream of. Almost all of it was awful.

I felt good about myself that day.
Which is why opening this thread was quite an overcoming for me, exposing myself like this. You see, I'm by far not as convinced of my own work as you obviously are of yours.
Heh, I hope I didn't come off as a self-assured, arrogant git. I do that a lot when I don't mean to. Well, okay, I do that a lot.

And I'm constantly waiting for the day someone tells me "it sucks".
I'll have to come back later today to read your first one, I'm way too tired right now. I skimmed through your poem, however, and it made me hit the wall of my English skills. I'll definitely need a lot of time and a good dictionary. *grins sheepishly* It reads very fluently, though. I enjoy the rhythm a lot.
No worries - but just remember when you figure out what the poem's message is you'll probably go, "What a git". Don't even know what prompted me to write it.

The story though, to me, is far more interesting in terms of what it's about.
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makkaal
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Re: Come writers and critics who prophesize with your pen!

Post by makkaal » 19 Jun 2011, 05:55

Lord_Mountbatten wrote: Heh, I hope I didn't come off as a self-assured, arrogant git. I do that a lot when I don't mean to. Well, okay, I do that a lot.
To me you didn't. I found you came off as simply confident and eager to prove yourself.
Lord_Mountbatten wrote: And I'm constantly waiting for the day someone tells me "it sucks".
Same here. I know I'm not bad at it, but I would actually be excited if someone told me so. Well, as long as it was paired with specifics, possibly suggestions. Nobody I know is willing (or capable) of giving me that satisfaction. Learning from your mistakes is the only way to improve yourself, but that premise turns pointless if you don't know you made them.
Lord_Mountbatten wrote:No worries - but just remember when you figure out what the poem's message is you'll probably go, "What a git". Don't even know what prompted me to write it.
There's a thing called satire, and it doesn't need to be funny. I learned that not everything an author creates necessarily reflects his personal opinion or character.
I once wrote a romantic poem on the pointlessness of writing romantic poems (to express affection).
"Wollt ihr 'n Hut? Nur Mut, 'n Hut tut gut!"

Minazen

Re: Come writers and critics who prophesize with your pen!

Post by Minazen » 20 Jun 2011, 20:09

I've never actually written publicly so this would be my first time reaching out with what's on my mind as I write in poetry. If no one has constructive criticism or opinion relevant to this do not post...

Thank you.

The following was written in regards to something I've been dwelling in thought about. Nothing special but it's good to share things like this to the world to release some of that 'lonely' feeling one sometimes gets.
Spoiler! :
"Have you ever felt
You’re trapped within a shell
Feeling like something that you’re not
Cornered in a dark damp empty spot.
Moving with a rhythm
Sung by violet bells
Hoping to be enlightened by the
Pain inside that dwells
It’s hard pretending you’re not there
When you look in the mirror as you wake up
Your eyes meet mine in an awkward glare
Knowing that what you see you cannot bear.
But this feeling of despair you can disregard
It is what is in my heart that separates you and me apart."

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Zinrius
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Re: Come writers and critics who prophesize with your pen!

Post by Zinrius » 26 Jun 2011, 19:52

Immortality a curse

Writing a letter from my hollow heart
Filing my thoughts on paper of the love that ripped me apart
My heart gets colder with every word I write
When think about her every night

Immortality is such a lovely gift
But there are many temptations in the world that for your sakes you should resist
One of them is love but what’s the point of love if love won’t last forever
And forever when you’re immortal means never

Against my best judgment I fell in love with her
Thinking that we might be able to make it work
But as the years went by, the older he grew
I realized our time was getting short and it hurt

I was not meant to be loved, not by a mere human
For I was cursed to slowly watch her die doing my best
To keep her as long as I could by my side
It was that dreadful morning, when I learned my lesson
As time caught up with us, she was no longer alive

I’ll never forget her, that flower who taught me love
I drive myself insane knowing I won’t hear her again
The whispers in my ear or the hand which stroke my face
What’s the point of living with this eternal pain?

It goes to show for most, whose lives are meant to love but end
That life is not worth living if you live forever without loving them
So let’s all be grateful that you’re not cursed like me
Lets all count our blessings for soon all of you unlike me shall be free
For once you’re dead, forever eternal with your loved ones you’ll be
You cannot say it doesn't exist if you haven't seen it. ~Zinrius

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