@4ebb1885@0683504d the large investment path isn’t as terrifying as having to sidestep problems. I want to focus on the fact that it introduces problems that require deep expertise to side-step. That’s daunting.
Folks get incredible productivity gains from the pomodoro method and don’t have to stidestep subtle, difficult-to-even-identify problems.
@a3976b27@2a9a6bfb It feels like a kind of incompetence to me. Sure they’re words, no denying that. But most seem like absurdly wrong homonyms. If these are words they’ve only ever heard — and never seen in print — I’m not sure I like the idea of buying their writing.
@7ccb675f I wish.
I try to chisel the character’s key festures in stone, only to see them collapse like ozymandius into a signpost. The key beats are assembled into a scaffolding missing numerous planks and supports. As I struggle to fill in details, I find myself regretting everything, including the initial log line. But. There’s a story there, waiting for me to assemble it.
@d73175df very much the same. How far — exactly — is it from Santa Fe to Beaver Dam, Nevada, on the Old Spanish Trail? It was needed for an off-hand response. But. I’m with you: it has to be right.
#WordWeavers #western #horror
9/8 What do you pay attention to when describing your characters' surroundings?
Light. Sound. Plants and Animals. While these aren’t universally true, they seem important. Sometimes it’s architecture, people, or geography.
In a few cases, I go so far as to put a detailed map in my notes to assure consistency and clarity.
For horror, it seems like darkness is an active agency. Lurking. Grabbing. Touching. The chaos of the unknown.
@4ebb1885@0683504d having to learn how to sidestep problems doesn’t sound like much of an endorsement. Indeed it sounds very much like it adds new problems. It seems remarkably unhelpful to add problems that require deep expertise to sidestep.
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