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Kurt Vonnegut’s Rules for Short Stories
1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted.

2. Give the reader at least one character he or she can root for.

3. Every character should want something, even if it is only a glass of water.

4. Every sentence must do one of two things–reveal character or advance the action.

5. Start as close to the end as possible.

6. Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them–in order that the reader may see what they are made of.

7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.

8. Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.

Kurt Vonnegut (via chrisarrant)
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What Tolkien REALLY Said

oliverdeppink:

halduncan:

"I have claimed that Escape is one of the main functions of fairy-stories, and since I do not disapprove of them, it is plain that I do not accept the tone of scorn or pity with which “Escape” is now so often used: a tone for which the uses of the word outside literary criticism give no warrant at all. In what the misusers are fond of calling Real Life, Escape is evidently as a rule very practical, and may even be heroic. In real life it is difficult to blame it, unless it fails; in criticism it would seem to be the worse the better it succeeds. Evidently we are faced by a misuse of words, and also by a confusion of thought. Why should a man be scorned if, finding himself in prison, he tries to get out and go home? Or if, when he cannot do so, he thinks and talks about other topics than jailers and prison-walls? The world outside has not become less real because the prisoner cannot see it. In using escape in this way the critics have chosen the wrong word, and, what is more, they are confusing, not always by sincere error, the Escape of the Prisoner with the Flight of the Deserter.

"Just so a Party-spokesman might have labelled departure from the misery of the Führer’s or any other Reich and even criticism of it as treachery. In the same way these critics, to make confusion worse, and so to bring into contempt their opponents, stick their label of scorn not only on to Desertion, but on to real Escape, and what are often its companions, Disgust, Anger, Condemnation, and Revolt. Not only do they confound the escape of the prisoner with the flight of the deserter; but they would seem to prefer the acquiescence of the “quisling” to the resistance of the patriot. To such thinking you have only to say “the land you loved is doomed” to excuse any treachery, indeed to glorify it."

[Escape in: On Fairy-Stories, J.R.R. Tolkien.]

via: tolkienist.com

Is Tolkien saying here that the world being a prison, only a mean old meanie of a jailor would scorn escape, or is he saying rather that the metaphor is itself invalid, a piece of bad faith rhetoric designed to slander the fantastic by representing it as desertion, as craven cowardly abrogation of any and all responsibility to resist? I’m inclined to think that it’s the latter.

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Well explicated! Tolkien, fantasy, and escape.

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gothiccharmschool:

brynja-storm:

flightoffuturedayss:

brynja-storm:

But wait…bartender witches. Down on your luck? Here, have a shot of enchanted Goldschlager.
Need a fresh start? Have a lemon and rosemary margarita. Need a good harvest? Have a wheat ale.
Bartender witches.

someone please write this, lord!

That’s the plan, actually.

I love everything about this, and it might be the only good reason to own a bottle of Goldschlager.

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