In Honor Of The News About Season 2 And The Fact That I'm Finally Reading The Book I Made Ineffable Husbands

My big project!

Juste a demon I've made 4 years ago

So in case anyone wonder what I got up to in December and January, BEHOLD.

As a wee birthday surprise for @ashfae​, I built Aziraphale’s bookshop as a book nook :) It also lights up:

It is entirely possible I got carried away, but that’s half the fun :D I’ll pop a few of the progress pictures and what i used below, so I don’t entirely flood your timelines, so you can see the sticky mess I made :)

Afficher davantage

My view on God mode Aziraphale in “Offerings” a strange AU with mer-people

You can find it here : https://archiveofourown.org/works/24356293/chapters/58734520 Special note for the beautiful artworks as a cover of each chapter (it’s what make me want to draw this^^) PLEASE READ THE TAGS before reading

Roman warrior Aziraphale

My very own kinda-art-nouveau Good Omens poster ^_^

what's something (spoiler-free) that you're really excited for people to see in Good Omens season two?

The Whickber Street Traders and Shopkeepers Association monthly meeting.

One of the cuttest AU I ever read with Crowley as a teacher :)

Just one word: FINALLY

Can’t stop thinking about them and this moment. My heart still singing, my hands shaking, my head empty. Soft soft bois, as I am. And Merry Christmas to everyone!

Chapter 7 of It never hurts to keep looking for sunshine.

How do you find a balance between “show, don’t tell” and “readers might not catch/understand this subtle concept or showing it would be too convoluted or more open to interpretation than it needs to be”? It doesn’t help that everyone encourages more showing even if it swallowing little details that are supposed to stand out. Basically, I feel like I overthink my showing as being too tell-y even when it already has several layers of meaning and is already too dense for average readers.

“Show don’t tell” resources & advice...

I think people often mistake the advice of “show don’t tell” as being in the interest of making one’s writing more literary; more “high art” than candid prose typically is. The advice is intended to help one recognize when their prose is becoming dull or unengaging to the reader. Showing is supposed to promote an organically flowing reading experience, rather than turn the writing into a flowery, pretentious, and unintelligible mess. Finding a satisfying way to deliver information in the text that isn’t “I felt” or “I thought” is important. It should never dilute the information. Clarity comes first, and then one can configure the sentence to add as much richness to the reader’s ability to immerse themselves as possible. 

If the desire is to show that the character is sad, writing that “she looked down at the floor and wrapped her arms around her own waist” is not going to be any less indicative of that information than “she felt sad”. That is the point of this advice. It is not a way for one to convert information into a code that the reader must analyze in order to comprehend the basic idea of what the scenes are about. This isn’t 1597, and nobody is asking anyone to be Shakespeare. 

Density of a piece of writing does not give it inherent worth. Ease of comprehension doesn’t always have to be the number one priority, but it should be a considerable factor when one accounts for their audience and their subject matter. If one is writing a young adult fantasy trilogy, the density of the writing should be adherent to the demographic’s ability to comprehend certain writing styles. “Show, don’t tell” applies to all writing, but different writers interpret it differently, often based on who they’re writing for. If the concept you’re trying to convey to the reader in a subtle manner is not coming across without blurting it out in the text, perhaps the problem isn’t the way you’re describing it, but the concept is weak in its current state. 

Easily misinterpreted meanings or concepts are often not the victim of descriptive style, but being underdeveloped sub textually. No important concept can be described once within a dense text and expected to translate as intended into the reader’s understanding. If it’s important enough to the bones of your story and meaning, it shouldn’t rely on the manner of description to shine through. Sometimes the density of a text is a product of too much intentional symbolism or motif. It’s okay to allow some things to be meaningful purely in interpretation. It’s okay to acknowledge that you allowed something that obviously implies meaning to be prescribed its implications by the readers. 

Here are some of my other resources on the topic that you may find helpful:

Resources For Describing Characters

Resources For Describing Emotion

Conveying Emotions

All About Colors

A Writer’s Thesaurus

Showing VS Telling in First Person POV

Using Vocabulary

Balancing Detail & Development

+ When To Use “Felt”

Showing Vs Telling

How To Better Your Vocabulary & Description

Describing emotion through action

Improving Flow In Writing

How To “Show Don’t Tell” More

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Masterlist | WIP Blog

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Rare Omens - Prompt Event (Feb 2021)

Many of my GO friends ship A/C (…I don’t think any of my fan friends don’t….?) but also many of us ship two characters (or more) who aren’t exactly the go-to with fan creation. This is for them!

Running the month of February 2021. Fill as many or as few of these prompts as you like. Fan fic, art, cosplay, whatever makes you happy! You’re welcome to create sweet fluff or friendship dynamic for any pairing!

**Everyone needs to be adults if there’s smut involved.**

Don’t like a pair? Show a friendship rather than relationship OR JUST SKIP IT. There’s no need to dump on someone’s enjoyment. DO NOT say “I don’t like this pair” or “I don’t usually like this pair BUT…” Trust us, we know. It’s probably rare for a reason. Anyone who starts trouble, don’t hesitate to block or mute them.

Tag on twitter #RareOmens.

Ao3 Collection: Rare_Omens

Details also at the collection profile here: https://archiveofourown.org/collections/Rare_Omens/profile