[ SECRET POST #3528 ]

[case]

⌈ Secret Post #3528 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

01.



__________________________________________________



02.


__________________________________________________



03.


__________________________________________________



04.


__________________________________________________



05.


__________________________________________________



06.


__________________________________________________



07.

















Notes:

Secrets Left to Post: 01 pages, 15 secrets from Secret Submission Post #504.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 1 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[(Anonymous)]

Nope, I never said any of those things. That's an argument you manufactured and are trying to assign to me. Pretty weird you're trying so hard to do that, BTW. I'll stand by what I actually did say, which is:

If someone wants to be a published author, they need to write. Pondering hypothetical situations of what may or may not happen after they're a published author is nowhere near as useful toward reaching their goal as writing is.

You

[(Anonymous)]

And I'm saying it's incredibly presumptuous of you to assume OP ISN'T spending a great deal of time writing. You know fuck all about the circumstances surrounding that question. Beyond that, the question can easily be applied to the craft of writing. Because at it's heart, what it really is, is "how can I encourage readers to see the character the way I see them?" It's couched in getting published and getting film and the answer doesn't go into craft, but it's not an irrelevant thing to wonder/ask.

And yes, you may call it semantics but worrying about somehing has an entirely different connotation than wondering about something.

[(Anonymous)]

Well, no. You keep trying and trying to change both the substance of my argument, and now you're trying to change what the OP in Gaiman's ask actually said. I understand why you're doing it - it's because if you don't, you'll have far less to argue about. The fact that you have to shift your own goalposts with every new comment is very revealing. I will again restate what I said:

If someone wants to be a published author, they need to write. Pondering hypothetical situations of what may or may not happen after they're a published author is nowhere near as useful toward reaching their goal as writing is.

As for the question in Gaiman's ask, no, it's not about how to "encourage readers to see the character the way I see them", it's specifically about representation in a film. OP is asking how to deal with the people who make movies, not the general non-movie executive audience, and the reason why you know this is because audiences aren't the ones who "publish and option" books. Film companies do that. Gaiman addresses the business side specifically when he says not to sell stories to people who'll whitewash and to get it in the contract. Authors don't sign contracts with their readers, they sign them with agents, with publishing companies, and film companies who might option their book for a film. Gaiman knows the person isn't asking about the craft, they're asking about the business side.

Is it irrelevant? No. I didn't say it was - that was you, trying to put words into my mouth again. Should addressing purely hypothetical situations that are far in the future if they even happen at all be a priority over actually writing a novel? I say no. You're free to disagree.

Again:

If someone wants to be a published author, they need to write. Pondering hypothetical situations of what may or may not happen after they're a published author is nowhere near as useful toward reaching their goal as writing is.

This is not at all the controversial idea you're trying to make it out to be.