vaznetti: Arya and Nymeria, from A Game of Thrones (when the wolf comes home)
a. I stopped reading The Power for a little, and started to read Neil Stephenson's SevenEves, which proceeded to keep me up at night because it was so completely depressing and horrible, but in the compelling Neil Stephenson way. I read it very quickly because I just skimmed through all the stuff about physics and spaceflight, and have finally reached part 3; A suggested that I would really like the last 200 pages or so of the book, so I am somewhat hopeful. I am also perpetually interested in Stephenson's ongoing attempt to write female characters who are more than their cup sizes (see earlier comments on Cryptonomicon, Anathem, and Reamde; I bounced off the Baroque cycle). I guess I find it interesting because on the one hand I admire Stephenson for trying, and think he should be given credit for doing so. He doesn't have to: there's a perfectly good market for books in which the female characters are basically walking brassieres. But also because I think his failures are interesting. As A put it here, he is trying really hard here to prove that he can write lots of different female characters, and mostly succeeds until he suddenly reduces them all to archetypes. And I find the limits of what he thinks possible interesting, too -- as with pure theory in Anathem, for example -- because here is a guy who is actually very imaginative, but htere are still really clear limits on what he is capable of imagining. And there are things here about women and power that I don't like, but again, I find it interesting that Stephenson can't escape from certain ideas about women and femininity.

It will be good to get back to The Power after this, because of the ways that book does understand gender as a social construction, and power as ungendered.

b. I am 2000 words into my crossovering story and... the main characters have met, at least? I can see that this will be a story where I have to get that very rough first draft written before I can go back and add in the emotional stuff that will make the whole thing work. I hope!

c. I have thoughts about the last season of Game of Thrones, mostly to do with pacing and plot logic. Here is one thing about the Winterfell plotline: under the cut )

4. On a completely different note, my Florida cousins, whose usual hurricane preparedness involves vodka and junk food, are clearly a little worried about this one. So I am too, on their behalf.
vaznetti: (god will dance for john)
what the FUCK was that? )

I have a feeling that I need to request this at Yuletide, not in the sense that I need a fix-it AU, but I need to make sense of what actually happened, and perhaps deal with all the hanging threads (like Cat Hartdegan, or how no one ever found out that Victor was reanimating dead people, or how Lily and Ethan never met again)
vaznetti: (fannish goggles)
I see that Mary Sues are coming around for discussion again (but hey! meta about what we write, not how we talk about it!), and since this is a subject about which I actually care I will quote here what I wrote in (holy crap!) 2003:

Whatever the technical definition of a Mary Sue, I feel that its use as a bludgeon to discourage the insertion of original characters into fanfic represents a real problem. I would like to see the question "Is this a Mary Sue?" replaced by a more useful question. Perhaps, "Is this a well-rounded, interesting character whose presence in the story contributes to the storyline and the canon universe?"

I don't deny that there are many crappy stories with OCs in them out there. But there are also a lot of crappy slash and het stories out there using only canon characters. There is in fact a lot of crap out there. Deal with it.

Good stories with OCs are not easy, precisely because the author can't take it for granted that the audience cares about the OCs. It's the author's job to make that happen, and the only way to learn to do that is to practice. The use of "Mary Sue" as a slap against all kinds of OCs discourages that process. I think that's a shame. Mileage may vary.


I was going to say something about my re-entry into fandom and writing OFCs, but I can't summon any coherence.

While finding this bit of commentary I happened across that thing I wrote about John Winchester and Romanness, and it occurred to me that the John=Roman and Sam&Dean=Greek equations might explain a good deal about the shift in the treatment of female characters on the show between seasons 1-2 and the later ones (at least if one thinks that in S2 Sam and Dean are still dealing with John's story). As I said there (and still maintain), patriarchy in Roman culture is at least in part about controlling children, while patriarchy in Greek culture is all about controlling women.
vaznetti: (batphone)
Look at the tags. Consider what you know about me. Move on if all you want is squee and flail.

comments on supernatural season 3, spoilers to the end of it )
vaznetti: (fannish goggles)
Dear Supernatural Fandom,

It is true that you are very large, and that you contain many things which do not interest me, or which I think are icky and out of character. I know that you won't change, and most of the time, that's OK with me. I have my part of the beautiful pie, and you have yours. But please keep your hysterical, vagina-fearing ways far, far away from me. June is way too early to worry about spoilers for next year, and you are making it really hard for me to claim to people outside the fandom that you are not a bunch of misogynist losers.

Too bitter and old to put up with this crap,

Vanzetti

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