Hey, Fuzzy. First off, I hope you get better, cuz being sick is no fun. Second, I got a question about Fillydelphia itself. Namely, how much of its portrayal in your story is inspired by the actual Philadelphia? I ask because I know next to nothing about that city (there's a cracked bell signifying Taco Bell's founding of the United States there... I think) so I'd probably miss any parts that reference the real deal.
Little to none. I’ve never been there myself and most of my knowledge about it comes from the legend of Cheese Steaks and Rocky movies.
If anything, despite the name, Fillydelphia is more of a Pittsburgh element due to The Pitt. The Ministry of Arcane Science in MN7 is sort of a rework of the Cathedral of Learning to a more MLP style.
Still sick, progress very slow
Just an update, I’ve spent the last few days just sort of wrapped up and shivering from a very bad cold. Not been able to write at all.
Chapter 24 hasn’t started writing yet, as I was doing a lot of examination on just how to structure it and what to concentrate on to keep it linked in with the story. As I’ve said previously, it’s a bit of a curveball to finalise some elements of the greater plotline.
Hopefully I can get back into writing health soon. Impossible when I’m coughing, sneezing, hiccuping and blowing my (red raw) nose every few minutes.
Might see if I can put something together for the Askblog though. Although that is, of course, as much dependant on Mech’s schedule as my own.
I've got a question about chapter three in MN7: did you base the thresher machine off of a real world machine? I ask because (and I mean no offense by this) I seemed to have little trouble picturing its appearance. Thanks in advance for your answer!
It was based on Victorian era Wool Mills, specifically this sort of place. Children were hired to do precisely what the slaves were, as cheap labour to collect up scraps and to keep the tension running away from the threshing arms of the mule spinner. I’ve visited one of these places myself once and see the inactive machines in Old Ayrshire. It stuck with me.
As such, that entire scene is 100% based in reality as to how it all worked. Kids really had mutilated limbs and even death back in those days working in such horrid conditions.
If you look at this image, you can see the rails they run back and forth on. Wool would have been strung above it, like Murky goes beneath. That entire device would rattle forward and back rather frighteningly quickly with moving parts whirling.
The worst part is there’s still places out there today continue this practice.
Hey I have a question. how do you make a character that makes you feel somthing when somthing bad happens to said character. like steelhooves *one tear dropps* when he died, i think all of our hearts stopped. but another example is when kage (gawd's son) died, my heart stopped. can you tell me why this happens with two charactes of varying development and explain how i can get a similar result? note, im trying to finish FoE and I havent gotten a chance to read MN7 but I realy want to!
The simple answer is to ensure that the readerbase has a wish to see them succeed and survive to the end. Making them relatable is one way, making the reader sympathetic is another. However the whole thing goes deeper than that and enters into the realm of character arcs.
Generally, most “big” character deaths fit into their arc quite neatly. Note that I must stress the word generally because this isn’t always true. Sometimes an arc can be interrupted to provide an impact or a controlled level of “unfairness” to create a bitter resentment of what happened. (Not always death!)
I say controlled, because if you just make readers start hating you for removing a loved character simply for “shock value” and ruining their potential as a character than you’re only going to harm your own story. It’s all a big balancing act when to have negative events to a character, especially ones people are invested in.
You haven’t read MN7, as you said, so I won’t be specific. But the loss of a character that feels like they had more to do (I’m sure readers know what I mean!) can also be used in a positive way for another character. To transfer that love to a related character that people then want to see make amends for it or to put that other character in a position where they now realise that they have fewer options without the crutch of another there to help them. That drives a greater story, by interrupting their own as a status quo changer on a larger level.
In the end, it all comes back to character arcs, not always nessesarily the character’s own one. The best “advice” (I dislike that word, I’m no professional) I can give is to really think how it affects everything around them and whether it works for both them or if it doesn’t, what it would do for your story as a whole. It’s always about the long term. Nothing happens that isn’t related to the main core of a story. Anything that does should probably be stripped out, regardless if it’s “cool” or “emotional” or not.
After reading one of Kkat's blogs, (the one where she said she would not edit Fallout: Equestria), I started wondering, "Where does Fuzzy stand on editing stories that are already published?" I guess you already showed you are willing to edit during the radioactive vs. irradiated post, but what's the most you would change? And more broadly, what's your personal opinion on this subject?
Generally I take a very loose stance on it. As everyone knows, I made a very hasty and large change to Chapter 16 for reasons after I released it and immediately knew I had made a massive error of judgement. But thats a different circumstance really. I’m presuming you’re meaning more “looking back.”
Typos and stuff, I will always correct in time. I see no reason not to make small little “quality of life” alterations to correct me if I’ve done, say:
"I prodded the door open with me hoof."
Larger alterations I tend to not go for at this stage. Mostly because, at least until the first wave of readers are done reaching the end on release, I don’t want to force them to go back and read again if I alter something important. Chapters 1, 2 and 4 have pacing issues I have realised, but I don’t want to make sweeping changes as we’re still in the “first read through.”
In the future…probably not. Not because I’m against it, but the nature of how these stories are released kind of prevents it. It’s all very subjective, I feel. There’s no right or wrong ruleset that can be applied to everything. Some things might be worth changing, others might cause problems. You have to judge these things on a case by case basis and above all ensure that you are always presenting an equal experience to readers both new, old and yet to occur.
Commission for Dungeonplyr
Higher ress on DA, Tumblr is silly: Here
I literally just can’t.
Then I see his journal that he was drawing exactly this and I hnng all over again. That is absolutely…sofreakingadorable!
Pantzar is awesome, that is all.
So, Fuzzy, Kkat posted a blog on fimfic about something called WHAM! Episodes (I'd post a link, but tumblr won't let me), which TVtropes defines as, "The point in a series where the story takes a sudden dramatic turn. Things will never be quite the same again." Basically, a mid-story plot twist that gets the reader incredibly interested/invested. So, since this is something that I haven't been quite able to successfully create, what advice do you have on creating a so called WHAM! Episode?
In a short term, something that changes the status quo. Babylon 5 was the master of doing this in an episode, see ‘The Coming of Shadows’ episode for example that is often regarded as the best example in the entire show. I’d highly recommend watching at least up to there (Hell, it’s B5, watch it all!) to get a great show of it that can be very educational.
But in general, something that shakes up the pattern or the current environment. A setting that is normally at peace is suddenly at war. Characters being forced away from the comfortable normal setting they’re used to. The antagonist succeeding at something. Those sorts of things. The best way to put it is an episode that doesn’t restore how everything was before. That something has changed.
I see too much “wham episode = multiple deaths” or something sometimes. A good wham episode will set a reader/viewer wondering and thinking with a sense of trepidition. Not simply take something away from them and then go back to the same routine anyway.
I feel like i should mention the difference between radioactive and irradiated because you seem to have confused them in different points of the narrative. Irradiation is when powerful protons break chemical bonds in an object. This can cause a slew of problems in said object but the object can not directly irradiate anything else. Radioactive material is the stuff that shoots out all these powerful protons. So things like Shackles collar would be classified as radioactive, not irradiated.
Now that is some handy feedback! I’ll bear it in mind as I go forth, might go back and check all the past chapters if I find the time while I’m sick and can’t properly write.
Thanks for the clarification, almost feel a little embarrassed, I usually do quite specific research to ensure. I guess I just assumed the term for some reason. Good work, thank you!
Been sick, still working
Just a wee update. I’ve been rather sickly over the past few days. So Chapter 24’s progress has been very slow.
Of course, an act just ended, so there’s not as much impetus but we’ll be back on track soon. The whole “every two weeks” thing is basically an impossibility, but I’m working to try and keep the time down as much as possible. Right now, quality matters above all.