Getting Started

scripttorture:

Torture is a very difficult topic to write and with so much
misinformation presented as fact it can be extremely difficult to research.
It’s difficult to know where to start.

This blog was very much suppose to serve as that starting
point but now, several hundred thousand words in, the blog itself is a bit of a
labyrinth.

So this is a quick summary covering some of the most common
points that affect fiction and writing.

Common Misconceptions
about Torture

If you’ve followed the blog for any length of time you’ll
probably have heard me talk about the prevalence of torture apologia in
fiction. Here are some of the common inaccurate stereotypes about torture that
fiction continues to use.

These are the ‘arguments’ fiction often uses to support
torture, arguments that have no basis in
reality.

  • Showing
        torture as an effective interrogation technique
    . That’s really not
        how the human brain works.
  • Showing
        torture making victims passive
    .
  • Showing torture making victims obedient. The evidence we have
        suggests torture makes victims much more strongly opposed to their
        torturers and any group the torturer represents than they were previously.
        Victims may become compliant in the short term but this isn’t the same as
        long term obedience.
  • Showing torture ‘forcing’ victims to change their strongly held
        beliefs
    . Brainwashing does
        not work. There is no way to force
        someone to change their beliefs.
  • Showing torturers as superhumanly good at detecting when victims
        are lying
    . They are as terrible at it as everyone else.
  • Showing torturers as skilled. Torture really doesn’t require
        any degree of skill, intelligence or even training.
  • Showing
        certain torture techniques as fundamentally harmless
    .
    Fiction
        tends to show solitary confinement, sensory deprivation and electrical
        based tortures as much less harmful (or indeed lethal) than they actually
        are.
  • Showing torture as ‘scientific’. It really isn’t and the idea
        that torture can be ‘made better’ pervades arguments justifying abuse.
  • Showing torture as something only the ‘bad guys’ do. This
        often means twisting the definition of torture so that the ‘good guys’ can
        continue to beat people to a pulp without being called into question for
        it.

There are also a lot of inaccurate tropes about torture
victims, giving at best misleading and at worst insulting portrayals of
survivors. These include:

What counts?

The legal definition isn’t really what most people think. It
depends less on the practice or technique used to inflict pain and much more on
who is doing it.

For an act to be ‘torture’ in the legal sense it must be
carried out by a government official, public servant or member of an armed group occupying territory. A police officer
beating someone while on duty is a torturer. The same officer beating their
spouse is an abuser.

Beyond that torture is: ‘any act by which severe pain or
suffering, whether physical or mental, is intentionally inflicted [] on a
person for such purposes as obtaining from him or a third person information or
confession, punishing him for an act he has committed, or intimidating him or
other persons.’
(UN Declaration
against Torture)

This means that lot of things that get dismissed as ‘not
really’ torture definitely count.
Practices like sleep deprivation (for example constant noise and light),
starvation, dehydration, stress positions, beatings, forced exercise, virginity
tests and prolonged solitary confinement- all count.

Be aware of what you’re writing.

Torture in Narratives

So where does that leave us as writers and what kind of role
can torture play in a piece of fiction?

Barring tropes that are used to encourage real life torture
I don’t think there are ‘bad’ plots
so much as badly executed plots.

Well written torture isn’t
a narrative shortcut. If you’re looking for something to keep a character out
of the story for a short time with no long term effects or an easy way to add
drama then a torture plot probably isn’t
a good fit.

But it can add greater
depth and emotional impact to a story.

Pratchett’s Small Gods
and Rushdie’s
Midnight’s Children
both use
torture to tremendous effect: adding depth and urgency to their stories along
with searing critiques of the societal structures that allow abuse to flourish.

The Age of Shadows
and Pan’s Labyrinth both use torture
to highlight particularly bloody historical periods, showing the pressures
normal people were put under to allow abuse and how they often rebelled.

If you’re considering using torture in your story think
about what it’s actually adding to the narrative. Is it essential? Does it have
a long term impact on the characters and situation, even if it isn’t the focus
of the story? What does it reveal about the characters and the plot?

These are stories
worth telling, whatever the genre. If you need help writing them I’m here. 🙂

Disclaimer

hushthenoise:

Enemies to “ugh I can’t believe I’m saving your life” to “ugh we have to work together or the world ends but it’s not like I like you or anything” to “oh we actually connect pretty well but that doesn’t mean anything” to “I would die for you but don’t read too much into it” to “I’ll kill anyone who lays a finger on you” to Lovers.

List of Vocal Sounds for Smut

mevima:

I present to you a – probably quite incomplete, I’m sure I’m missing a lot of speech sounds – reference list and a bit of a guideline for the different ways one can describe the sounds your characters make whilst writing smut. I’ll definitely be referring to it, because I sometimes get stuck on exactly how to describe a particular noise. (aka, “he can’t groan again, he just groaned last paragraph”)

Sounds (noun, both independently and describing speech): breath/breathe, gasp, moan, groan, pant, whimper, whine, shout, yelp, hiss, grunt, cry, scream, shriek, sob, growl, curse, sound, sigh, hum, noise, squeak, snarl, howl, roar, mewl, wail, choke, keen, purr

Sounds (noun, describing speech): rasp, husk, drawl, plea, murmur, whisper, beg

Descriptors (adjective): loud, hushed, quiet, low, high, high-pitched, little, tiny, soft, deep, unrestrained, restrained, strained, breathy, rough, sudden, short, drawn-out, sharp, harsh, hard, thick, smooth, thin, heavy, impassioned, insistent, hungry, passionate, repeated, filthy, debauched, sweet, slow, deliberate, guttural, languid, surprised, husky, distracted, happy, pleased, satisfied, wordless, cut-off, bitten-off, contented, hoarse, extended, long, depraved, aching, choked, strangled, broken, helpless, shuddering, shaky, trembling, urgent, needy, desperate, wanton, shattered, pained, eager

Combine a descriptor and a sound for best effect – for example, “needy moan,” “pleased hum,” or “sudden scream.” You can even use two: “low, rough grunt,” “sweet little cry,” “desperate, filthy noise,” as long as you don’t repeat a word that means the same thing, unless you really want to emphasize it. Avoiding repetition is pretty key here. You don’t usually want to say “hushed, quiet gasp” except on rare occasions when it’s very important how soft the sound was.

Use your own common sense, as well; some sounds and descriptors don’t generally work well together. “Deliberate shriek” probably wouldn’t work well, and neither would “languid grunt,” but again, this is all very situational – play around! Have fun.

Feel free to add to my lists, use for your reference or pass them around. It would be fun to see a randomized generator made, too, I’m just too lazy to do it myself. 😉

brella:

important ship tropes:

  • fake dating
  • SECRET dating
  • being locked in a room or trapped in a small space
  • huDDLING FOR WARMTH
  • BEING ON THE BRINK OF ADMITTING THEIR FEELINGS FOR EACH OTHER BUT THEN GETTING INTERRUPTED
  • finishing each other’s sentences, KNOWING WHAT THE OTHER IS ABOUT TO SAY
  • tou chi NG!!!! FOr eheA DS!!!!!!11!!
  • wearing each other’s clothes
  • doing that thing where they accidentally get real close and, like, stare meaningfully at each other for a few seconds too long
  • channeling the inner romcom and having an epiphany about how much they care about each other and RACING TO CONFESS THEIR LOVE
  • fucking. Now or Never Kiss
  • HEIGHT DIFFERENCES
  • defending each other to scathing tertiary or otherwise minor characters but ONLY WHEN THE OTHER ISN’T AROUND
  • reincarnation or time loop or OOOOH TIME TRAVEL SCENARIOS
  • dramatically saving each other from certain death or barely surviving something that almost makes the other break down and just smirking wearily and mumbling flippant smartass remarks to HIDE THE DEPTH OF THEIR FEELINGS
  • undercover as lovers, the classic
  • ALMOST KISSING. like getting so close that they start to close their eyes and hold their breath and then SOMETHING HAPPENS and they jump apart, that is MORE VALUABLE THAN ANY ACTUAL KISSING
  • casually sitting on each other’s laps during ensemble cast conversations or scenes
  • did i mention F AKE DATinG

roominthecastle:

MIKE SCHUR: I had a list of six things on the wall that every episode had to do.

Number one: Is it funny? It’s a network comedy show. If it’s not funny, we are blowing it. My number one fear is that people watching the show would suddenly feel, “Why are you lecturing me on how to live my life?” That is not the point of the show. The point is to raise questions and we need to do that in a funny way. So if the episode idea wasn’t funny, if it didn’t have enough comedy in it, it would go away. It is a specific goal of the show to never seem like it’s homework.

Number two: Are the characters being developed? That was a huge deal for season one. Knowing what we were gonna reveal at the end of the year, by the time we got there, we’d had to have explained to the audience who these people were and essentially why they ended up in hell. That was the big thing. If you didn’t understand why all four of them were being tortured, then the twist would seem random. It had to be properly set up in the Usual Suspects way.

Number three: Does the episode ask and answer a question about ethics, about good or bad behavior? Obvious reasons for that.

Number four: Is it compelling? I had this real fear that we were gonna seem like we’re spinning our wheels. This is something Damon Lindelof talked to me about because I consulted him a lot before while I was working on the show in the early days. One of the things he said was that they ran into trouble with LOST when they felt like they were spinning their wheels. They were adding new characters and kinda running in place and you get out an episode where Jack gets a tattoo, and that’s not compelling. This show has to be endlessly compelling and full of momentum in order for it to feel vital and interesting.

Number five: Is it consistent with the long game? The long game being they are all in hell and are being tortured. We couldn’t ever do anything that would contradict the big picture, the big secret picture. It was at the level of “you can’t ever see Michael, Ted’s character, alone.” You can’t ever see him because if he were alone, he would not be in character. He’d be evilly chuckling and laughing hysterically at the foibles that the humans were undergoing. So we had all these really specific rules like “Is there any moment in the entire show where – if you went back and looked – you’d go ‘Oh that doesn’t make any sense’?” Which was hard but fun.

And the last one: Are we making use of the premise? We set this show in the afterlife. If we didn’t have one insane thing – a dog flying into the sun and exploding – or something magical, Janet popping in and out, something that couldn’t happen anywhere but in the afterlife, if we weren’t doing that at least once an episode, then again, we felt like we were blowing it.

These are the six things that every episode had to do.

MARC EVAN JACKSON: I think you have a bright future in television.

[The Good Place: The Podcast (#1)]

repomantis:

repomantis:

Another trope I forgot to mention that I love are traumatized characters experiencing love for the first time and not knowing how to cope with it. I just eat that shit up

especially when they’re like edgy, scary and mean. that moment where they get a tender hug, or a gentle rub or just someone complimenting them and their entire world view is changed. thats so good. i need more of it

prokopetz:

How to plan a long-term creative project for serial publication:

1. Make a firm decision about how big a single update is going to be, and estimate your sustainable update frequency based on that. This estimate should be based solely on your own demonstrated performance; you may anticipate that future productivity will exceed past productivity, but never make long-range plans on the assumption that future productivity will exceed past productivity. That is called the Planning Fallacy, and it will eat you alive.

2. Estimate how often you’re likely to miss updates. As a rough guideline, if you’re physically and mentally healthy and have no major commitments that would interfere with your ability to work on the project, figure that you’ll miss about 10% of your updates for various reasons. If you have health issues or frequent Real Life commitments, make it 20%. If 20% sounds low to you, you weren’t being honest with yourself about your sustainable update frequency; return to step 1 and re-assess.

3. Figure that you’ve got about two years before you lose interest in the project, gain some new commitment that will preclude continuing to work on it, or your art style evolves enough to make creative continuity impractical. If there’s some upcoming major life change that you’re able to anticipate – like, say, graduating from school – use either two years or that event as your soft deadline, whichever is less.

4. Use the figures from steps 1-3 to estimate how many updates you’re likely to be able to squeeze into this project, and write your outline/script based on that. You don’t need to wrap up every tiny little loose thread by that point, but ideally it needs to reach a point where you could stop and be satisfied with whatever conclusion has been reached. If you get there and you’re still enthusiastic about continuing, fantastic – return to step 1 and re-assess.

So, as a simple example: if you’re planning a webcomic, you figure you can reasonably manage about 1 page a week, and you’ve got a lot going on that’s likely to get in your way, that’s (2 years * 52 weeks/year * 1 update/week * 80% success rate on updates) = around 83 pages to work with, or about the length of a four-issue miniseries. What kind of story can you tell in 80-odd pages?

(Hint: it’s not a story that involves fifty-page combat scenes!)

Rehab for writing injuries

chicklette:

writerlyn:

onedamnminuteadmiral:

wrex-writes:

You’ve heard of “making writing a habit,” and you’ve tried, but the pressure to write fills you with horrible pain and dread. You spend all your time wishing you could write but somehow never writing. The “make it a habit” approach doesn’t work for you. But you still want to write, maybe even regularly. Is there nothing you can do?

Here is an alternative approach to try. A rehab program, as it were, for writers with a psychological “writing injury” that has destroyed their desire to write and replaced it with shame, anxiety and dread.


If you have a writing injury, you probably acquired it by being cruel to yourself, by internalizing some intensely critical voice or set of rules that crushes your will to write under the boot-heel of “you should.” “You should be writing better after all the years of experience you’ve had.” “You should be writing more hours a day, you’ll never get published at this rate.” “You should write more like [Hilton Als/Jeffrey Eugenides/Octavia Butler/Terry Pratchett/etc.].” “You should write faster/more/better/etc./etc.”

You know what, though? Fuck all that. Self-abuse may have featured heavily in the cool twentieth-century writer’s lifestyle, but we are going to treat ourselves differently. Because 1) it’s nicer, and 2) frankly, it gets better results. My plan here is to help you take the radical step of caring for yourself.


1) First of all: ask yourself why you aren’t writing. 

Not with the goal of fixing the problem, but…just to understand. For a moment, dial down all of the “goddammit, why can’t I just write? blaring in your head and be curious about yourself. Clearly, you have a reason for not writing. Humans don’t do anything for no reason. Try to discover what it is. And be compassionate; don’t reject anything you discover as “not a good enough excuse.” Your reasons are your reasons.

For me, writing was painful because I wanted it to solve all my problems. I wanted it to make me happy and whole. I hated myself and hoped writing would transform me into a totally different person. When it failed to do that, as it always did, I felt like shit.

Maybe writing hurts because you’ve loaded it with similarly unfair expectations. Or maybe you’re a victim of low expectations. Maybe people have told you you’re stupid or untalented or not fluent enough in the language you write in. Maybe writing has become associated with painful events in your life. Maybe you’ve just been forced to write so many times that you can no longer write without feeling like someone’s making you do it. Writing-related pain and anxiety can come from so many different places.

2) Once you have some idea of why you’re not writing…just sit with that.

Don’t go into problem-solving mode. Just nod to yourself and say, “yes, that’s a good reason. If I were me, I wouldn’t want to write either.” Have some sympathy for yourself and the pain you’re in.

3) Now…keep sitting with it. That’s it, for the moment. No clever solutions. Just sympathize. And, most importantly, grant yourself permission to not write, for a while.

It’s okay. You are good and valuable and worthy of love, even when you aren’t writing. There are still beautiful, true things inside of you.

Here’s the thing: it’s very hard for humans to do things if they don’t have permission not to do them. It’s especially hard if those things are also painful. We hate feeling trapped or compelled, and we hate having our feelings disregarded. It shuts us down in every possible way. You will feel more desire to write, therefore, if you believe you are free not to write, and if you believe it’s okay not to do what causes you pain.

(By the way: not having permission isn’t the same as knowing there will be negative consequences. “If I don’t write, I won’t make my deadline” is different from “I’m not allowed not to write, even if it hurts.” One is just awareness of cause and effect; the other is a kind of slavery.)

4) For at least a week, take an enforced vacation from writing, and from any demands that you write. During this time, you are not permitted to write or give yourself grief for not writing. 

This may or may not be reverse psychology. But it’s more than that.

Think of it as a period of convalescence. You’re keeping your weight off an injury so it can heal, and what’s broken is your desire to write. Pitilessly forcing yourself to write when it’s painful, plus the shame you feel when you don’t write, is what broke that desire. So, for a week (or a month, or a year, or however long you need) tell yourself you are taking a doctor-prescribed break from writing.

This will feel scary for some folks. You might feel like you’re giving up. You might worry that this break from writing feels too good, that your desire to write might never return. All I can say is, I’ve been there. I’ve had all those fears and feelings. And the desire to write did return. But you gotta treat it like a tiny crocus shoot and not stomp on it the second it pokes its little head up. Like so:

5) Once you feel an itch to write again—once you start to chafe against the doctor’s orders—you can write a tiny bit. Only five or ten minutes a day. 

That’s it. I’m serious: set a timer, and stop writing when the time’s up. No cheating. (Well…maybe you can take an extra minute to finish your thought, if necessary.)

Remember: these rules are not like the old rules, the ones that said, “you must write or you suck.” These rules are a form of self-care. You are not imposing a cruel, arbitrary law, you are being gentle with yourself. Not “easy” or “soft”—any Olympic athlete will tell you that hard exercise when you’ve got an injury is stupid and pointless, not tough or virtuous. If you need an excuse to take care of yourself, that’s it: if you’re injured, you can’t perform well, and aggravating the injury could take you out of the competition permanently.

For the first few days, all of the writing you do should be freewriting. Later, you can do some tiny writing exercises. Don’t jump into an old project you stalled out on. Think small and exploratory, not big and goal-oriented. And whatever you do, don’t judge the output. If you have to, don’t even read what you write. This is exercise, not performance; this is you stretching your atrophied writing muscles, not you trying to write something good. At this stage, it literally doesn’t matter what you write, as long as you generate words. (Frankly, it would be kind of weird and unfair if your writing at this point was good.)

6) After a week, you can increase your time limit if you want. But only a little! 

Spend a week limiting yourself to, say, twenty minutes a day instead of ten. When in doubt, set your limit for less than you think you’ll need. You want to end each writing session feeling like you could keep going, not like you’re crawling across the finish line.

Should you write every day? That’s up to you. Some people will find it helpful to put writing on their calendar at the same time each day. Others will be horribly stifled by that. You get to decide when and how often you write, but two things: 1) think about what you, personally, need when you make that decision, and 2) allow that decision to be flexible.

Remember, the only rule is, don’t go over your daily limit. You always have permission to write less.

And keep checking in with yourself. Remember how this program began? If something hurts, if your brain is sending you “I don’t wanna” signals, respect them. Investigate them, find out what their deal is. You might decide to (gently) encourage yourself to write in spite of them, but don’t ignore your pain. You are an athlete, and athletes listen to their bodies, especially when they’re recovering from an injury. If writing feels shitty one day, give yourself a reward for doing it. If working on a particular project ties your brain in knots, do a little freewriting to loosen up. And always be willing to take a break. You always have permission not to write.

7) Slowly increase your limit over time, but always have a limit. 

And when you’re not writing, you’re not writing. You don’t get to berate yourself for not writing. If you find yourself regularly blazing past your limit, then increase your limit, but don’t set large aspirational limits in an effort to make yourself write more. In fact, be ready to adjust your limit lower.

When it comes to mental labor, after all, more is not always better. Apparently, the average human brain can only concentrate for about 45 minutes at a time, and it only has about four or so high-quality 45-minute sessions a day in it. That’s three hours. So if you set your daily limit for more than three hours, you may be working at reduced efficiency, when you’d be better off saving up your ideas and motivation for the next day. (Plus, health and other factors may in fact give you less than 3 good hours a day. That’s okay!)

Of course, if you’re a professional writer or a student, external pressures may force you to write when your brain is tired, but my point is more about attitude: constant work is not necessarily better work. So don’t make it into a moral ideal. We tend to think that working less is morally weak or wrong, and that’s bullshit. Taking care of yourself is practical. Pushing yourself too hard will just hurt you and your writing. Also, your feelings are real and they matter. If you ignore or abuse them, you’ll be like a runner trying to run on a broken ankle.

I know I’m going to get someone who says, “if you’re a pro, sometimes you gotta ignore your feelings and just get the work done!” 

NO. 

You can, of course, choose to work in spite of any pain you’re feeling. But ignore that pain at your peril. Instead, acknowledge the pain and be compassionate. Forgive yourself if pain slows you down. You are human, so don’t hold your feet to the fire for having human limitations. Maybe a deadline is forcing you to work anyway. But make yourself a cup of hot chocolate to get you through it, literally or metaphorically. Help yourself, don’t force yourself. If you’ve had a serious writing injury, that shift in attitude will make all the difference. 

In short: treat yourself as someone whose feelings matter.


Try it out! And let me know how it goes!

Ask a question or send me feedback!

THIS

This is the kindest writing advice ever. I love it.

This is amazing.