Moonlitmirror - Could Ever Hear By Tale Or History

'...from the nineteenth century onward, Cinderella conveyed the explicit message that personal goodness and virtue merit reward, and that goodness and virtue are, and will be rewarded. As a generality, it is fair to say that most people believe themselves both good and deserving; thus the message that goodness will be rewarded is well suited to the hopes and needs of the large part of every country’s population that does not live in comfort. Furthermore, stories like Cinderella, in which magical assistance plays a prominent role, foster an existential belief in eventual assistance, whatever the presenting problem may be, and support hope for a happier and better future. For poor girls in the nineteenth century, for whom so few opportunities for social rise from the depths of misfortune to the highest imaginable joys existed, Cinderella could stand for a way out and a way up.'

Ruth B. Bottigheimer, 'Cinderella: The People's Princess' in Cinderella across Cultures, ed. M. H. D. Rochere (Detroit: Wayne State University Press, 2016).

We have lived and will live again in these moments, precious to every blink and eye that beat as one

There is nothing more hopeful than the delicate touch of rain amongst a thunderstorm of clouds.

For one gradually passing moment

the swirling mist clears a path

leaving cool crystals grasping

onto each strand of grass

“The moon grows out of the hills A yellow flower, The lake is a dreamy bride Who waits her hour.”

— Sara Teasdale, from Stresa; Rivers to the Sea: Poems, 1915

Tuesday, 28th September 2021

My reality is shaped in colours; a painting blurred in depths of hues, brushed by a wandering silence.

All houses are haunted. Everywhere I’ve ever lived has been haunted

1. Ash, Tracy K Smith 2. Anatomy, Kitty Horrorshow 3. Little talks, Of Monsters and Men 4. Doctor Who 5. Why are you haunted: a survey, Joan Tierney 6. I know the end, Phoebe Bridgers 7. Dark Places: The Haunted House in Film, Barry Curtis 8. The Dictionary of Obscure Sorrows, John Koenig 9. Things We Say in the Dark, Kirsty Logan 10. Ghosts in the attic

Any quotes about night and stars, please? ✨

"The night is shaped like a howling wolf."

— Alejandra Pizarnik, Extracting the Stone of Madness; from ‘Paths of the Mirror’, tr. Yvette Siegert

"Then, it being night, and the twin stars of Castor and Pollux just visible in the sky, I spoke of that tragedy, of two brothers whose love we might find unnatural, so stricken in grief when one was killed that the other, begging for his life again, accepted instead that for half the year one might live, and for the rest of the year the other, but never the two together. So it is for us, who while on earth in these suits of lead sense the presence of one we love, not far away but too far to touch."

— Jeanette Winterson, from 'Sexing the Cherry'

"The night is cold and delicate and full of angels"

— John Ashbery, Rivers and Mountains; from ‘The Ecclesiast’

"Oh starry starry night! This is how / I want to die."

— Anne Sexton, All My Pretty Ones; from ‘The Starry Night’

"Life is too short to be all daylight. Night is not less; it’s more."

—Jeanette Winterson, from 'Why I adore the night'

"…a strange night-time otherworld of darkness and starlight and the fine line between life and death."

— Katherine Clements, from 'The Coffin Path'

"But the Orphics say that black-winged Night, a goddess of whom even Zeus stands in awe, was courted by the Wind and laid a silver egg in the womb of Darkness; and that Eros, whom some call Phanes, was hatched from this egg and set the Universe in motion."

—Robert Graves, from 'The Greek Myths: The Complete and Definitive Edition'

"That doesn’t stop me having a tremendous need for, shall I say the word — for religion — so I go outside at night to paint the stars [...]"

— Vincent van Gogh

"Night. Such a beautiful word."

— Janet Fitch, from 'Chimes of a Lost Cathedral'

"Why shun darkness? / The night abounds with diamond drops."

— Forugh Farrokhzad, Asir (Captive); from 'On Loving', tr. Sholeh Wolpé

"Dear, though the night is gone, / Its dream still haunts to-day,"

— W. H. Auden, Selected Poems; from ‘Dear, though the night is gone’

"There was a star riding through clouds one night, and I said to the star, "Consume me."

"I desired always to stretch the night and fill it fuller and fuller with dreams."

— Virginia Woolf, from 'The Waves'

"By day I am nothing, by night I am myself."

Fernando Pessoa, from 'The Book of Disquiet', tr. Margaret Jull Costa

"...the frozen glitter of stars, shattered glass on black silk..."

— Maggie O' Farrell, from 'Hamnet'

"I sometimes fancy that my body is made up of all the different stars. Leo’s in my chest; I’m sure it’s Leo because my heart roars."

— Jeanette Winterson, from 'Boating for Beginners'

"Night, the night again, the magisterial wisdom of the dark."

— Alejandra Pizarnik, A Musical Hell; from ‘Desire for the Word’, tr. Yvette Siegert

"If only at the midnight hour / You’d send me a greeting across the stars."

— Anna Akhmatova, Seventh Book; from Sweetbrier In Blossom; ‘In a Dream’, tr. Judith Hemschemeyer

"Under the shield of night, / let me unburden the moon."

— Forugh Farrokhzad, Reborn; from ‘Border Walls’, tr. Sholeh Wolpé

"The night snows stars and the earth creaks."

— Ted Hughes, Wodwo; from ‘The Howling of Wolves’

Wednesday, 7th July 2021

As the thunder roars in such tumultuous pain, the sun singes the rim of every cloud until the whole sky is cloaked in a brightened sadness, a softening grey. And the world will sit in shallow wine while the teardrops of the encroaching night play in ripples across the sun's sleeping face, waiting for the moon blank and ghostly behind the starless sky. It is new tonight but hidden from sight, it bows in heavenly patience.

some highlights from my writing seminar with honestly one of my favourite authors of all time who shall remain nameless bc i dont want her to know i was spilling her secrets online

The first trick is to detach yourself from your idea. You don’t have just one novel inside you, and it’s not a big deal if you don’t finish this novel.

She was skeptical of the common advice “just write!!1!” - she talked about how long ideas for her most popular novels were marinating inside her before she properly wrote them

As a continuation of that, she was a big believer in knowing what you want to write before you write it. Not what you’re going to write, what you want to write. 

The first thing she decides about a novel is what the mood is going to be, and this informs every other decision (e.g. the mood for Shiver was bittersweet)

Ideas should be personal, specific, exciting and they should exclude secondary sources. A personal idea isn’t necessarily autobiographical (which should be avoided), but it speaks to your emotional truth. 

She said she had been read Ronsey fanfiction and she couldn’t view her car in the same way since. 

Story is the thing that seems most important to reader but is most changeable to the author - story is subservient to your mood and your message. Change what you like in the plot as long as your book retains its sense of self.

Story is conflict, exploration and change. A good story has active tension -the characters want something, instead of just wanting something not to happen (e.g. wanting to kill an enemy instead of simply defending a stronghold against an enemy) 

A story needs to have a concrete end, something to be done. 

Satisfaction is important - deliver what you promise to the reader. The other shoe has to drop. Ronan Lynch doesn’t ever talk about his feelings, so its rewarding when he does. 

Earn your emotional moments (she threw shade at Fantastic Beasts lmao)

Forcing a character to be passive is dissatisfying to the reader. 

Characters are products of their environments, consistent/predictable, nuanced and specific, moving the plot, and subservient to other story elements. 

She always starts with tropes for ensemble casts like sitcoms. Helpful for building good character dynamics.

Write scenes with characters saying explicitly what they’re thinking and then go back and make them talk like real people in the edit. 

An action can also prove what they’re thinking, instead of making them say it or another character guess it (e.g. Ronan punching a wall). 

Move the reader’s emotional furniture around without them noticing. 

All her books follow the three act structure. Established normal -> inciting incident -> character makes an Active Decision -> fun and games -> escalation -> darkest moment -> climax. 

Promise what you’re going to do in the first five pages. 

Read your book out loud. Record yourself reading it. 

If you have writer’s block, it’s because you’ve stopped writing the book you want to write. She likes to delete everything she’s written until she gets back to a point where she knew she was writing what she wanted to write, and then carrying on from there.