BC WRITING
Saved by @ThomassRichards

I want to talk about how western editors and readers often mistake protags written by BIPOC as "inactive protagonists." It's too common an issue that's happened to every BIPOC author I know.

 Often, our protags are just trying to survive overwhelming odds. Survival is an active choice, you know. Survival is a story. Choosing to be strong in the face of the world ending, even if you can't blast a wall down to do it, is a choice.

It's how we live these days.
Western editors, readers, and writers are too married to the three-act structure, to the type of storytelling that is driven by conflict, to that go-getter individualism. Please read more widely out of your comfort zone. A lot of great non-western stories do not hinge on these.
Sometimes I wonder if you're all so hopped up on the conflict-driven story because that's exactly how your colonizer ancestors dealt with people different from them. Oops, I said it, sorry not sorry. Yes, even this mindset has roots in colonialism, deal with it.
If you want examples of non-conflict-driven storytelling google the following: kishoutenketsu, johakyu, daisy chain storytelling/wheel spoke storytelling. There was another one whose name I forgot but I will tweet it when I recall it.
Anyway, I think there is a space in literature and beyond for stories about radical acceptance or that have a radical acceptance aesthetic. Accepting the things you cannot change but dealing with them in your own way. No pyrotechnics but plenty of potential for drama.
What you want in a story is drama. Conflict does not necessarily equate to drama. Conflict is driven by two or more forces colliding. If a protagonist decides to let the force wash over them instead, that does not mean the protagonist is inactive.
Once again, I repeat: SURVIVING IS A DECISION. BIPOC based in Western countries do it all the time. Us third worlders do it all the time. But of course if you grew up white in a Western country, being mired in hopeless systems will be hard for you to grasp.
And if you're a BIPOC author, listen: you may be already as good, if not better, than most of the competition out there. You keep getting rejected not because your story sucks but because white editors do not know how to read your work. Keep trying.
Last but not least, we don't just need diverse demographics for everything, WE NEED DIVERSE STORIES. Get your colonizer heads out of your asses and seek out other traditions. End rant.
I found the other storytelling structure! It's called Robleto and is of Nicaraguan origin.

Thank you for coming to my TED Talk. 😆
One last! Another type of story that everyone loves (or pretends not to love) but no one will publish in the west is FLUFF. YES THAT'S RIGHT, FANFICTION FLUFF. SUCK ON THAT.
It has been pointed out several times so I will amend the thread to say: all my points apply for disabled, neurodivergent, and chronically ill protagonists, too. Our way of showing agency is DEFINITELY different from yours so please be mindful of that.
Okay so this thread blew up in a completely unexpected way, so:

Hi, I write fantasy fiction with a Filipino flair and many of my protagonists are just actively trying to survive 😆 you can get a copy of my work here:

https://t.co/hCK8uspghp
I'm also gonna teach a class on retellings courtesy of Clarion West in April, so if that's your jam, go sign up! BIPOC can apply for scholarships :)

https://t.co/awSu7y5674
Lastly, I co-organized FiyahCon Fringe, which is all about giving a platform to global perspectives in different aspects of literature and SFF—and I'm gonna do it again this year, bigger and better! If you like the work I do, here's one way to show it 😁

https://t.co/7c21iqwMgz
Oh yes! I am a freelance book editor with @DarlingAxe so if you have a book that people keep telling you has an "inactive protagonist" and other problems, you can request for me—my schedule is wide open. I'm very thorough!

https://t.co/yPxghYAuQO

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I heard a panel recently where half the writers were dropped by their first agent after they pitched their second project. Be sure to ask around outside of the agent on this one.

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A few words on the passing of William Goldman: In addition to being a legendary screenwriter, he was a friend and mentor to so many other writers, offering guidance and support, directly influencing hundreds of films beyond his own work...


In 2009 a few of us organized an outdoor screening to commentate the 40th anniversary of “Butch Cassidy and the Sundance Kid” at the Tribeca Film Festival. Writers such as Tony Gilroy, Aaron Sorkin, David Koepp & Scott Frank each spoke to praise Bill...


As each discussed how Bill had been instrumental in inspiring, teaching and supporting them, it really sank in as to what an extraordinary impact this man has had on the landscape of cinema...


Also at that screening we’re 5,000 people who had come to watch one of their favorite movies on a chilly April night by the Hudson River. Bill touched millions that never got the chance to know him personally, but got to know his films like close, enduring friends...

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I can feel it in my bones: NaNoWriMo starts soon. If you meant to do some novel planning this month but never quite got around to the planning part, here are a few questions to help you think through your story arc.

These questions are based on Hollywood screenplays, the hero’s journey, and the work of writers who are much smarter than I am—looking at you @RachaelHerron and @LaniDianeRich and @darynda. I didn’t invent any of this.

And, it's totally okay to do no outlining and just wing the whole dang thing! Or do your planning in a wildly different way. But I've found these questions useful. So.

To start, you’ll need a main character. Let’s assume your main character is an orphaned boy whose horrible extended family has forced him to live in a cupboard beneath the stairs. Question #1: What’s missing from your main character’s life?

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Thread: Common instances of passive voice in rules text that can be clearer with more direct voice.

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"THE PLAYER"

Question any instance of "the player" in a sentence. If you are addressing one player, address them directly in the first sentence of the paragraph and use "you" thereafter.

"If you are the first player, you may X, Y, then Z. If you X, see next page."

"HAVE/HAD/HAS/'D/"

Examine any of these words or contractions. There is usually a more succinct way of phrasing that sentence in the present tense and direct address.

"The player who has just moved must..."
vs.
"After you move, you must..."

"WE"

If you want to put yourself at the table with the players, do so CONSISTENTLY. A random "we" in one paragraph really sticks out. You can even play with voice that way.

"We suggest using option A for your first game."
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"Ahoy, cadet! Use option A for your first game!"

"YOU MAY BUILD, HARVEST, or REST."

Break up action options into a bulleted list rather than a long sentence. e.g.

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