comedic fiction

AD Podcasts, Christopher Moore, and Turn-of-the-Century Impressionism

So this week I’m re-reading one of my all-time favorite books. It’s called Sacré Bleu: A Comedy d’Art, by Christopher Moore. 

Moore is a writer of comedic speculative fiction, combining fantastical elements from a variety of cultural sources with the sometimes over-ordinary events of daily life. He’s one of my all-time favorite writers; particular gems include Sacré Bleu; Lamb: The Gospel According to Biff, Christ’s Childhood Pal; Fluke (or, I Know Why The Winged Whale Sings); Fool; and A Dirty Job (and its recent sequel Secondhand Souls). I’m not sure if Moore has a Tumblr presence, but he’s on Twitter @TheAuthorGuy.

Sacré Bleu is a story that mostly centers on Lucien, a (fictional) baker in the Parisian district of Montmartre, where congregated the great artists of the Impressionist era during the late 1800s. Lucien was taught by Renoir, coddled by Pissarro, sneered at by Degas, condescended to by Monet, and mourned the death of Vincent Van Gogh right alongside Dr. Gachet and Henri Toulouse-Lautrec.

It’s also about a timeless muse whose skin exudes magical memory-altering blue pigment harvested by a Neanderthal. But that’s not really why I’m writing.

What’s struck me on this second read is how plausible it is to me that all of these great artists knew each other, drank together, suffered together, and orbited each other throughout their lives. Because of course they did! They were all living in France, their paintings hung in the same galleries, and they drank in the same bars! But more importantly, they were the only other people crazy enough to believe with all their beings that their art would sustain them. (ok yes, some of them came from money, so they needn’t have worried–– just stick with me here, the point is coming.)

(collage courtesy of Ryan Estrada)

Back in the spring, I was invited to a group forming online which now includes most of the people who make your favorite fiction podcasts: Wolf 359. Wooden Overcoats. Archive 81. Kakos Industries. The Cleansed. We’re Alive. Our Fair City. Small Town Horror. The NoSleep Podcast. The Truth. The Black Tapes & Tanis. Within the Wires. ars Paradoxica and the Bright Sessions, of course. And that’s just some of the more well-known examples. I could go on for a huge wall of text listing all the shows who contribute. (To all of my podfriends I did not list, I love you all as well, and please feel free to tag yourselves!)

Not only do we discuss the ins and outs of writing, production, recording, gear, publishing, marketing, and social media – did you think #AudioDramaSunday happened by accident? – but we also have an incredibly lively Random/Off-Topic section where we talk about video games, food, TV shows, events, school, work, illness, life stresses, and general shenanigans. We’ve become a huge group of friends. I’ve honestly never seen a more supportive, welcoming, and friendly group of people, especially one so large and whose member list is constantly expanding. I feel so, so lucky and grateful to be included in this wonderful weird audio drama podcast family.

We support each other because we are the only other people crazy enough to believe, with all of our beings, that our art will sustain us.

HERE’S A THING ABOUT BLMATSU

Now, I’m not a blmatsu shipper. At all. But there are three things this entire fandom needs to consider when it comes to the topic because the shit I’ve seen so far is goddamn ridiculous.

1. It is an adult show. Filled with adult themes. We’ve seen these NEETs attempt and succeed in literal murder before. This isn’t a show for kids. So having a “think of the children” attitude in this fandom is stupid. We need to be considerate about people who are uncomfortable with and/or triggered by incest, yes. Please be sure to tag your work, and if you’re the other camp, to blacklist said tags from your dash. But trying to make this fandom G-Rated entirely is stupid because this show is not G-Rated either.

2. With that said, even the show jokes about it too. Because you know, the characters are adults themselves. I wouldn’t consider it ‘fan service’, though it very might be, but jokes about blmatsu have existed since the first episode. Oso/Jyushi leaning in to kiss when they were in F6 form. Oso/Ichi, frenching off screen in order to get the former sick. Kara/Oso, Ichi pretending to be the former and declaring a crush on Oso as Kara. Kara/Ichi, them swapping clothes and falling on top of each other halfnaked while they’re changing back. Probably a few more that I forgot to mention, but you get the idea. My point is, the writers are at least a bit aware of the fandom, and either did it as fan service, a reference, or just as a joke. Because that’s what the anime is. Jokes, and mature, sometimes downright offensive ones at that.

3. AUs exist where the sextuplets are not related at all. In the episodes of the show itself, there are some AUs where the brothers don’t even know each other, or if they do, they aren’t said to be related. The whacky ones where everyone takes part in a crime scene in various ways, and even simply weird ones, like Jyushimatsu breaking into Todomatsu’s room in the hospital. So, there are ways of making blmatsu not even incest at all. I guess you could argue that in the ones in the show they were all separated at birth or something, but hey, that doesn’t have to stop you from making your own AU where they’re not.

Anyway, it’s okay not to like blmatsu. It’s okay to be uncomfortable with blmatsu. It’s okay to avoid blmatsu. It’s not okay to harass people over you own personal opinion. I don’t support incest, nor do I ship blmatsu, but it is fiction, and adult, comedic fiction directed to a mature audience at that. Blmatsu doesn’t normalize incest any more than watching Osomatsu-san will normalize murdering your family to get popular. It’s called common sense. Anime at one’s own expense, as the brothers would say.

Shippers, whatever your reason for shipping is, tag that shit. Antis, whatever your reason for hating is, blacklist that shit. Live and let live. Have a nice day, everyone!

anonymous asked:

I just wanted to note, when I saw Juvia with the grays dolls I did not say "Aww she loves him so much." I said "Lol weirdo your such a dork." Because I took it as comedic relief in a fictional show, if it were a real story then I would have been creeped out, but because anime is just extra in general a lot of things go past me that would never in the real world. Sorry just wanted to clarify that it's probably the same for a lot of Gruvia fans, I don't mean any hate towards you sorry.

Okay, cool. I did not take any of this as hate, don’t worry!

Honestly, yeah, anime does get pretty extra a lot of the time, and it’s okay if some people find it funny. It’s just also okay if it makes some people uncomfortable or upset.

Spagoots HQ

This is a sorta test of a new Spagoots project we’ve been planning for a little while now. We wanted to make more story-based, comedic, fictional things with the Spagoots “canon”, if you will, and recently we decided that comics would be a fun way to do that!

So here we have Spagoots HQ, a series of stories that aims to answer a very specific question: What possible situations would Jordan, Ava, Kay, and Ryan get into if they lived in the same vicinity?

At the moment, there are no plans for a specific schedule of release for Spagoots HQ entries, as this project is mainly experimental in its current state, but hopefully this can be a way to ease the wait during possible future hiatuses and provide some more Spagootery that you can enjoy! :D

- Jordan

the signs + the type of book they would write
  • Aries: drama
  • Taurus: classic fiction
  • Gemini: comedic fiction
  • Cancer: gothic romance
  • Leo: memoir
  • Virgo: psychological thriller
  • Libra: erotica
  • Scorpio: satire
  • Sagittarius: young adult contemporary
  • Capricorn: tragic comedy
  • Aquarius: historical mystery
  • Pisces: urban fantasy
Opening Commissions!

As I’ve mentioned before, I recently opened up donations on my blog, but i feel a bit strange not offering anything in return. However, I do still need to maintain an income for my work, so I’ve decided to try opening up commissions:

What are you offering?
As you all know, I am a horror writer by trade, and let’s be honest: all of you are here to be scared, right? I’d like you to tell me what your deepest, darkest fear is so I can create a written piece, just for you, that will scare the living daylights out of you! However, I am not limited to horror alone. I also write general fiction, comedic essays, and light erotica. If you have something specific in mind, just let me know!

How much do you charge?
I charge $1 per 100 words! This means that a 2,000 word, single-spaced story is approximately four pages long and $20 in price. If you’re looking for something a bit longer, we can discuss pricing.

When do I pay you?
I will ask you for a deposit up front. This will vary depending on the complexity and length of the piece you’d like. We’ll discuss it before I start the piece!

Another important note: While these commissions will be personalized, the written rights will still remain with me. What does this mean? Essentially, this means that you may not profit from it in any way, or post it claiming that it is your own work.

Email me at searchandrescuewoods@gmail.com if you’d like to commission me, as I get a lot messages on here, and I may not see your request right away. 

The Futurama episode “Jurassic Bark” is perhaps the only cartoon you can admit to full on bawling at as an adult and not having people judge you. … It’s an episode that made many people ask, “How is it I can cry at a comedic science fiction cartoon, but I can’t express my feelings to my friends and family?” Well, get your Zoloft out, because the episode was originally going be about Fry finding the body of his mom. … Unsurprisingly, this premise got the ax after the writers realized that Fry dragging his mom’s fossilized corpse around New New York would be “too upsetting” to viewers.

5 Scrapped Episodes That Almost Ruined Famous TV Shows

I’m watching Agent Carter with my dad and he thought it was a comedy because the lead is a strong woman who kicks men’s asses. He said the joke got old after the 3rd or 4th fight scene to which i graciously informed him that it’s not a comedy, but an action/drama, and asked how he liked the Equalizer which is just Denzel Washington in various timed fight scenes??
Why can’t strong women be seen as realistic instead of comedic fiction?

Nominations

The time has come, bring on your nominations for you favorite fanfictions of this 2015-2016 season. Please refer to our rules for nominations, as there are some parameters that have to be met.

Nominations open today, July 11, 2016 @ 1330 EST and will close Sunday, July 17th, 2016 @ 1159 EST.


General Fanfiction: word count: 15k+ | all works must be completed, with the exception of the WIP category

  • Best Modern AU Fiction
  • Best Canon Fiction
  • Best Future Fiction*
  • Most Underrated Fiction
  • Best Hurt/Comfort Fiction
  • Best Angst Fiction
  • Best Fluff Fiction
  • Best Smutty Fiction
  • Best Comedic Fiction*
  • Best WIP Fiction*

Tropes: word count: no parameter

  • Best High School/College AU Fiction* (previously two separate categories)
  • Best Ark AU Fiction
  • Best Fraudulent Relationship Fiction* (includes Fake, Arranged, Accidental relationships/marriages | previously separate categories)
  • Best Roommates Fiction
  • Best Supernatural/Magic Fiction
  • Best Soulmates Fiction
  • Best Enemies to Lovers Fiction
  • Best Family Fiction* (kidfic, babyfic, domesticity, pregnancy)
  • Best Historical/Period Fiction*
  • Best Crossover Fiction (previously used in each main section, now solely a tropes category)
  • Best Holiday Fiction* (Holiday themed – Christmas, Thanksgiving, Halloween, Valentines, etc.)

Oneshots: word count: 2k-15k

  • Best Modern AU Oneshot
  • Best Canon Oneshot* (timestamp within show universe or divergent)
  • Best Future Oneshot* (takes place a significant amount into the future, with previously canonic roots)
  • Most Underrated Oneshot
  • Best Hurt/Comfort Oneshot
  • Best Angst Oneshot
  • Best Fluff Oneshot
  • Best Smutty Oneshot
  • Best Comedic Oneshot*

Drabbles: word count: under 2k

  • Best Modern AU Drabble
  • Best Canon Drabble* (timestamp within show universe or divergent)
  • Best Future Drabble* (takes place a significant amount into the future, with previously canonic roots)
  • Most Underrated Drabble
  • Best Hurt/Comfort Drabble
  • Best Angst Drabble
  • Best Fluff Drabble
  • Best Smutty Drabble
  • Best Comedic Drabble*

Authors

  • Best Clarke Author
  • Best Bellamy Author
  • Best Modern AU Author
  • Best Canon Author
  • Best Up and Coming Author* (their first Bellarke publication must fall within the last 6 months)
  • Most Underrated Author
  • Best Angst Author
  • Best Fluff Author
  • Best Smut Author
  • Best Comedic Author
  • Most Creative Author*
  • Best Poet*

* indicates a new category for the 2016 awards


Fill your nominations here!

Please provide a link to each nomination – for authors, send us a link to their AO3/ff.net profile or to their tumblr writing tag. Thank you!

It’s an episode that made many people ask, “How is it I can cry at a comedic science fiction cartoon, but I can’t express my feelings to my friends and family?” Well, get your Zoloft out, because the episode was originally going be about Fry finding the body of his mom.

Yeah. Mentally walk yourself through the episode with that switch made.

5 Scrapped Episodes That Almost Ruined Famous TV Shows

nytimes.com
Garry Shandling, Star of Groundbreaking Sitcoms, Dies at 66
Mr. Shandling was known for walking the tightrope between comedic fiction and show-business reality on two cable sitcoms.
By Peter Keepnews

Garry Shandling, a comedian who deftly walked a tightrope between comedic fiction and show-business reality on two cable sitcoms, died on Thursday in Los Angeles. He was 66.

A spokesman for the Los Angeles police confirmed the death but did not give a cause. TMZ, the gossip website, reported that Mr. Shandling had had a heart attack.

Mr. Shandling, who began his comedy career as a writer and went on to become one of the most successful stand-up comics of the 1980s, was best known for “The Larry Sanders Show,” a dark look at life behind the scenes of a late-night talk show. It ran on HBO from 1992 to 1998.

Mr. Shandling’s Larry Sanders was the host of a fictional show within a show, interviewing real celebrities playing themselves in segments that were virtually indistinguishable from real talk shows like “The Tonight Show.” Mr. Shandling had frequently substituted for Johnny Carson as the “Tonight Show” host. But the Sanders show was mostly concerned with what happened when the cameras were off, especially the interplay among Larry, his bumbling announcer and sidekick (Jeffrey Tambor) and his mercurial producer (Rip Torn).

“The Larry Sanders Show,” often cited as a groundbreaking precursor of shows like “Curb Your Enthusiasm” and “30 Rock,” was the second show of Mr. Shandling’s to take an unorthodox approach. The first, “It’s Garry Shandling’s Show,” seen on Showtime from 1986 to 1990, freely admitted that it was a show, with Mr. Shandling often breaking the fourth wall by speaking directly to the audience.

Rest In Peace, Gary!  Thank You For All Your Entertainment and Talent Which You Shared With Us!

Phroyd

I promised to talk a bit about A Young Doctor’s Notebook and add some context to your watchihng experience, so here’s some off the top of my head:

  • The show is based on a series of short stories and a separate story called Morphine by Mikhail Bulgakov, who by the way also wrote The Master and Margarita (aka that utterly brilliant book that every Russian claims to be their favourite book ,thus slowly spoiling it for hipster asses like me who actually love that book. Anyway, read it. It’s about a witch and satan and a writer and pontius pilate and jesus and stuff and things.)
  • …back to Bulgakov. The stories are autobiographical, he did study medicine and was sent to god-knows-where, as depicted. Amputations took place. It was depressing.
  • “Mophine” is written separately and about ~another  ~fictional person~~, but guess what.
  • .Bulgakov did have to take morphine for abdominal pain, and developed and addiction. So they just went “what the hell” and mixed his writing into this overly fictionalized dark comedic account of his own life. (as it should be tbh)
  • my favourite part is that Jon wears an outfit referencing one of Bulgakov’s most famous pictures, so it just screams “lol we’re doing a biography, except not really, except YES”)
  • so.. yeah, that’s your basic knowledge.
  • oh, and he also had this supercool wife who had to deal with all that shit and probably facepalmed all the way. (and i ~think she assisted him as a nurse? and tried to help him stay off drugs? *correct me here, guys)
Advice: Addressing the Audience and Showing vs Telling

Anonymous asked: If writing in first person, should you refer to the audience/talk to the audience? Because I know some people don’t like it, and it fits into the whole “tell” instead of “show"…

The easiest way to think about this, I think, is in terms of television. You can have mainly two types of audiences in television: one that is acknowledged and one that isn’t. An acknowledged audience can be directly addressed by the narrator, such as in a news telecast or a documentary, because the narrator is aware of the audience’s presence. In this case, it wouldn’t be strange to say to the audience, "It’s really cold today, and I hate that because my teeth won’t stop chattering. Do you know what I mean?” Even if the audience can’t respond directly, the question is still meant for them. On the other hand, with a dramatic TV show, the audience is not directly addressed because they’re non-existent as far as the characters are concerned. In the clip above, it wouldn’t have made sense for Sam to turn to the camera and say, “This guy is nuts, do you know what I mean?” because they’re not supposed to be there. There is, however, something known as “breaking the fourth wall” which is where the audience is acknowledged when they shouldn’t be. This is usually done for comedic effect.

In fiction, whether or not the audience is acknowledged depends on who the narrator is telling the story to. In some cases, a story may be “stream of consciousness,” where the narrator isn’t telling the story to anyone but is instead thinking about it as it is happening to them. (“I am startled by a knock at the door, and as the door swings open, I’m even more startled to see Eric’s worried face as he hurries into the room.”) In other cases, the story is being self-recollected years later, so the audience is again the narrator themselves as they remember a time in their lives. (“I was startled by a knock at the door, and when the door swung open, I was even more startled to see Eric’s worried face as he hurried into the room.”) In either of these cases it wouldn’t make sense to address the audience because there isn’t one. The character would basically be asking themselves, “Do you know what I mean?”

Sometimes, though, the audience is meant to be a person or group who are being told the story as it happens or after the fact. This would be the case if you imagine that your protagonist is telling their story to their grandchildren or to a random person they meet in an elevator. Most of the time an audience is just implied. We don’t necessarily know who they are or when the story is being told–they just are. In this case, you could “break the fourth wall” and speak directly to the audience. Jane Austen did that a lot, and again, it was generally for comedic effect. So, while it is sometimes possible to address the audience, most of the time you’re probably not going to do that.

Showing vs telling, though, doesn’t really have anything to do with whether or not you acknowledge the audience. Showing vs telling is more about your actual book audience–as in the people who are reading your book or story. Showing refers to giving them information by “showing” them the realistic parts of it to make it real for them versus simply saying words to them. For example, “There was an earthquake,” would be telling versus, “Just as I finished my tea, a great rumbling sound welled up from the earth and suddenly my knees felt like jelly. The walls around my shook violently, casting off pictures and other decor as knicknacks rattled off the shelves and fell to the floor. I stumbled to the nearest door frame and waited for the tremors to pass…” Instead of simply saying “there was an earthquake” I am showing my readers that there’s an earthquake. :)