julia should shut up

i just saw the tags #the gay subtext  #isn’t really subtext anymore and that’s, like, that’s it, that’s what tjlc is, tjlc is like “the subtext is too strong for it to be subtext anymore so it has to be canon” and it took so long to get to the point where this could be said with confidence because it feels so hard to believe

when you have eliminated the impossible whatever remains however improbable must be the truth

anonymous asked:

What do you think it means when someone has a simplistic writing style (like yourself)? Why do you think writers/readers favor minimalist writing over more descriptive writing?

FUN FACT, I used to really favor a more descriptive style! This was… wow, over 6 years ago now, but I think what inspired the change was this sudden feeling that my words were impairing the storytelling. It was a really strong resistance– like they were bogging down expression and trying too hard to evoke emotion, etc. I still feel that way about a lot of flowery writing, there’s very little of it that I like: this is just my opinion, but i think it really takes the focus off of the story and onto the writing itself. That’s just… not what I want out of writing, to be honest.

I’ve found that really trying to focus on economy and make the most out of my words has improved my writing, so I stick to it. What’s made me start to try and incorporate a bit more of my older style into my work - introspection, poetry - was something Tom Perrotta said to me a few years ago. He’s written a few screen adaptations of his books, and he said that doing so made him appreciate the freedom he had on the page more, and it reflected in his later works. So I’m trying to work description back in, but never really in excess– I think that one good sentence stands out a lot more and rings a lot more true if it’s surrounded by others that simply have a story to tell you.

And that’s something, too: so much of how I write is story based. It’s not how I say it, but what happens, that matters most to me. Like, I try to build the sentences so that they best express what happens and best help the reader react to what’s happening and feel the emotions that the characters are. Lots of people work the other way – the action is secondary – but at this point I’ve done too much script writing for me to set aside action showing the internal for a more cerebral style– I just don’t think it’s anywhere close to as good as;dkjsa;kf. People say so much with how they move, what they don’t say, with shit they do and shit they ignore– What’s more powerful? Four paragraphs of Sherlock’s confused internal monologue regarding his anger and pain and regret at John getting married, or a shot of him looking longingly at John’s empty chair? Him moving it out of the living room entirely? It’s like that idiom, “Actions speak louder than words.”

This is probably way more than you were prepared for when you asked this question, and I’m not sure how well I expressed myself alsfja;sf;jlakf.