[CONTD] out aren’t necessarily the longest. But what goe sin between each dialogue, each though, is what makes the chapter fantastic to read. Literally every analogy means something and is written with great imagery. And unlike Steinbeck (personally I feel is excessive) enough detail is given that it doesn’t reach that level. I can pick a random chapter and find a random paragraph and lord knows I’ll read something beautiful that can help me along with writing. Current fave goes to the passage where
Jean gets back from trying to get Marco and failing, and we watch him give no worries who he hurts when he gets home, and just crashes his and his mother’s relationship. Best way to watch something crumble. Ch 18, 1000 volts running through his veins paragraph. Fucking gorgeous illustration. That’s whats in the writing and why I feel people love reading. So slow down and enjoy the prose, the art and effort is in there if you stop to appreciate it. Sorry for a ramble but I saw ppl complaining…
thank you for your kind words, friend q_q
i want to clarify that i don’t blame people for not liking the style. i would be shocked if everyone liked what i’m doing. i don’t mind at all if people don’t like reading imagery-heavy narrative, because that’s entirely personal preference. (i mean, as you said, steinbeck is a cause for debate. i personally adore his stuff, and i lap up his style of writing as i feel it incredibly close to the human condition, but some people just don’t get it in the same way).
but what stings a little is more the fact people don’t understand how much criticism can throw a person when they don’t provide constructive value. the anons in question probably didn’t realise the fact of the matter, but what they said had no reason why they don’t like the metaphors, and no suggestion for improvement. that’s what makes the distinction between irrelevant and often hurtful opinion, and useful concrit.
i’ve received one or two messages over the course of the fic that have said that they skip sections of extended metaphor and imagery to get to the fluffier or less dense parts. this is what really hurt me the most, because, as you said, it means they’re skipping over the bits that really make my story what it is, i think. by just reading dialogue, they’re only getting words, and not the story, not the meaning i want to portray, so i feel bad that they’re not getting the full spectrum of emotion i want to express and that defines what i want to say.
drops isn’t a very high octane story. it’s ridiculously domestic, and i think the use of extended imagery is necessary in order to give it the same sort of pizazz that action and adventure stories have. it’s entirely an exploration of feeling, so when people don’t read that feeling … i wonder why they’re reading at all, because what must they be getting out of the story save for just a narrative construction? i think that literature needs to be more than just a plot, yknow?
so i don’t mind if people don’t like my style, and choose not to read. that’s totally cool and i totally get that. but when people read - and say they enjoy the story - but don’t read the parts that make the story what it is, i just get … confused i guess. i think drops lends itself to slow reading and analysis, so maybe if people read slower, they would understand what i’m hoping to achieve with my style more? there’s a lot that i say between the lines, a lot that is said in word choice alone, and i am afraid that people might be missing all of this stuff that i spend hours devising. it would be a shame, but i suppose taste is taste, and there’s little that can be done about people not liking a certain style.
i really don’t know. i just wish people would see the value in the constructive part of constructive criticism, because plain criticism is not warranted really because it achieves nothing but pushing a person into a bad place.