tranqualizer:

When eating organic was totally uncool
Before hipsters got rooftop gards, my poor, refugee family ate that way because we had to. And we were ashamed
by Pha Lo
To me, the organic food movement has become dizzyingly, surreally chic. Farmers have become rock stars; the most exclusive restaurants name-check them so much you can almost see dirt on the menu. But before organic produce exploded into a $25 billion industry, before city gardening became cool, I grew up in a Hmong refugee community, living the urban organic lifestyle not because it was fashionable, but because we were poor. I couldn’t wait to leave it behind.
I grew up in Del Paso Heights, a mixed-race inner city of Sacramento, Calif. — the kind of neighborhood that had just two grocery stores between endless fast-food and liquor shops, and where we all paid for our groceries with food stamps. It was where we grew organic food and raised chickens in our backyards to survive. And where we did it in secrecy.
Like most Hmong in the United States, our community was from Laos, transplanted here after an alliance with the CIA turned our isolated tribe of farmers into mercenaries — a failed secret war against the Communist Vietnamese that left Hmong as the targets of ethnic cleansing. Lifelong farmers-turned-international refugees, the older generation was ill-prepared to thrive in modern America. They settled into inner cities where many turned to social services as safety nets.
I remember watching grown-ups lose their identities and self-worth, slip into depression and cycles of poverty, illness and suicide. These were clan leaders who once commanded the respect of entire villages, tough guerrilla soldiers trained by the CIA — like my father — and proud providers who had, without writing, committed to memory centuries of the best farming practices. And they were humbled, receiving welfare and food stamps because there was no opportunity then in urban America for their main skill. Still, they farmed in the city for two necessities: food and a wistful connection to the old way of life.
We grew crops in every plot of soil that hinted of fertility — parking lots, front lawns, even inside discarded paint buckets, which made terrific homes for lemongrass and chili peppers. When I was in elementary school, the families in our apartment building worked a farm just outside of Sacramento. Every person, every age, had a job. Meals were planned around what we gathered: We scraped fresh cucumbers, serving them with sugar over ice on hot summer days; we pounded the signature Hmong mix of hand-picked peppers, cilantro, green onions and lime in a mortar and served it as a dip for meat and sticky rice. I remember loving our imperfectly shaped cucumbers because I got to watch each one grow into its own unique shape and thought they all had more character than the “beautiful” ones wrapped in plastic at the grocery store. And I loved mustard greens, which grew in abundance once a year but could be pickled for year-round consumption.
We bartered with each other. We raised chickens in the backyard, letting them out to roam and feeding them by hand. We didn’t have a label for this back then, though now I suppose people call it “free-range,” and it costs more. We slaughtered our own hens, sometimes with rituals honoring the sacrifice of the animal’s life.
With the costs of vegetables offset by our gardens, all the families pitched in to buy a pig or cow from the closest farmer, dividing the meat. This way, we could also afford to buy rice.
But we had to keep our locavore tendencies secret. America’s food rules, which seemed to us to go against nature, left us fearful of punishment. At the time, exactly one person from our clan had attended an American college and became our cultural broker, translating to shamans the world of Western medicine, and to lifelong hunters and fishermen the rules of hunting and fishing. What license was needed for what, how many of what thing could be caught during which season, if you could take fruit from a tree depending on which side of a fence it hung. All of it was too complicated to keep straight, and so it felt safer to keep our food producing regimens to ourselves. I can’t remember how many times my father built, tore down and rebuilt the chicken coop, afraid that neighbors who heard crowing would report us.
“Don’t tell the Americans,” my mother would always say, and, eventually, as I grew into adolescence, I couldn’t agree more. I was afraid of being judged.
My mother sprinkled only fresh-cut grass in her garden, swearing by its ability to grow bigger and tastier vegetables. She often crossed dangerous lanes of traffic to get to a pile of lawn clippings. My sisters and I would jump out of the car to bag the grass, and we did it with the speed of a NASCAR pit crew, terrified of being seen by friends.
The parking lot of our neighborhood Kmart was a regular pickup spot for lawn clippings. In my teens, when merely being accused of shopping at Kmart was an epic embarrassment, you can imagine the horror I felt about being spotted stealing grass from its parking lot. “If anyone sees me, MY LIFE IS OVER!” I’d say. Unfortunately, dramatic teenage declarations of “life being over” didn’t fly in Hmong households, not when there would always be someone around to remind you of the time he narrowly escaped the death camps.
As the adolescent me tried to find her groove, navigating deeper into the treacherous social maze of an American high school, I tried to talk my mother out of picking cilantro and scallions from her garden, cleaning and separating and selling them for 50 cents a bunch at a local Hmong store. It never made her more than $20 a week, but she didn’t care. She was obsessed with the idea of doing something she knew how to do, something that could earn money.
My family searched for new places to grow food while I became increasingly afraid that outsiders would find out we lived in a replica Hmong village, built to resemble what the older generation knew as “home.” Then one day, I was outed by a classmate as a food stamp user as I stood in the collection line to count money for my mother. That was the day that I decided I hated everything about the way we got food — from the paint-bucket chili peppers to the communal pig, cut up in pieces, ready to be bagged and shared. I wanted to run away from this mess. I wanted to be one of the cool kids. I would feed myself like they do.
Now, as an adult, I don’t have a garden. Years after I finished college and was well into the working world, long after credit cards made checks obsolete at the grocery store, I still insisted on writing checks to pay for my brand-name groceries. The defiant child food stamp user in me still needs the validation that comes from putting pen to paper and declaring, in writing, that I earned the right to take this food home.
But who’d know that, just as I finally shed a former life of organic necessity, my mother would be the hip one? Now I go to the market and hear people boasting about the eggs in their backyards, or how much their garden looks like the one on the White House lawn. My best friend, also a former Hmong child gardener, laughs with me about collecting lawn clippings. If only we had had cool recyclable cloth bags with eco-friendly slogans, we joke. If only we could be heroic, claiming to be launching a food revolution. But for us, there was no room to think about glamour. That life just felt backward.
I imagine now how many “I told you so’s” my mother would impart on me if she could grasp the enormousness of today’s food movement: Pesticide-free produce, hand-fed chickens, cuisines boasting minimal ingredients all represent billions of dollars to be made. And, irony of ironies, now people’s food stamps can’t even cover the costs of organic and local produce at our markets.
But I stood recently at a popular farmers’ market in San Francisco, where I now live and where my relatives have a vegetable stall. Surrounded by a flurry of patrons enthusiastic about locally grown food, I felt … proud. Proud that Hmong farmers owned their own stalls, their tradition of necessity now trendy and profitable. That day, my uncle gave me a bag of cucumbers and tomatoes from his stall. He said he had heard all about my schooling and my travels, and that he was proud I had made it. But as I looked at my bag and at all the customers flocking to his stall, I couldn’t help thinking he was making it in his own right.
Pha Lo is a freelance writer/nutrition educator and teaches food budgeting skills to low-income parents.

tranqualizer:

When eating organic was totally uncool

Before hipsters got rooftop gards, my poor, refugee family ate that way because we had to. And we were ashamed

by Pha Lo

To me, the organic food movement has become dizzyingly, surreally chic. Farmers have become rock stars; the most exclusive restaurants name-check them so much you can almost see dirt on the menu. But before organic produce exploded into a $25 billion industry, before city gardening became cool, I grew up in a Hmong refugee community, living the urban organic lifestyle not because it was fashionable, but because we were poor. I couldn’t wait to leave it behind.

I grew up in Del Paso Heights, a mixed-race inner city of Sacramento, Calif. — the kind of neighborhood that had just two grocery stores between endless fast-food and liquor shops, and where we all paid for our groceries with food stamps. It was where we grew organic food and raised chickens in our backyards to survive. And where we did it in secrecy.

Like most Hmong in the United States, our community was from Laos, transplanted here after an alliance with the CIA turned our isolated tribe of farmers into mercenaries — a failed secret war against the Communist Vietnamese that left Hmong as the targets of ethnic cleansing. Lifelong farmers-turned-international refugees, the older generation was ill-prepared to thrive in modern America. They settled into inner cities where many turned to social services as safety nets.

I remember watching grown-ups lose their identities and self-worth, slip into depression and cycles of poverty, illness and suicide. These were clan leaders who once commanded the respect of entire villages, tough guerrilla soldiers trained by the CIA — like my father — and proud providers who had, without writing, committed to memory centuries of the best farming practices. And they were humbled, receiving welfare and food stamps because there was no opportunity then in urban America for their main skill. Still, they farmed in the city for two necessities: food and a wistful connection to the old way of life.

We grew crops in every plot of soil that hinted of fertility — parking lots, front lawns, even inside discarded paint buckets, which made terrific homes for lemongrass and chili peppers. When I was in elementary school, the families in our apartment building worked a farm just outside of Sacramento. Every person, every age, had a job. Meals were planned around what we gathered: We scraped fresh cucumbers, serving them with sugar over ice on hot summer days; we pounded the signature Hmong mix of hand-picked peppers, cilantro, green onions and lime in a mortar and served it as a dip for meat and sticky rice. I remember loving our imperfectly shaped cucumbers because I got to watch each one grow into its own unique shape and thought they all had more character than the “beautiful” ones wrapped in plastic at the grocery store. And I loved mustard greens, which grew in abundance once a year but could be pickled for year-round consumption.

We bartered with each other. We raised chickens in the backyard, letting them out to roam and feeding them by hand. We didn’t have a label for this back then, though now I suppose people call it “free-range,” and it costs more. We slaughtered our own hens, sometimes with rituals honoring the sacrifice of the animal’s life.

With the costs of vegetables offset by our gardens, all the families pitched in to buy a pig or cow from the closest farmer, dividing the meat. This way, we could also afford to buy rice.

But we had to keep our locavore tendencies secret. America’s food rules, which seemed to us to go against nature, left us fearful of punishment. At the time, exactly one person from our clan had attended an American college and became our cultural broker, translating to shamans the world of Western medicine, and to lifelong hunters and fishermen the rules of hunting and fishing. What license was needed for what, how many of what thing could be caught during which season, if you could take fruit from a tree depending on which side of a fence it hung. All of it was too complicated to keep straight, and so it felt safer to keep our food producing regimens to ourselves. I can’t remember how many times my father built, tore down and rebuilt the chicken coop, afraid that neighbors who heard crowing would report us.

“Don’t tell the Americans,” my mother would always say, and, eventually, as I grew into adolescence, I couldn’t agree more. I was afraid of being judged.

My mother sprinkled only fresh-cut grass in her garden, swearing by its ability to grow bigger and tastier vegetables. She often crossed dangerous lanes of traffic to get to a pile of lawn clippings. My sisters and I would jump out of the car to bag the grass, and we did it with the speed of a NASCAR pit crew, terrified of being seen by friends.

The parking lot of our neighborhood Kmart was a regular pickup spot for lawn clippings. In my teens, when merely being accused of shopping at Kmart was an epic embarrassment, you can imagine the horror I felt about being spotted stealing grass from its parking lot. “If anyone sees me, MY LIFE IS OVER!” I’d say. Unfortunately, dramatic teenage declarations of “life being over” didn’t fly in Hmong households, not when there would always be someone around to remind you of the time he narrowly escaped the death camps.

As the adolescent me tried to find her groove, navigating deeper into the treacherous social maze of an American high school, I tried to talk my mother out of picking cilantro and scallions from her garden, cleaning and separating and selling them for 50 cents a bunch at a local Hmong store. It never made her more than $20 a week, but she didn’t care. She was obsessed with the idea of doing something she knew how to do, something that could earn money.

My family searched for new places to grow food while I became increasingly afraid that outsiders would find out we lived in a replica Hmong village, built to resemble what the older generation knew as “home.” Then one day, I was outed by a classmate as a food stamp user as I stood in the collection line to count money for my mother. That was the day that I decided I hated everything about the way we got food — from the paint-bucket chili peppers to the communal pig, cut up in pieces, ready to be bagged and shared. I wanted to run away from this mess. I wanted to be one of the cool kids. I would feed myself like they do.

Now, as an adult, I don’t have a garden. Years after I finished college and was well into the working world, long after credit cards made checks obsolete at the grocery store, I still insisted on writing checks to pay for my brand-name groceries. The defiant child food stamp user in me still needs the validation that comes from putting pen to paper and declaring, in writing, that I earned the right to take this food home.

But who’d know that, just as I finally shed a former life of organic necessity, my mother would be the hip one? Now I go to the market and hear people boasting about the eggs in their backyards, or how much their garden looks like the one on the White House lawn. My best friend, also a former Hmong child gardener, laughs with me about collecting lawn clippings. If only we had had cool recyclable cloth bags with eco-friendly slogans, we joke. If only we could be heroic, claiming to be launching a food revolution. But for us, there was no room to think about glamour. That life just felt backward.

I imagine now how many “I told you so’s” my mother would impart on me if she could grasp the enormousness of today’s food movement: Pesticide-free produce, hand-fed chickens, cuisines boasting minimal ingredients all represent billions of dollars to be made. And, irony of ironies, now people’s food stamps can’t even cover the costs of organic and local produce at our markets.

But I stood recently at a popular farmers’ market in San Francisco, where I now live and where my relatives have a vegetable stall. Surrounded by a flurry of patrons enthusiastic about locally grown food, I felt … proud. Proud that Hmong farmers owned their own stalls, their tradition of necessity now trendy and profitable. That day, my uncle gave me a bag of cucumbers and tomatoes from his stall. He said he had heard all about my schooling and my travels, and that he was proud I had made it. But as I looked at my bag and at all the customers flocking to his stall, I couldn’t help thinking he was making it in his own right.

Pha Lo is a freelance writer/nutrition educator and teaches food budgeting skills to low-income parents.

(via initiumseries)

todayinlaborhistory:


Today in labor history, March 7, 2003:  Members of the American Federation of Musicians, Local 802, go on strike on Broadway in New York City over the League of American Theaters and Producers’ proposed reduction in minimum orchestra size requirements.  Union actors and stagehands supported the musicians and a settlement was reached on March 11. 

todayinlaborhistory:

Today in labor history, March 7, 2003:  Members of the American Federation of Musicians, Local 802, go on strike on Broadway in New York City over the League of American Theaters and Producers’ proposed reduction in minimum orchestra size requirements.  Union actors and stagehands supported the musicians and a settlement was reached on March 11. 

"i believe jehovah jirah, i believe there’s heaven, i believe in war
i believe a women’s temple, gives her the right to choose but baby don’t abort
i believe that marriage isn’t, between a man and woman, but between love and love
and i believe you when you say that, you lost all faith, but you must believe in something"

— Frank Ocean (via smoke-til-my-eyes-bleed)

blackaudacity:

image

Jenna Wortham

As  a technology reporter for The New York Times, Jenna Wortham writes about mobile apps, Web start-ups, and everything in between. Prior to theTimes, Wortham served as a technology and culture reporter for Wired.com. In-depth and comprehensible to even the most technologically-impaired, her writing has also appeared in print publications like WiredBust, and Frommer’s. Yet her most distinctive work to date is Girl Crush, a zine launched by Wortham and Thessaly La Force that venerates inspirational women. Girl Crush’s first volume, released last summer, featured over 20 essays and musings from acclaimed female contributors, including a Pulitzer-winning novelist. “The goal isn’t to turn a profit, but rather to capture a cultural moment, which in turn, offers the creators the freedom to explore and experiment,” explained Wortham in a Times article on zines.

image

Rembert Browne

Like many of his twenty-something year-old peers, Rembert Browne started a blog, 500 Days Asunderin 2011 to document his daily musings and to put his “creative juices” to practice. His exhilarating honesty coupled with his tangy wit and introspective rumination made for some of the best, most unique blog posts published in a while. Included in his most popular posts are “5 Black Comedians: A Study,” “Top 10 Diddy Moments. Ever,” and “Me vs. Drake.”  While most people, young or old, might have balled up into a dark, deep hole after being fired from their first job within nine months, or withdrawing from graduate school with eight months left, Browne wrote a kick ass, inspirational farewell blog post titled “About That Life” before reassessing his next moves. The Dartmouth alum was soon after promoted from freelancer to staff writer atGrantland, where he puts his distinct spin on culture and sports.

image

Jackie Sibblies Drury

Since entering the selective stratosphere that is American theatre, the Brooklyn-based playwright Jackie Sibblies Drury’s star has continued soaring to impressive heights. A 2012 New York Magazine article spotlighted her as one of the city’s 10 playwrights to watch. Time spent at Brown University’s MFA playwriting program resulted in her winning the David Wickham Prize in Playwriting and a Weston Award. Drury went on to write the award-winning playWe Are Proud to Present a Presentation and receive multiple fellowships, including the inaugural Jerome New York Fellowship, which awarded her $50,000 towards producing new work and researching Morocco. In an interview with “Works By Women” last fall, Drury explained the project: “I’m hoping to spend my time talking with people, observing people, and reading a lot while thinking about the intersections between politics, Islam, and feminism, both in a predominantly Islamic state as well as in African-American communities in the U.S.”

image

Uzoamaka Maduka

Otherwise known as Max, Uzoamaka Maduka’s name has been plastered all over major New York City publications. More attention has been given to her socialite-like charisma than her literary journal, The American Reader. Nonetheless, the Nigerian-American Princeton graduate has been on a steadfast mission to revitalize the American literary magazine. “So many of the voices in fiction that are out there are deeply neurotic white male stories…I kind of felt like, I really don’t want to sit still for this,” Maduka told The New York Times. “Literature, from women of any race and men of any race, besides white, would always be pigeonholed as, ‘Now I’m going to tell you my Nigerian story,’ and it was so tiring.” Two issues of The American Reader were published in 2012 to mostly tentative reviews, but Maduka has already shifted her focus to this calendar year with aims of landing a second investor and scouting potential writers.

image

Kyla Marshell

The petite, powerhouse poet that is

Kyla Marshell has been building a solid repertoire of award-winning published pieces for quite some time now. She has demonstrated an acute ability to dissect multifaceted issues, both social and personal, in her arsenal of poems. In “We’ll Always Have Negritude,” a piece about “how Black people are going to survive the apocalypse,” Marshell writes, “my locs will be the chain-link fence keeping out those aliens, & your afro will be the cumulus clouds cottoning the sky, the unpicked cotton sky.” A graduate of Spelman College and Sarah Lawrence College, she has also penned excellent commentary on Black hipsters and the hashtag’s lament, written reviews on jazz for Okayplayer’s The Revivalist, and received a Jacob K. Javits Fellowship in 2011 and a Cave Canem Fellowship in 2010 and 2011.

image

Jason Parham

“We as a people come out of this highly literary Black tradition where we’re trying to break down societal barriers through art and give a voice to people who often go unheard,” Jason Parham, editor of the literary journal Spook, told EBONY.com in a past interview. “We create our own conversations and dictate our own conversations and show we are just as powerful and we have just as much to say as anybody else.” Having noticed a dearth in the canon of great journals like The New Yorker and Harpers, Parham displayed an exemplary amount of self-determination and created a great publication “with a heavy minority focus.” Sixteen Black writers (including Marshell and Browne) skilled in various genres contributed to the first issue of Spook released this past June. Parham, who has penned articles for VibeGQThe Atlantic and Village Voice, told our Brooke Obie that he was transitioning to creative writing, working on his novel, and finalizing the second volume of Spook. “With Spook, I hope to show that our writing is as good as anybody else’s.”

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Taiye Selasi

When Toni Morrison sets a deadline for you, you meet it. And that is exactly what Taiye Selasi did, according to an NPR interview. After meeting Morrison through the author’s niece, Selasi ended up having dinner at Morrison’s home and then her son’s home. It was during that second meeting that the Pulitzer Prize winner gave Selasi an ultimatum. “She said, ‘Listen, I’m going to give you a year. If you don’t have something for me by then, I don’t know what to say.” A year later, Selasi produced the short story, “The Sex Lives of African Girls,” which was published in the heralded literary journal Granta in 2011 and featured in Best American Short Stories of 2012. Born in London and raised in Massachusetts, Selasi unpacked intricate notions of identity in her 2005 seminal essay titled, “Bye-Bye, Babar (Or: What is an Afropolitan?”) Ghana Must Go, her highly-anticipated debut novel, will be released in March.


Read more at EBONY http://www.ebony.com/entertainment-culture/7-young-black-writers-you-should-know-304/2#ixzz2J6AeX9Iy 

(via slaybelle)

initiumseries:

A sneak peek at INITIUM Book 2 | Julliet: A Time to Reap. What do you think Hector Pena is upset about?

initiumseries:

A sneak peek at INITIUM Book 2 | Julliet: A Time to Reap. What do you think Hector Pena is upset about?

racebending:

princelesscomic:

princelesscomic:

J. Skylar at Comic Book Bin wrote an incredible article that can be used AS A STARTING POINT when writing LGBT characters or about LGBT issues.  Follow the link, check it out, but remember: your most important job when you write about another culture of any type is to do your research and understand what the words you are using mean, not just from a dictionary but to those who will read them and be affected.

Writing about topics you are not directly involved in can be a difficult task, particularly when it concerns cultural identities because you may inadvertently offend the very people you wish to write about. This is especially true when writing about the Lesbian, Gay, Bisexual and Transgender (LGBT) community, because its terminology has changed and evolved considerably over the past century.”

So…apparently this is somehow up for debate.  Read the site editor’s response.  Please, let him know what you think…I did.  http://www.comicbookbin.com/Challenging_LGBT_Classifications001.html

Skylar’s tips for writers included simple things like avoiding the word “homosexual” and using “transgender” as an adjective instead of a noun. Apparently this was too much for site editor Herve St-Louis, who writes:

However, Skyler’s construct seemed to me too normative and too controlling. If you’ve read ComicBookBin for ten years or know about me personally, you’ll know that I like to poke fun at authority figures and normative stances. I can’t help it. I like to challenge dogma. Skyler introduced her classification method to writers of ComicBookBin because presumably she was annoyed at how we wrote and classified LGBT issues. I am the first one to admit to using the word homosexual to describe gay men in several articles. Before reading Skyler’s notes, I had no clue whatsoever that the word homosexual was even a problem. In fact, I always assumed that the term “gay” was more associated with a specific lifestyle that trapped many men into a specific cultural identity and that the word homosexual freed them of being classified under a cultural construct.

…I feel that Skyler’s classification unduly restricts the voice of other writers. Because it is motivated by a need to reverse a dominant discourse, it therefore manifests an objective that may not be shared with other writers at ComicBookBin. At ComicBookBin, we have had writers who were on the extreme left and some who definitely were right of centre. I welcome all of them. Personally, I find the rainbow of terms defined by LGBT too cumbersome and too elastic in its attempt to include everyone and make everybody happy. I will admit that I find placing lesbians before gays a trivial matter. It feels like overbearing political correctness and I don’t like it. ComicBookBin is not about political correctness. It’s about comics. That writers choose to classify terms as suggested by Skyler is something I will leave to each of them to decide. I will not adopt the full range of Skyler’s classification because it’s too heavy to use for me. Also, I am not convinced that terms such as “homosexual” are deemed as derogatory by many gays. It sounds as something that queer theorists debate among each other as opposed to a feeling shared by the gay population at large about the term homosexual being insulting to them. Skyler’s classification has certainly educated me, but I can choose my own classification construct just as Skyler does.

…One of my biggest criticisms of Skyler’s article is that it talks down on people instead of including them in the discourse. We have a lecturer lecturing readers about what is acceptable language and what is not. The rebel in me right away flared up with what I deem a patronizing language. Skyler’s classification did not include groups which were not part of the LGBT in the discussion. In a weird way they were excluded from the discourse and became the other which Skyler has tried to deflate.

…an individual helpfully lays out general guidelines for how to reflect or write about a marginalized community. The suggestions are rejected for bring too “heavy” or otherwise cumbersome—in other words, the writer’s convenience is prioritized over the needs of the marginalized community the writer is trying to represent. The tips for how to write sensitively are deemed “patronizing” and exclusionary towards straight people.

(via initiumseries)

initiumseries:

Take a look at the INITIUM pilot Origins and Sorrows released on October 10, 2012

initiumseries:

Take a look at INITIUM Book 1 | Nia: Objects in Motion. View the rest on the INITIUM site!

westquarry:

Worldbuilding Wednesday #6: “Wrede and Write”
By now, I’m sure that most of you have read Patricia C. Wrede’s classic list of fantasy worldbuilding questions; if you haven’t, I would recommend following the above link and giving them a glance-over.  At the very least, they’ll give you some good inspiration for things you should think about while building your fictional world. They’ve been around forever, and many people have found them very helpful. That said, I have to admit that it was only very recently that I’ve discovered how to use them myself. 
After initially discovering them, (and being initially very excited to have found them), I tried many times to use them as a tool for creating fantasy worlds from scratch. I thought I’d start with Question 1 of The Basics (“Are the laws of nature and physics actually different in this world, or are they the same as in real life? How does magic fit in? How do magical beasts fit in?”) and systematically go down the list, answering all the questions. At the end, or so I thought, I’d have a completed world ready to go.
Well, maybe that’s how other people use the list. I don’t know. Perhaps that’s how the list was originally intended to be used — I doubt it, but maybe.  All I know is, it never worked for me.  I would start at Question 1, and get a few questions in, and then stall, crash, and burn. 
Sometimes I would stall at the first question, having trouble deciding whether or not my world would differ from Earth, and where, and how much. Sometimes I would get a little farther in. But eventually. I would hit a wall, where I couldn’t answer the question and couldn’t think of how to create an answer to the question. Maybe I’d skip it for the moment, and move to the next — only to hit another wall a few minutes later.  Eventually I’d abandon the exercise, and not once do I remember ever thinking a world I’d started via the questions was worth revisiting or continuing outside of them.
It’s taken me a long time to figure out why that was. But recently I’ve realized that, for me at least, the questions are not a system for creating a world from scratch. Instead, they’re much more helpful to me as a checklist after I’ve already built the world. They can illuminate holes that need to be filled in a worldbuilding project. They are helpful with revising and touching up my world at closer to the end of its construction, rather than creating it at the beginning.  Once I have the world more or less in shape, I can go to the list and say, “What does this country import? Export? How important is trade to the economy? How is currency exchange handled, and by whom? What is the system of coinage, and who mints it?” And, if I don’t have an answer for it, that’s something for me to think about. The answer might change the way I look at the world; it might have far-reaching repercussions. Or it might just be a detail that I mention in passing in my notes and never use where anyone else will see it. Either way, it makes that part of the world a little more real for me, and hopefully that gets passed on to the audience whether or not they know about the one small detail.
So, having discovered that I was using the questions at the wrong end of the process, I can now say that they are indeed as good a resource as I first thought upon discovering them years ago — just not quite in the way I expected back then.
Your mileage may vary, of course — you may find them helpful in completely different ways than I do. If you do, let me know how you put them to use?

westquarry:

Worldbuilding Wednesday #6: “Wrede and Write”

By now, I’m sure that most of you have read Patricia C. Wrede’s classic list of fantasy worldbuilding questions; if you haven’t, I would recommend following the above link and giving them a glance-over.  At the very least, they’ll give you some good inspiration for things you should think about while building your fictional world. They’ve been around forever, and many people have found them very helpful. That said, I have to admit that it was only very recently that I’ve discovered how to use them myself. 

After initially discovering them, (and being initially very excited to have found them), I tried many times to use them as a tool for creating fantasy worlds from scratch. I thought I’d start with Question 1 of The Basics (“Are the laws of nature and physics actually different in this world, or are they the same as in real life? How does magic fit in? How do magical beasts fit in?”) and systematically go down the list, answering all the questions. At the end, or so I thought, I’d have a completed world ready to go.

Well, maybe that’s how other people use the list. I don’t know. Perhaps that’s how the list was originally intended to be used — I doubt it, but maybe.  All I know is, it never worked for me.  I would start at Question 1, and get a few questions in, and then stall, crash, and burn. 

Sometimes I would stall at the first question, having trouble deciding whether or not my world would differ from Earth, and where, and how much. Sometimes I would get a little farther in. But eventually. I would hit a wall, where I couldn’t answer the question and couldn’t think of how to create an answer to the question. Maybe I’d skip it for the moment, and move to the next — only to hit another wall a few minutes later.  Eventually I’d abandon the exercise, and not once do I remember ever thinking a world I’d started via the questions was worth revisiting or continuing outside of them.

It’s taken me a long time to figure out why that was. But recently I’ve realized that, for me at least, the questions are not a system for creating a world from scratch. Instead, they’re much more helpful to me as a checklist after I’ve already built the world. They can illuminate holes that need to be filled in a worldbuilding project. They are helpful with revising and touching up my world at closer to the end of its construction, rather than creating it at the beginning.  Once I have the world more or less in shape, I can go to the list and say, “What does this country import? Export? How important is trade to the economy? How is currency exchange handled, and by whom? What is the system of coinage, and who mints it?” And, if I don’t have an answer for it, that’s something for me to think about. The answer might change the way I look at the world; it might have far-reaching repercussions. Or it might just be a detail that I mention in passing in my notes and never use where anyone else will see it. Either way, it makes that part of the world a little more real for me, and hopefully that gets passed on to the audience whether or not they know about the one small detail.

So, having discovered that I was using the questions at the wrong end of the process, I can now say that they are indeed as good a resource as I first thought upon discovering them years ago — just not quite in the way I expected back then.

Your mileage may vary, of course — you may find them helpful in completely different ways than I do. If you do, let me know how you put them to use?

(via jackconnersblog)

pussreboots:

knitmeapony:

I REGRET THIS IMMEDIATELY

Every single day at my house.

Too awesome.

pussreboots:

knitmeapony:

I REGRET THIS IMMEDIATELY

Every single day at my house.

Too awesome.

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