I will always point to the X Files as the most important *modern* text for RW writers. It's about the American Empire trying to contain spiritual realities--which is a far stranger, more dangerous world than anyone wants to admit. It's a story set right before the collapse. 1/
The sword hanging over nearly every episode is either our protagonist Mulder breaking the news to the public or the monster getting out. In either case, American normalcy dies. The world of consumerism is traded for a plunge into reality. No one wants this to happen but... /2
If we were to take the show seriously, it's practically inevitable. The government (as villains) in the story aren't overlords. They are one bad day away from the whole thing falling into shambles. The empire is crumbling. Those not blinded can feel it in their bones. /3
And to take a far more serious tone for a moment, we are living in the reality where the monsters are breaking through. I make this comparison not to make light of the tragedy, but to highlight that the modern world is incapable of dealing or addressing with these things. /4
We are currently living through the times where the X Files monster gets out. Terrible, dangerous things are prowling out there. Things that are shattering norms and unraveling society. The show always ends with the status quo, but we are living post the status quo. /5
I think it is the duty of artists to confront the problems of the times they live in. This is why I drew the connection. I don't view fiction as childish. And I pray my comparison is not distasteful. The modern man is realizing good and evil actually exists. /6
This destroys the old world where we could contain the uncomfortable to an episode on television. It's viscerally present. We can't dismiss it come the next forty-five minutes. We have to live with the consequences. /7
And this comes to my lighter point. RW art, if it is to be meaningful, cannot take a status quo attitude to its commentary. You must depict the world after the X Files episode. There's no reset button. Yes, the horrific exists, and it can't be shuffled as *problematic* /8
I think RW art of the future is going to be the world after the X Files. It necessarily has to be to say anything True. This is why my favorite writings prompt is "Take an X File episode and follow the consequences to its natural conclusion" /9
The easy part for RW artists is that liberals already voiced every criticism of their ideology. They just pretended they had an answer and shoved the problem offstage. RW art is just picking up where they couldn't go any farther. /end
Conservatives can complain about wokeness all day long, but even if we snapped our fingers and magically retook the institutions, most stories would still be hot garbage. The reason is most authors fundamentally misunderstand storytelling. 1/
I've found most modern authors are led by tropes rather than using tropes to craft a coherent vision. For example, they dump dragons and elves and even a cool thieves' guild in the setting with really intricate lore without first thinking *why* those things should be there. 2/
And this becomes a problem when we get to endings--the bane of every modern author. They throw a bunch of cool stuff into the narrative without any thought of how it all fits together. Watch Season 8. It's not just the writers, even the other characters can't process S8 Arya. 3/
This is a worthy critique. Why do I insist on creating my audio dramas, even though I'll never pull the same numbers as Critical Drinker? Why does a RW artist swim against the algo, even though there's no tangible benefit?
Because existing in perpetual reaction is hell. 1/
Last year, the entire Conservative movement was subjected to The Acolyte, an awful show designed to humiliate SW fans and RW'ers.
And every Conservative influencer watched it. They had to, in large part because it was their paycheck. They tortured themselves effectively. /2
I can't imagine a worse hell that still caring about Star Wars, knowing it's in the hands of your enemies, and that they're using it to clown on you. Yes, you can try to laugh back, but the jokes on you. Because they get to make Star Wars and get rich and the RW doesn't. /3
Okay, since so many people are having trouble understanding the political landscape of America in 2025, I’ll lay it all out—logic in full. Disaffected liberals, centrists, and moderates of all stripes take note, this is why white America is done with you.
The Post-WW2 consensus, the foundation of all of America’s current political woes, sold white Americans on a narrative that the worst sin was racism and that this country was held back from the secular liberal utopia by the irrational bigotry and hatred of white Americans. /2
This led to the Civil Rights Act, a spoken and unspoken contract in our society that made it illegal for whites to collectivize on any grounds based on identity. Among other things, people assumed that banning “discrimination” would fix the black community’s problems. /3
I was skimming an indie novel, and I was struck by how scenes with heavy action still bored me to death. Action is good, but action that reveals character is 100x better.
For example, go to Cowboy Bebop. The slippery way Spike fights tells the viewer everything about him. 1/
What separates the amateurs from the masters is to be able to do three or four things at once with the same scene. Action should usually be accompanied by an insight, an idea to underscore, or a new aspect of a character. This is why the fights in FMAB are immaculate. 2/
Some people enjoy fights because of mechanics, and I would argue this is another dimension to consider. But your ability to make these interesting is like trying to write a good detective story. Your goal is to do unexpected things within a constrained ruleset. 3/
I believe that the future direction of the book industry is trending towards maximalist, highly detailed book covers. At least, for those indies who wish to remain competitive in an oversaturated market.
Here’s some tips on cover art and how to stand out from AI slop. /1
Here’s a cover I whipped up with AI until I can commission a proper one from an artist. It’s decent and it gets the proper vibe across.
However, there are a few problems. The guy has two hoods. The city has blurry details, and the picture gets worse the longer you squint. /2
Here’s the thing about AI. It can generate an image with two or three key ideas. Any more than that, and the generators flat out break. And even in good shots, you see tons of AI errors if you look long enough. And these generators can’t create images they aren’t trained on. /3
Some thoughts on what I think destroys modern writers.
The first and foremost is that writers view their stories as an expression of a product and not vision. This leads writers to treat tropes and the fantastical as commodities at a store rather than artistic intent. 1/
This leads to rampant homogenization where every setting has elves and dwarves and a thousand kinds of dragon, but without anything really being said through the setting. You have authors writing 150 page histories, and it all feels the same. 2/
Which leads to my next point. Authors emphasize complexity as the highest virtue. Everyone loves to clown on Martin, but everyone still wants to write the next ASOIAF. Endless detail and history is anathema to storytelling—which is the concise presentation of detail. 3/