I explicitly stated in my post that these things can be used to good effect in stories: My biggest issue is when they're used as a substitute to actual character development. If they're used as a supplement to character development, it can be effective. I never saw American Psycho, but I've enjoyed other violent dark comedies like Fargo and Burn After Reading and other action/drama/suspense/horror films with a lot of violence.
TMW you realize after a long day of worry that you've fallen victim to your anxiety once again. Bonus because after a day and a half of you feeling like you've conquered it, you realize now that this was your anxiety having it's sweet, sweet revenge by kicking your fears and worries to high gear. To the point where you're now up at 11:25 pm for it. <rolls up sleeves> TMW you're ready to curbstomp that anxiety right in its ass for this.
I meant the book by Bret Easton Ellis, although the movie is pretty good too. It's got extreme violence, torture, and also rape if my memory serves me, and it immediately sprung to mind when you wrote "These things can work well in a story, but they fail..." So while I noticed you saying "these things can work well," it was the assertion "but they fail" which caught my eye -- hence my response. I didn't mean to imply you think all extreme violence in every book ever = failure; sorry if it came across that way. I just like analyzing the role(s) of violence in fiction and real life.
TMW you are writing a parody of Let It Grow from Disney's Frozen involving your characters singing and you want to put it on your blog.
TMW something clicks and your dream project gets tipped on its head, solving the issue of no conflict in one fell swoop. The gestation period of this project is looking like being close to 2 years, and I am stoked to have solved this conundrum so early in the piece.
TMW you create an emotional scene for your story and OF COURSE you're at work so you can't write it yet.
TMW when you watch Divergent first and only later do you watch The Fault in Our Stars, and you spend the whole of the second movie disturbed by what looks like Triss taking her brother as her lover.
Makes you want to read some Storm Constantine. Was it Sea Dragon Heir where two main characters (who I think are not only brother and sister but twins) are lovers?
China MiƩville's The Scar has two characters known as The Lovers, and it's very ambiguous as to whether they are just lovers or if they aren't also bro and sis. I've not read Sea Dragon Heir. Checking it out now.
TMW you sit down and write in your journal about the scene you came up with today and realize that no, no it would not fit at all because it would go against logic itself not to mention the characters and how they would act. Really, I'm starting to learn a lot the difference between the way my characters would act verses the way I want my characters to act.
Yeah. When I gave my characters a chance to speak, one of them said, āWhat is this? Why would I even do this?ā To be fair, I appreciate it when my characters actually make their protests known before I waste 1k words on something that would've made no sense at all.
TMW in your world building where dozens and dozens of questions pour out from your mind onto your page. I couldn't have asked for a better session. I feel like I'm starting to understand my characters more.
Read your old stuff - stuff you're proud of having written. That'll help connect you to your talent and your muse.
TMW your country's new Prime minister (after deposing his party leader) is talking to his own party and gets laughed at for a claim... the mouth rub tell at the mention of big business is enlightening.
That moment when your Professor sends you a private email to ask you not to swear in your blog posts. And That moment when someone points out you've been swearing and you don't even fucking realize it.
Hey, hey, hey, tone down that fucking language, you dumbass shit. Small children are reading this. Small fucking children who can't even do fucking algebra! Fuck, man...