Writing in a Time of Violence - Part 2

Day 2,376, 16:53 Published in USA USA by Silas Soule

Live Sharp Look Smart

Never Work
( or, Writing in a Time of Violence, Part 2 )


Some (otherwise good) people say that eRepublik is only a wargame.

Bunkum and hokum.


In fact, eRepublik is many things and can be played in many ways. True, it can take a little more derring-do and, dare I say, imagination, to see it as something other than an idiotic push-button-mechanics-obsessed war-fest lame-o Clausewitzian wet dream. But it can be done. Yes it can. Yes. One can, for example, play eRepublik as a game of writing.



And so isn't writing.





Fair warning though. It is not easy to play a writer in eRepublik.



Well. When I say "not easy", I am not referring to those aspects of an e-writer's life that involve being guest of honor and toast of the town at endless rounds of delightful e-dinner parties and e-banquets held at trendy e-restaurants, nor the endless amorous e-affairs and e-flirtations and, err, let's say the many discrete kinds of "plug-ins" and "downloads" that come with fame, nor being fêted far and wide by the e-literati and pursued by the e-paparazzi, nor the practically de rigueur over-consumption of actual RL alcohol and other, umm, luminous substances that flow along with traversing the belletristic territories. No, no. None of that is especially arduous. Not even the perpetual cigarette smoking is that hard to take once you grow accustomed to it. No. It couldn't by any stretch of the imagination be called "not easy" to be an e-writer in those respects. Not if one is to be honest anyway.



A typical e-writer, smoking.


However, it is hard to be a e-writer in a more existential sense.
And. Obviously. It can also be hard in an aesthetic sense. But that goes without saying doesn't it? Dang. And now I've gone and said it. Drat.



Anyway, the existential difficulties become especially acute under the following conditions:

1) During revolutionary times

2) In situations where "hard" people are running your country

and

3) Right after lunch. Under any circumstances, it is always best to just go ahead and take a short nap after lunch, no matter whether you perceive your e-role in scholarly or jingoistic terms. So I suppose not napping after lunch doesn't really count as a difficulty peculiar to writers. I thought I'd mention it anyway though. Mainly for the benefit of my American friends, who tend to rush back to work or to their studies right after lunch, instead of taking a nice leisurely siesta like the rest of the people do. It's really no wonder some of my RL compatriots get cranky and then occasionally start bombing random foreign countries or shooting up school zones. It's a well-known fact that not taking a nap after lunch will make anybody cranky. Lately I am beginning to suspect that those folks in the Kremlin may have stopped taking naps after lunch. You can see where it leads. So my advice to e-writers is to always take a nap after lunch. OK. Enough said on this topic. I won't revisit it. We've discussed it enough. Unless I am still writing this article at lunchtime. Then I might mention it again. After a nap.



Even the mighty, mighty bears who power the Bear Cavalry take a nice nap after lunch.





Leaving aside (for now) the lunch/nap equation, let's focus our attention on writing in revolutionary times...

Pressure from the revolutionaries and ultra-revolutionaries is put on writers during periods when there is a great social upheaval. I will discuss this more below.




And pressure is put on writers in "hard" times...


In periods when the authorities are engaging in the politics of a clamp-down, pressure comes in the form of threats of expulsion, censure and so forth -- the e-equivalents of arrest and disappearance.

The kind of pressure I am talking about is the pressure to "toe the line", which, as you Orwell fans know, is the most tiresome of idiomatic phrases and worn-out metaphors. Only someone under the domination of an unyielding pressure to conform would "toe the line" by using such a humdrum, unimaginative metaphor as "toe the line", right?

Thankfully, we seldom see this tiresome phrase "toe the line" used in eAmerican discourse, and when we do, it is usually mis-spelled. So we can thank the gods for small favors on that score now, can't we brothers and sisters?



The job of an e-writer is to not crack under pressure.






What we have been seeing -- disconcertingly -- during the recent debate in the eUSA over the work tax is a tendency to identify all dissenters (and all real writers, if they are real writers, are also dissenters at some level) as enemies of the state. Let's remember: in a Total War Society, to assert that "all who are not with us are against us" makes for a perfectly sound rule of logic. So it is not a surprise to see this kind of thing pop up when the leaders of an e-nation have adopted a "hard" stance on the question of "What's it all about, eRep?" (Answer: all war, only war, just the war, mechanical war, war, war, war, war, war, war,war, war, more war, war and nothing else, etc., war).

This is the kind of pressure that a writer must expect and must be prepared to deal with.


I am here to help, dear writer-friends. Depending on the circumstance, a writer has a variety of strategies to choose from.



Naturally, he or she doesn't want to be put away, banished, e-killed or driven into silence by the "blood and iron" contingent. So they find the ways to state their case -- which, if a writer is really playing to win at writing, means to present stories of actual player-humanity doing human things in a human way -- without raising the ire of the nationalist-big-bourgeois-monster-zombie-elite (or whatever) to the point where it becomes counter-productive or deadly.


Which strategy to use depends on the current climate and the overall tenor of the times. The main ones are:

* Historical analogy * Tell a story about the distant past or another time, using an unmistakable analogy, but without any impeachable direct connection to the "hard" ones and their shenanigans. Use this extremely subtle approach in very dangerous times.

* Incitement * Make an accusation regarding the hottest topic of the day which everyone has been whispering about but has been afraid to criticize. "Break the pot." "Shit the bed." "Declare that the emperor has no clothes." "Troll like a madman" The goal here is to unleash an avalanche. This kind of story needs to be timed just-so. Ideally so that it will be forgotten, until later, after things have changed or calmed down, who it was that first shouted "fire".

* Tragedy * Tell a story of a victim of the "hard" ones that is so sad, so full of heart-wrenching pain, so evocative of loss, that the exposure to such a tale of suffering releases a torrent of natural compassion within the reader, making him or her feel so human that the bestial qualities of the "hard" forces are thrown into sharp relief. This kind of writing should be the stock-in-trade of any real writer. Use this approach often when faced with "hard" circumstances.



The angel of grief is a writer's best friend.


* Sharp Wit * With the accuracy of a surgeon's scalpel, dissect, decompose and deconstruct the discursive underpinnings of the language used by the "hard" men. Attack the very core of their so-called "belief" system and expose it for the illusion it really is. This is the most dangerous way to counter-act "hard" authority. The crowd will usually not follow on right away. The writer will typically stand alone in the docket bearing his "J'accuse!". But the potential is great, and the effects are the best. For it is this kind of writing that causes common people to laugh out loud when they first read it. And then to point to and mock the "great leader" behind his back in ever-increasing numbers.









This is what every brat-dictator fears the most: girls mocking him behind his back.










The other kind of pressure that a real e-writer has to deal with is the r-r-r-r-r-r-revolutionary kind. At some point in their career, if they live in interesting times, a writer will almost inevitably be condemned by one revolutionary faction or another as being "petit bourgeois", "counter-revolutionary", "a drunkard", "fat and lazy", "a sell-out", "a fornicator", "a drunkard", "a fancy dandy", "an idler", "a drunkard" or simply "a drunkard".

This comes with the territory and should be expected.

In 9 times out of 10, such "revolutionaries" just want to be "hard" men. So the strategies outlined above can often be adapted for use in responding to revolutionaries as well. However, since there is usually less chance of being officially persecuted and instead only being chastised and beaten-up in a few chat rooms and forums, a writer can typically take a few more liberties in responding to revolutionaries.
Including the following approaches:

* Psychological Response * Find a way to elicit a normal psychological response from the revolutionary, such as a guffaw or some kind of admission that they may have acted impolitely or improperly. This should NOT be done in a demeaning way. (See * Incitement *, that is totally different.) Rather it is a totally honest appeal to an honest emotion. This is often very effective and can actually help to improve the revolutionary movement (and of course, all real writers always support the revolution, even when they are opposing or correcting its revolutionaries).

* IDGAF and FUVM response * Everybody loves smart-ass cranky old guys and hates pedantic bullies. If you are accused of being a drunkard by some pipsqueak who has never in his pipsqueaky career written anything of consequence except to repeat some boring old nostrums and slogans, then announce that you are in fact the greatest drunkard of all time and challenge the r-r-r-r-revolutionaries to a drinking contest. Then do a silly version of "Sharp Wit". This strategy should only be used when responding to pipsqueaks.

* Slaughter * This very rare strategy should be used only when it is obvious to the writer that a big-bourgeois agent or deep-seated psycho-nut-job has infiltrated the revolution and is posing as an ultra-revolutionary. Expose his crimes and misdemeanors in a police-report style and lay it all down like slicing through a slog-fest with a Battle-Axe. This can be dangerous and should be used only in extreme cases where the health and well-being of the nation and/or the vast masses of players internationally is at stake.






OK. Surprise, y'all! Here's a snap-contest!

Read the scenario below. Look at the picture. Then provide a mini-story in the comments.
All half-decent mini-stories will win fabulous prizes!!!



Let's say you have heard this story: A "revolutionary committee" sent from the "hard-core" military government has arrived in the e-neighborhood and demanded that everybody turn over their chickens for the communal hot-pot. People in the neighborhoods report lots of high-falutin' revolutionary rhetoric is being combined with the threat of government reprisals.


And then you have heard about this one incident, where a mother stepped forward and sai😛


"What do you mean? Why does my chicken has to be everybody's chicken first? I'm not 'petty bourgeois', you shit. That's my frikkin' chicken. And my children are hungry. You want my chicken, ..."










What story do you tell?
And how?