"I Don't Think I Could Have The Relationship With You That You Have With Me," She Said. She Was Very

"I don't think I could have the relationship with you that you have with me," she said. She was very casual about it, and I was immediately on the defensive.

"What do you mean by that?" I asked.

She put the book she'd been reading down. "It's just, the way you've described it, and the vibe that I get, I don't think I could do it how you do it."

"I still don't know what that means," I said.

"You're always doing this like ... micro calculation thing," she said. "You weigh your words. You try to time things. You have never once called me up while I was at work, or asked me for something when it was inconvenient for me, and you check and double check that you're not being a nuisance."

"And ... that's bad?" I asked.

"No, I love that about you," she said. "It's very kind and considerate. I know that if I tell you I'm not in the mood to hang out, you'll apologize and not push it. If you suggest that we get pizza and I say I'd rather have Korean BBQ, you fold instantly and we get Korean BBQ. I like that. I get the things I want. But it seems like an exhausting way to deal with people."

"I want you to be happy," I said with a small voice.

"I am happy," she replied. "You're great. You remember when we first got together I was like 'hey, look, if you want pizza, we can get pizza, it's just not what I'm in the mood for', and you kept insisting that you didn't care, that you would rather have me follow my needs? And I just thought, 'you know, maybe I should just trust that's what they actually feel'. And it is, as far as I can tell. There's not some secret part of you that wants me to break your way."

"You think I'm ... a simpering coward?" I asked. Even as I said it, it felt too accusatory, the wrong thing to say in the situation.

"Whoa, no, not at all," she laughed. "I think you do all that stuff because ... I don't know, you want to? Because otherwise why would you do it? It's how you are with every aspect of your life, you're a tryhard. I mean you said to me that you wanted to reclaim the term. Your relationship with me is that you're a tryhard (affectionate)."

"And you're ... not?" I asked.

"I'm not that way with anyone," she replied. "You know why I hang out with you so much? It's 'cause I like you. Most days, I am very much in the mood for you, and if you ask for a meetup, I'll say yes, and if you don't ask for one, then I'll ask you first. And for you ..."

"What?" I asked.

"It's like ... you're keeping track," she said. "You want to make sure that you're not sending me more messages than I'm sending you. You're balancing social micro stuff that I don't pay attention to. You're consciously monitoring how much each of us has said and making sure it's the right number of words or whatever."

"It's really not about the number of words," I replied. "It's more ... making sure that social and emotional labor is equitable, that there's a good rhythm to the conversation. I don't think you'd get good results by tracking word count."

"But see, I don't do any of that," she said. "I talk because I feel like talking. I listen when you need to vent because I like you and it feels good to give you an outlet. I mean you are undoubtedly putting in a bunch of work, and for me, there's no work. That's all I meant, really."

"You've thought about it," I said.

"Oh, I'm just reading this book, and there are two characters like us in it, and I was like 'yes, exactly', and then 'that would not work for me'." She shrugged.

"And if I stopped 'putting in the work'?" I asked. "Would we still be ... friends?"

"See, I don't know," she said. "Because that's never who you've been. You're asking me if I would still be friends with you if you changed your personality and how we interact with each other. Maybe? Probably? Who knows? Maybe we'd be better friends somehow. Maybe we're just two basically compatible people, and every time you've ever worried about anything it would actually have been completely fine."

"Or maybe it's load-bearing," I said.

"Maybe!" she replied with a smile that slowly faded. "You okay?"

"I'm thinking," I said. I didn't know if I could verbalize what I was thinking in a way that would be palatable.

"Do you not like being this way with me?" she asked. "Because I have never asked you to. I've made my preferences known, but if you've been bending yourself into knots and feeling a burden, then ..."

"No," I said, because I knew it was what she wanted to hear. "No, I like the way things are between us."

"Good," she smiled. "I do too."

I feel lied to. This is where the bugs bunny NO meme cokes from

actual writing advice

1. Use the passive voice.

What? What are you talking about, “don’t use the passive voice”? Are you feeling okay? Who told you that? Come on, let’s you and me go to their house and beat them with golf clubs. It’s just grammar. English is full of grammar: you should go ahead and use all of it whenever you want, on account of English is the language you’re writing in.

2. Use adverbs.

Now hang on. What are you even saying to me? Don’t use adverbs? My guy, that is an entire part of speech. That’s, like—that’s gotta be at least 20% of the dictionary. I don’t know who told you not to use adverbs, but you should definitely throw them into the Columbia river.

3. There’s no such thing as “filler”.

Buddy, “filler” is what we called the episodes of Dragon Ball Z where Goku wasn’t blasting Frieza because the anime was in production before Akira Toriyama had written the part where Goku blasts Frieza. Outside of this extremely specific context, “filler” does not exist. Just because a scene wouldn’t make it into the Wikipedia synopsis of your story’s plot doesn’t mean it isn’t important to your story. This is why “plot” and “story” are different words!

4. okay, now that I’ve snared you in my trap—and I know you don’t want to hear this—but orthography actually does kind of matter

First of all, a lot of what you think of as “grammar” is actually orthography. Should I put a comma here? How do I spell this word in this context? These are questions of orthography (which is a fancy Greek word meaning “correct-writing”). In fact, most of the “grammar questions” you’ll see posted online pertain to orthography; this number probably doubles in spaces for writers specifically.

If you’re a native speaker of English, your grammar is probably flawless and unremarkable for the purposes of writing prose. Instead, orthography refers to the set rules governing spelling, punctuation, and whitespace. There are a few things you should know about orthography:

English has no single orthography. You already know spelling and punctuation differ from country to country, but did you know it can even differ from publisher to publisher? Some newspapers will set parenthetical statements apart with em dashes—like this, with no spaces—while others will use slightly shorter dashes – like this, with spaces – to name just one example.

Orthography is boring, and nobody cares about it or knows what it is. For most readers, orthography is “invisible”. Readers pay attention to the words on a page, not the paper itself; in much the same way, readers pay attention to the meaning of a text and not the orthography, which exists only to convey that meaning.

That doesn’t mean it’s not important. Actually, that means it’s of the utmost importance. Because orthography can only be invisible if it meets the reader’s expectations.

You need to learn how to format dialogue into paragraphs. You need to learn when to end a quote with a comma versus a period. You need to learn how to use apostrophes, colons and semicolons. You need to learn these things not so you can win meaningless brownie points from your English teacher for having “Good Grammar”, but so that your prose looks like other prose the reader has consumed.

If you printed a novel on purple paper, you’d have the reader wondering: why purple? Then they’d be focusing on the paper and not the words on it. And you probably don’t want that! So it goes with orthography: whenever you deviate from standard practices, you force the reader to work out in their head whether that deviation was intentional or a mistake. Too much of that can destroy the flow of reading and prevent the reader from getting immersed.

You may chafe at this idea. You may think these “rules” are confusing and arbitrary. You’re correct to think that. They’re made the fuck up! What matters is that they were made the fuck up collaboratively, by thousands of writers over hundreds of years. Whether you like it or not, you are part of that collaboration: you’re not the first person to write prose, and you can’t expect yours to be the first prose your readers have ever read.

That doesn’t mean “never break the rules”, mind you. Once you’ve gotten comfortable with English orthography, then you are free to break it as you please. Knowing what’s expected gives you the power to do unexpected things on purpose. And that’s the really cool shit.

5. You’re allowed to say the boobs were big if the story is about how big the boobs were

Nobody is saying this. Only I am brave enough to say it.

Well, bye!